Beatles – Why Don’t We Do It In The Road?

This song is absurd and hilarious. Paul wrote this song and got right to the point. Do what in the road Paul? We might never know. Well actually at the bottom of the post he does explain it…but a warning…you cannot un-see what you read. 

I’ve always liked it because it is fun. Some people try to take it seriously but it’s not meant to be…a song with two lines to the complete song…that is being a minimalist or little lazy. The first rumor I read about this song was that Paul was desperate for the Beatles to tour again and this was his message to the band…Why don’t we do it in the road? It turned out to be not true…it was inspired by two monkeys…not Monkees…see the Paul quote on down. 

It’s a fun song that sounds more like a John song than a Paul. It will never win a best Beatle song award but it’s fun and fits like a glove on the eclectic White Album. That is what I love about the White Album. Listening to the album you never know what is coming next. It still has a sound that threads all the songs together though. 

Paul and Ringo were the only two playing on this song. John Lennon liked the track but later he said he felt hurt when Paul would leave him out on a track and just do something himself. Paul’s voice is outstanding on this one…very aggressive. This is not the “Yesterday” Paul.

This is interesting…The Beatles were not touring when this was released and  Paul McCartney didn’t play it live until October 8, 2016 when he performed it at the Desert Trip festival with Neil Young.

Paul McCartney: “The idea behind ‘Why Don’t We Do It In The Road’ came from something I’d seen in Rishikesh, I was up on the flat roof meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, ‘Huh, I must have imagined it,’ and she wandered off.”

“And I thought, ‘Bloody hell, that puts it all into a cocked hat.’ That’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple. We have horrendous problems with it, and yet animals don’t. So that was basically it. ‘Why Don’t We Do It In The Road’ could have applied to either f*cking or sh*tting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilized and we don’t. But the song was just to pose that question. ‘Why Don’t We Do It In The Road’ was a primitive statement to do with sex or to do with freedom really. I like it, it’s just so outrageous that I like it.

Paul McCartney and Neil Young…doing it in the road. A very rare live performance. 

Why Don’t We Do It In The Road

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it, do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?

 

Beatles Get Back Trailer

Just saw this a few minutes ago. Lately I’ve been living in a bubble because of work but this is the new Get Back trailer. This is not the sneak peak Peter Jackson released before. On November 25,26, and 27th… 6 hours of the Let It Be/Get Back music, comedy, and drama will all unfold on the Disney plus.

As a very young Beatle fan I read about these sessions and only saw still photographs. Later on I saw them do Get Back on MTV while on the rooftop and it was like photos coming to life…I read where they had 56 hours of video footage sitting in a vault from this album. Now we will see 6 hours out of that anyway…you what what? I would happily sit through 56 hours… Peter Jackson has done such a great job on the look of the film…it looks like it could have been filmed yesterday. Peter, need an assistant for free?

With the previews I’ve seen…it looks like it was a lot of fun and the bad drama was not prevalent through the filming. Ringo has said that people have focused on the negative but it was much more positive than that. What is great about Get Back is the good time they had and it wasn’t all doom and gloom. I can’t imagine the pressure they were under to deliver and be as good as their last album. In this case, when they filmed this, it was just a few months after they released The White Album…The Let It Be album didn’t get released until after their last studio album Abbey Road.

Enough of me talking…here is the preview.

Beatles – Revolution 1

We all know Revolution by the Beatles but this is the acoustic version of the song. They fell into a nice groove doing this. It took a while for this to grow on me but now I like it just as well as the single fast hard rocking version.

The fast version was released as the B-side of “Hey Jude” in August 1968, three months before the slow version appeared on The White Album. John Lennon wanted it to be the first A-side released on Apple Records, the label The Beatles started, but Paul McCartney’s Hey Jude got the honor.

Brian Epstein, the Beatles manager was always careful with them  by asking them to not talk about controversial subjects like the war, politics, and anything that could cause controversy…I don’t think John Lennon got that memo many times. After Brian died they started to be more open and they talked a little more freely.

John Lennon said : “I wanted to put out what I felt about revolution,”  “I thought it was about time we spoke about it, the same as I thought it was about time we stopped not answering about the Vietnamese war when we were on tour with Brian Epstein and had to tell him, ‘We’re going to talk about the war this time and we’re not going to just waffle’…That’s why I did it: I wanted to talk, I wanted to say my piece about revolutions. I wanted to tell you, or whoever listens, to communicate, to say, ‘What do you say?’ ‘This is what I say.’”

“I think our society is run by insane people for insame objectives. If anybody can put on paper what our government, and the American government, and the Russian, Chinese…what they are actually trying to do, and what they think they’re doing, I’d be very pleased to know.” John wanted to see a plan as the song goes. John said he believed that revolution comes from inner change rather than social violence.

On the  two versions. On one John said “count me in” and the other he said “count me out” as he explains below.

John Lennon: “There were two versions of that song, but the underground left only picked up on the one that said ‘count me out.’ The original version, which ends up on the LP, said ‘count me in’ too; I put in both because I wasn’t sure. I didn’t want to get killed. I didn’t really know much about the Maoists, but I just knew that they seemed to be so few and yet they painted themselves green and stood in front of the police waiting to get picked off. I just thought it was unsubtle. I thought the original Communist revolutionaries coordinated themselves a bit better and didn’t go around shouting about it.”

Engineer Alan Brown: “I was in the control room of studio three and there on the other side of the glass was a figure in semi-darkness going over and over some lines of a song. I knew the voice and sure enough I knew the face. John Lennon was about 30 feet away! He was working on ‘Revolution,’ the slow one, and I remember him going through the song again and again in rehearsal, changing a word or two every time. Each time it would alter very slightly, it would develop and evolve. ‘When you talk about destruction…you can count me out.’ ‘When you talk about destruction…you can count me in.’” John either hadn’t decided which way he felt or which way would be more palatable to his audience.

John eventually decided to opt for both, singing “count me out…in” on this vocal performance, which was sung in a “light voice” in imitation of Martha Reeves and Diana Ross, as his handwritten lyric sheet reminded him.

White Album Version

Revolution 1

Ah, take 2
OK!

You say you want a revolution
Well you know
We all want to change the world
You tell me that it’s evolution
Well you know
We all want to change the world

But when you talk about destruction
Don’t you know that you can count me out in

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

You say you got a real solution
Well you know
We’d all love to see the plan
You ask me for a contribution
Well you know
We’re doing what we can

But if you want money for people with minds that hate
All I can tell you is brother you have to wait

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

You say you’ll change the constitution
Well you know
We’d all love to change your head
You tell me it’s the institution
Well you know
You better free your mind instead

But if you go carrying pictures of Chairman Mao
You ain’t going to make it with anyone anyhow

Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright
Don’t you know it’s gonna be alright

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
Alright, alright, alright, alright, alright
Alright, alright, alright, alright, alright
Oh, oh, oh, oh, oh, oh
Alright, alright, alright
Alright
Alright

Beatles – This Boy

When I hear this song, it reminds me of just how great the Beatles were at songwriting and harmonizing. My all time favorite rock singers includes John Lennon…this song demonstrates why. His voice could cut through anything and is always sharp…and has been widely imitated but it wasn’t liked by John himself who notoriously wanted it covered up on recordings.

The song was on Meet The Beatles…the first Beatle album I ever listened to. The vocals were a three part harmony sung by Harrison, Lennon and McCartney. The song was written by Lennon and McCartney.

This was the first Beatles composition that was commented on by a music critic. William Mann wrote in The London Times December 27, 1963, that the song had “pandiatonic  clusters.” Musicians and parents who knew something about music knew there was something more than just hair with this band. The songs they were hearing were more sophisticated than the regular pop songs at the time.

Capitol of Canada released a couple of unique singles of their own creation in early 1964 to capitalize on the success of Beatlemania in that country. The second of which was “All My Loving” paired with “This Boy” as its flip side.

The song peaked at #1 in Canada and #53 in the Billboard 100.

John Lennon: “Just my attempt at writing one of those three-part harmony Smokey Robinson songs,”

From Songfacts

John Lennon wrote this song. One of his early compositions, it is seemingly simple, but very clever. The song contains only a few notes, but the space between the notes is filled by the arrangements. It’s the same technique you hear in Liszt’s “Liebestraum,” the piano piece in Schumann’s Davidsbündlertänze and in Beethoven’s “Moonlight Sonata.”

George Harrison: “It was John (Lennon) trying to do Smokey (Robinson).”

The Beatles performed this on their second Ed Sullivan Show appearance – Feb 16, 1964. They played six songs on the show that night, and this provided a slow change of pace from the uptempo songs like “She Loves You” and “I Want To Hold Your Hand.” The Beatles were just beginning their breakthrough in America and got a huge audience from the show.

This was used in Ringo’s big scene in The Beatles movie A Hard Day’s Night. The version used in the film is an instrumental renamed “Ringo’s Theme (This Boy),” and without any harmony singing.

This was one of the first songs on which The Beatles used a 4-track recorder. 

Artists to cover this song include Tom Baxter, David Bowie, Sean Lennon, George Martin, Delbert McClinton and The Nylons

George taking a stroll down memory lane:

This Boy

That boy
Took my love away
Though he’ll regret it someday
But this boy wants you back again

That boy
Isn’t good for you
Though he may want you, too
This boy wants you back again

Oh, and this boy would be happy
Just to love you, but oh my
That boy won’t be happy
‘Til he’s seen you cry

This boy
Wouldn’t mind the pain
Would always feel the same
If this boy gets you back again

This boy, this boy, this boy

Beatles – Sgt Peppers Lonely Hearts Club Band

This is a great opening track to this famous album. What a way to introduce probably the most famous album ever.

The slicing guitar stands out and the drum sound that Ringo got. Paul McCartney wrote this and sang lead. After recording it, he had the idea of doing the whole album as if Sgt. Pepper was a real band. It became the title track of what was considered a “concept” album, with the songs running seamlessly together on the record.

The title is a parody of American bands who were choosing long names for their bands.

Three days after the album came out, Jimi Hendrix opened a concert with this. McCartney and Harrison were both there, and were very impressed that Hendrix learned it so quickly.

Jimi Hendrix cover The Beatles' 'Sgt. Pepper's Lonely Hearts Club Band'

The reprise of the song is right before A Day In The Life.

This song was produced in a rush when The Beatles decided to bring back the theme song to introduce the last track on the album, “A Day In The Life.” The idea to reprise the song came from Neil Aspinall, The Beatles’ friend and road manager.

George Harrison, Paul McCartney, and Ringo Starr played this on May 19, 1979 at Eric Clapton’s wedding. Clapton married Harrison’s ex-wife, Pattie. Pattie didn’t think John Lennon would fly over from America so she never sent an invititation. John Lennon said later he would have come.

From Songfacts

The album was heavily produced and took 129 days and about 700 hours to complete. The Beatles first album, Please Please Me, was recorded in less than 10 hours.

The crowd noise was dubbed in. The Beatles had stopped touring by then.

There really is an apostrophe in this song’s title, although on the album cover, it is rendered without. Since the Lonely Hearts Club Band belongs to Sgt. Pepper, it is possessive, thus “Sgt. Pepper’s.”

This is reprised at the end of the album before the final track, “A Day In The Life.”

This was recorded as one song with “With A Little Help From My Friends.” They flow seamlessly on the album, creating a problem for radio stations that want to play just one of the songs. 

Artist Peter Blake designed the album cover as if Sgt. Pepper’s band had just performed a concert. He asked The Beatles who they wanted at the concert, and put them in the cover design.

All living people depicted on the cover were asked permission. Mae West refused at first – she didn’t want to be part of a “Lonely Hearts Club Band” – but The Beatles wrote her a letter and she agreed. Other characters depicted on the album cover include comedic duos Laurel & Hardy and Abbott & Costello, Marilyn Monroe, Shirley Temple and W.C. Field. 

Lennon wanted Jesus, Gandhi, and Hitler on the cover. He had recently taken a lot of heat for saying The Beatles were “Bigger than Jesus,” so they decided not to.

It was rumored that the hand that is sticking out above Paul is that of Adolph Hitler. A Hitler cut out was on the set, but if you look at some side shots of the photo session, you can clearly see that the hand belongs to comic Issy Bonn, whose face is seen in between Paul McCartney and George Harrison. 

On the cover of this album McCartney is taller than the other Beatles. This added to rumors of his death, since there is also a hand above Paul’s head which is an omen of death. Also, if you take a mirror and put the edge on the center of the Lonely Hearts Club Band drum an arrow will point directly to McCartney.

Sgt. Pepper was the first pop album to come with printed lyrics on the cover.

Twelve years after “Sgt. Pepper’s Lonely Hearts Club Band” and “With a Little Help from My Friends” appeared on the Sgt. Pepper album, they were released together as a two-song medley and reached US #71 and UK #63. 

In 2005, Bob Geldof helped organize Live 8, a set of concerts held in eight countries with the goal of promoting activism. The concerts coincided with the G-8 summit, and Geldof was hoping to send a message to world leaders that they should increase aid to Africa and institute fair trade practices. On the London stage, U2 played this with McCartney to kick off the concert. The opening line, “It was 20 years ago today,” was a reference to Live Aid, which Geldof organized for famine relief in 1985.

Sgt. Pepper’s Lonely Hearts Club Band was the first rock album to win a Grammy for Album of the Year. 

On the album cover, Paul McCartney is wearing an Ontario Provincial Police (OPP) badge on his right sleeve. You can see this better on the inside artwork. 

The hand-painted drum skin used on the cover of the Sgt Pepper album was sold at Christie’s House in London on 10th July 2008 for £541,250 ($1,071,000) – setting a record for non-lyrics Beatles memorabilia.

In 2007, the Beatles Story museum in Liverpool went on a search for real Sgt. Peppers and found seven police or army officers in the UK that were sergeants with the last name Pepper. “Being Sgt. Pepper is awesome but sometimes people think I am bogus when I call them on the phone or introduce myself,” Sgt. Sean Pepper of Highfields said.

Sgt Pepper’s Lonely Hearts Club Band

It was twenty years ago today
Sergeant Pepper taught the band to play,
They’ve been going in and out of style,
But they’re guaranteed to raise the smile,
So may I introduce to you,
The act you’ve known for all these years,
Sergeant Pepper’s Lonely Hearts Club Band.

We’re Sergeant Pepper’s Lonely Hearts Club Band
We hope you will enjoy the show
Sergeant Pepper’s Lonely Hearts Club Band
Sit back and let the evening go
Sergeant Pepper’s Lonely
Sergeant Pepper’s Lonely
Sergeant Pepper’s Lonely Hearts Club Band

It’s wonderful to be here,
It’s certainly a thrill
You’re such a lovely audience,
We’d like to take you home with us, we’d love to take you home

I don’t really want to stop the show,
But I thought you might like to know,
That the singer’s going to sing a song
And he wants you all to sing along,
So let me introduce to you
The one and only Billy Shears
And Sergeant Pepper’s Lonely Hearts Club Band

Oh ha ha
Yeah, dress down
I feel it, I feel it, I feel it
Oh baby now, I feel it, I feel it, I feel it
Baby, free now
Gotta be free now, gotta be free now, gotta be free
Don’t like that
I think it’ll probably be another day singing it
Yeah so just edit that then, it’s nice
Yeah, and what you can do with the bits where you can’t get it ’cause you haven’t got enough breath
Just take over, yeah

Beatles – I’m Down

I have always liked this B side to Help! Not a bad B side at all.

It was credited to Lennon/McCartney but Paul McCartney wrote this track… in the style of Little Richard. American R&B singers like Richard were a big influence on The Beatles.

The Beatles used this as their closing number on 1965 North American and UK tours, and the 1966 World tour.

When the Beatles were recording this…Paul took a break after shredding his vocal cords and recorded the classic…Yesterday. John Lennon played the Hammond organ on this track. It was the first time Lennon played any kind of keyboard on a record. When The Beatles played this live, he often played an electric piano.

This was the first song ever recorded by Aerosmith. They used it as a demo which eventually got them a record deal. They used also recorded it in 1987 on their album Permanent Vacation.

Paul McCartney: “I’m not sure if John had any input on it, in fact I don’t think he did. But not wishing to be churlish, with most of these I’ll always credit him with 10 per cent just in case he fixed a word or offered a suggestion. But at least 90 per cent of that would be mine.”

From Songfacts

In this song, Paul McCartney plays the role of a poor sap wallowing in his misery. But the joke is on him, which the arrangement and backing vocals make clear. When he sings, “I’m down,” John Lennon and George Harrison retort in mocking fashion, with lines like “down on the ground.” It’s as if they’ve heard too much of his bellyaching and they’re sick of it.

A telling line is, “How can you laugh when you know I’m down?” You can only have so much sympathy for someone who won’t help himself. After that, you have to laugh.

The Beatles performed this on their third live Ed Sullivan Show appearance – September 12, 1965. Before The Beatles broke through in America, Sullivan was in the London airport when The Beatles returned from a tour of Sweden. When he saw the massive crowd there to greet them, he thought The Queen was arriving. When he found out the throngs were there for The Beatles, he made sure to book them on his show. He became a big fan and had them on whenever he could.

This was recorded at the same session with “Yesterday” and “I’ve Just Seen a Face.” 

The Beastie Boys recorded a version of this in 1986. Michael Jackson, who owned the publishing rights to this and many other Beatles songs, would not allow them to release it.

Paul McCartney played this at the “Concert For New York,” a benefit show he helped organize in 2001 to help victims of the World Trade Center disaster. It was the first song of his set.

I’m Down

You tell lies thinking I can’t see
You can’t cry ’cause you’re laughing at me
I’m down (I’m really down)
I’m down (Down on the ground)
I’m down (I’m really down)
How can you laugh when you know I’m down
(How can you laugh) When you know I’m down

Man buys ring woman throws it away
Same old thing happens everyday
I’m down (I’m really down)
I’m down (Down on the ground)
I’m down (I’m really down)
How can you laugh when you know I’m down
(How can you laugh) When you know I’m down

We’re all alone and there’s nobody else
You still moan, “Keep your hands to yourself!”
I’m down (I’m really down)
Oh baby, I’m down (Down on the ground)
I’m down (I’m really down)
How can you laugh when you know I’m down
(How can you laugh) When you know I’m down, wow
Baby I’m down

Oh baby, you know I’m down (I’m really down)
Oh yes, I’m down (I’m really down)
I’m down on the ground (I’m really down)
Ah, Down (I’m really down)
Oh baby, I’m upside down, a yeah, yeah, yeah, yeah, yeah
I’m down (I’m really down)
Oh baby, I’m down (I’m really down)
I’m feeling upside down (I’m really down)
Oh, I’m down (I’m really down)
Baby, I’m down, yeah
Oh baby, I’m down, yeah
Baby I’m down (I’m really down)
Well, baby I’m down (I’m really down)
Well, baby, baby, baby (I’m really down)
Oh baby, I’m down
I’m down, down, down

Beatles – She Came In Through The Bathroom Window

Besides having one of the most unique names in the history of rock songs…this one is a really cool song off of Abbey Road. It’s always one of my favorite songs of the medley.

It’s in the medley on side 2 for those of you who have the vinyl album. I always wondered who that was coming through the bathroom window. Paul wrote the song about a fan, thought to be Diane Ashley. She said that there was a ladder in Paul’s garden and bunch of girls put it against the wall and Diane climbed up and went through the bathroom window when Paul was at the studio. I seriously doubt if she was the only one…more probable…They All Came Through Paul’s Bathroom Window. The girls that hung out waiting for the Beatles were called “Apple Scruffs” by the Beatles.

Now married with four children, Diane keeps a framed photo of herself with Paul on her kitchen shelf and looks back on her days as an Apple Scruff with affection: “I don’t regret any of it. I had a great time, a really great time.” It shows you how different of a time that was compared to now.

Margo Bird was on of the girls who Paul negotiated with to get some of his property back…he didn’t care if they got small souvenirs but when pictures went missing, Margo helped him track them down.

This was credited to Lennon/McCartney but seems to be all McCartney. The Beatles ran through it a few times earlier in the year in the Let It Be sessions. They were going to feature it in their rooftop concert but didn’t feel confident in it.

The song fit nicely between Polythene Pam and Golden Slumbers in the medley. Joe Cocker covered this song also.

Apple Scruff Margo Bird: “They rummaged around and took some clothes. People didn’t usually take anything of real value but I think this time a lot of photographs and negatives were taken. There were really two groups of ‘Apple Scruffs’ – those who would break in and those who would just wait outside with cameras and autograph books. I used to take Paul’s dog for a walk and got to know him quite well. I was eventually offered a job at Apple. I started by making the tea and ended up in the promotions department working with Tony King.”

From Songfacts

Paul McCartney wrote this about a fan who broke into his house. Diane Ashley claims it was her. “We found a ladder in his garden and stuck it up the bathroom window which he’d left slightly open,” she said. “I was the one who climbed up and got in.”

Landis Kearnon (known at the time as Susie Landis) gave us the following account:

Here, all this time I thought this song was written about me and my friend Judy. What a surprise to learn there was someone named Diane Ashley who put a ladder up to Paul’s house and climbed in through the bathroom window. This and the bit about “quit the police department” being inspired by an ex-cop taxi driver in NYC tells me something I already know about songwriting, which is that many songs are composites. This one obviously was because Diane wasn’t the only person having a profound effect on Paul McCartney by crawling in a bathroom window in 1967 (maybe ’68 in her case). Judy and I were paid $1500 by Greene & Stone, a couple of sleazy artist managers driving around the Sunset Strip in a Chinchilla-lined caddy limo, to “borrow” the quarter-inch master of “A Day In The Life” off of David Crosby’s reel-to-reel, drive it to Sunset Sound studios in Hollywood where Greene & Stone duped it, then put it back where we found it at Crosby’s Beverly Glen Canyon pad. Crosby was playing with the Byrds that day in Venice so we knew his house was empty. This was the day after a major rainstorm so the back of his house was one big mudslide. We climbed up it, leaving 8-inch deep footprints and, you guessed it, gained access via the bathroom window, leaving behind footprints and a veritable goldmine of forensic matter. We were really nervous and did not make clear mental notes of how the master reel was on the player, but did have the sense to leave Crosby’s front door unlocked while we drove across town and back. After the tape was back on the machine (badly) we changed out of our muddy shoes, drove to the Cheetah in Venice, and hung out with the Byrds into the evening, thinking we were awfully clever and cute. We did not know why Greene & Stone would pay so much money for a copy of a Beatles song, other than the fact that is was a groundbreaking and mind-blowing piece, but found out the next day when we heard “A Day In The Life” on KHJ, I think it was. Greene & Stone had used it as payola to get one of their groups, The Cake, singing “Yes We Have No Bananas,” on the air. Which they did, and it sucked, but oh well. By the following day “A Day In The Life” was no longer on the air. And just a day or two after that there was a front page blurb in the LA Times about “A Day In The Life” getting aired one month prior to the release date of the single and the Sgt. Pepper LP, which apparently cost the Beatles plenty and they were suing Capitol or Columbia, whichever the label was, for $2 million… and McCartney was flying in from London to deal with the mess. Oops. Judy and I nearly sank through the floor. Though we were active “dancers” in the various nightclubs on the Sunset Strip, we lay low for a while, not knowing what to expect. In fact, other than a song being written and a GREAT cover by Joe Cocker, nothing happened. We got our money, spent it on groovy clothes, of course (what else was there?) and never heard a word about it.

“I knew what I could not say” and “protected by a silver spoon” seemed to explain why there were no repercussions. My dad was a TV director who had already threatened to bust and ruin David Crosby for smoking pot with and deflowering his daughter; he had clout and David was afraid of him. Judy was from money and influence too. I feel that David knew exactly who had broken in and borrowed the tape but couldn’t press charges. He probably wasn’t supposed to be playing the master for all his friends and hangers-on, so there must have been hell to pay for him. I always felt bad for the cred it must have cost him with his friend Paul McCartney.

Oh, the bit about “Sunday’s on the phone to Monday, Tuesday’s on the phone to me” – that was somebody named Sunday, maybe a detective, I can’t remember now, calling the producer Billy Monday about the break-in and song leak. Billy Monday, knowing she was a friend of McCartney’s, called Tuesday Weld, and it was she who called Paul in London and told him the news. Well, I guess I didn’t make this very short after all. But you can’t tell me that this incident didn’t feed into the overall inspiration for the song. I’m just glad it turned out so cool and hope it made a heap for them in compensation for the publicity costs at the outset.

It was interesting and exciting then, that’s for sure. Even though I came of age into that scene and had nothing to compare it to, I still had a sense at the time of being at the epicenter of something big. Some of that was attributable to the hubris of youth, but some of it turned out to be real, as it happened. Now, present time, it makes my day to come across someone who still finds it interesting or even knows what or whom I’m talking about. By the way, I never did get to meet the Beatles, though I was invited to party where they were staying once, when I was 17. My mother wouldn’t let me go! I never forgave her.

I lived in LA until 1987 where I was a model, actress, (groupie, but that wasn’t professional), marching band manager, religious (Buddhist) leader, newspaper columnist, secretary, copywriter, copy editor, account executive, screenwriter, songwriter, band leader, session singer, textile designer, artist. Since then, in the Santa Fe area and now, since 1992, in Tucson, I continued my artistic and musical endeavors, ran a fabric-painting factory, was a jazz singer for several years (which has mutated to something more individual and artistic of late), have worked numerous odd jobs from pizza delivery to bookstore management, and am now close to completing my first novel, which is set in a Buddhist cult in the early ’70s.

In the ’70s I traveled halfway around the world on a square-rigged cargo ship, lived and sang in Europe for three years, and, as of 1991, am a mother of one though I never married.

Subsequent to the bathroom window event, my friend and partner in crime, as it were, Judy, went off with a Dick Clark Productions road show (can’t remember the name of it but it was something timely) as “Irma the Dancing Girl.” Her job, nightly, in each new town, was to put on a bikini, dance, and paint wild, acid abstract canvases with her extremely long blond hair. I, on the other hand, joined a Buddhist cult, which was like living on another planet entirely, and completely disappeared from view, as far as the “scene” was concerned. Judy and I didn’t hang out much after we realized the impact of our little romp. We didn’t talk about it, but we may have decided at some level that we pushed our combined wildness a bit too far on that one and moved on to “safer” friends. I saw her once in the early ’70s. She had been married and divorced, was the mother of one, and that was the last contact we had.

The Beatles recorded this as one song with “Polythene Pam.”

The Beatles gave this to Joe Cocker, who released it in 1969. The Beatles released their version first. Cocker’s version was used on the soundtrack to the movie All This and World War II, released in 1976. A strange mix of World War II documentary footage set to the music of the Beatles, the movie bombed and has barely been heard of since. Others who covered The Beatles on the soundtrack include Peter Gabriel, Elton John, Tina Turner, Leo Sayer, Frankie Laine and the Bee Gees.

This is part of a suite of songs at the end of Abbey Road. They used bits from many songs they never finished to put the suite together.

McCartney played lead guitar and Harrison played bass. It was usually the other way around.

McCartney said in a documentary shown February 6, 2002 in England that part of the lyric was inspired by sitting in the back of a New York cab. The drivers name was on display (Quitts) saying “Ex Police Department,” which inspired the line: “And so I quit the Police Department and got myself a steady job…”

She Came In Through The Bathroom Window

She came in through the bathroom window
Protected by a silver spoon
But now she sucks her thumb and wanders
By the banks of her own lagoon

Didn’t anybody tell her?
Didn’t anybody see?
Sunday’s on the phone to Monday
Tuesday’s on the phone to me

She said she’d always been a dancer
She worked at fifteen clubs a day
And though she thought I knew the answer
Well, I knew what I could not say

And so I quit the police department
And got myself a steady job
And though she tried her best to help me
She could steal but she could not rob

Didn’t anybody tell her?
Didn’t anybody see?
Sunday’s on the phone to Monday,
Tuesday’s on the phone to me
Oh yeah

Beatles – Dear Prudence

I’m asked quite a bit…Max what is your favorite Beatle song? It’s hard to tell you because it changes from day to day. I would have to say A Day In The Life if I had to give one answer… but on certain days…this one would be it. Lennon to me was one of the best all time rock singers. He could do rock and pop/rock with ease. He never liked his voice and always wanted the producer George Martin to cover it up with echo or some effect.

The story behind this one is known to Beatle fans. They were in India with the Maharishi and were asked to meditate all day. Mia Farrow and her sister Prudence was there. Prudence was taking this very seriously and would not come out of her quarters and John wrote this song to cheer her up.

Image result for prudence farrow in india

American flautist Paul Horn, who was also with them in Rishikesh said that Prudence was a highly sensitive person, and by jumping straight into deep meditation, against the Maharishi’s advice, she had allowed herself to fall into a catatonic state.

Horn stated, “She was ashen-white and didn’t recognize anybody. She didn’t even recognize her own brother who was on the course with her. The only person she showed any slight recognition towards was Maharishi. We were all concerned about her and Maharishi assigned her a full-time nurse.”

The song was on their massive double album album “The Beatles” or better known as the White Album released in 1968. On this album you get a little bit of everything. 20’s style music, pop, folk, Avant Garde, rock, to hard rock.

Donovan was also there and taught John and Paul and guitar picking style called “clawhammer.” The clawhammer style, is played with the strumming hand formed into a claw, using the backs of the fingernails to strum down on the strings.

The song was not released as a single but remains a favorite album track.

Donovan:  “He was so fascinated by fingerstyle guitar that he immediately started to write in a different color and was very inspired” “That’s what happens when you learn a new style.”

Prudence Farrow: “They were trying to be cheerful, but I wished they’d go away. I don’t think they realized what the training was all about.”

From Songfacts

While Mia Farrow inspired such men as Andre Previn, Frank Sinatra and Woody Allen, her sister Prudence left her mark on John Lennon. According to Nancy de Herrera’s book, All You Need Is Love, Prudence met The Beatles on a spiritual retreat with their guru, Maharishi Mahesh Yogi, in India, which she attended with Mia. When Prudence, suffering depression, confined herself to her room, Lennon wrote this song hoping to cheer her up. It did.

Prudence Farrow wanted to “Teach God quicker than anyone else,” according to John Lennon. She would lock herself in her room trying to meditate for hours and hours. From A Hard Day’s Write, by Steve Turner: “At the end of the demo version of Dear Prudence John continues playing guitar and says: ‘No one was to know that sooner or later she was to go completely berserk, under the care of Maharishi Mahesh Yogi. All the people around were very worried about the girl because she was going insane. So, we sang to her.'”

Ringo had left the group as the White Album sessions got very tense, so Paul McCartney played drums. When Ringo came back a short time later, there were flowers on his drum kit welcoming him back.

According to the singer-songwriter Donovan, who was on the retreat in India with The Beatles, he taught John Lennon a “clawhammer” guitar technique that he used on this track. 

John Lennon’s handwritten lyrics were auctioned off for $19,500 in 1987.

Lennon considered this one of his favorites.

Siouxsie And The Banshees covered this in 1983. Their version went to #3 in the UK and became their biggest hit.

“Dear Prudence” was the second Beatles song that the Banshees had covered from their White Album. Previously, they’d recorded a version of “Helter Skelter” for their 1978 LP The Scream.

“Helter Skelter was very much part of our live show before we recorded it,” mused Siouxsie Sioux to TeamRock. “The great thing was that the two Beatles songs we chose – ‘Helter Skelter’ and ‘Dear Prudence’ – were not originally singles by The Beatles, so it wasn’t necessarily a surefire: ‘Oh, they’re doing a Beatles song.’ And it was also a bit irreverent as well, I suppose. A good test of doing a cover version is when people think that you’ve written it. Quite a lot of people thought Dear Prudence was an original.”

This song was in the movie Across the Universe, which was based on The Beatles music. In the movie, Prudence (played by T.V. Carpio) locked herself in a closet after discovering that Sadie and JoJo were together when she thought she loved Sadie. Lucy (Evan Rachel Wood), Jude (Jim Sturges), Sadie (Dana Fuges) and Max (Joe Anderson) sing this to make her feel better. It gets her out of the closet and they end the song at a anti-Vietnam War rally. 

Siouxsie and the Banshees’ take on the song added to The Beatles’ simple original arrangement. “It was kind of an undeveloped song on the White Album,” Siouxsie said. “and so there was a lot of scope to put in your own stuff, really. What did I want to bring? Oh, some psychedelic transformation there [laughing].”

“No, I think that actual track’s fairly restrained, simple and understated on the White Album,” she added. “I was listening to singles like Itchycoo Park by the Small Faces, so I think it was wanting to capture the 60s, and all that kind of phasing. Also, it was where we were at the time.”

Dear Prudence

Dear Prudence, won’t you come out to play?
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It’s beautiful and so are you
Dear Prudence, won’t you come out to play?

Dear Prudence, open up your eyes
Dear Prudence, see the sunny skies
The wind is low, the birds will sing
That you are part of everything
Dear Prudence, won’t you open up your eyes?

Look around, round (round, round, round)
(Round, round, round, round, round)
Look around, round, round (round, round)
(Round, round, round, round, round)
Look around

Dear Prudence, let me see you smile
Dear Prudence, like a little child
The clouds will be a daisy chain
So let me see you smile again
Dear Prudence, won’t you let me see you smile?

Dear Prudence, won’t you come out to play
Dear Prudence, greet the brand new day
The sun is up, the sky is blue
It’s beautiful and so are you
Dear Prudence, won’t you come out to play?

Beatles – Some Other Guy

It will be a little different today as this song was never a studio song. The Beatles never recorded this song for an album or single. Much later it was released in 1994 on Live At The BBC of them obviously doing it live.

They played this song regularly at the Cavern and Hamburg. The only known film footage of them playing in the Cavern is of them playing this song. It had been filmed on August 22, 1962 for Granada Television but the footage was grainy and they didn’t broadcast it until the Beatles hit big.

This is just a few days after Ringo became a Beatle. They had just got rid of Pete Best and you can hear at the very first of the Cavern footage a Pete Best fan saying “We Want Pete.” The footage is grainy but great. This was at the start of their rise. Love Me Do would be released two months later.

The Beatles loved to cover B sides and they had a knack for picking the right ones. I do wish they would have recorded this one in the studio but I don’t know if it would have captured the excitement of the live Cavern or BBC version. The song was written by Jerry Leiber, Mike Stoller, and Richie Barrett. Barrett released the song in 1962.

George Harrison: Brian (Manager Brian Epstein) had had a policy at NEMS of buying at least one copy of every record that was released. If it sold, he’d order another one, or five or whatever. Consequently he had records that weren’t hits in Britain, weren’t even hits in America. Before 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. That’s where we found artists like Arthur Alexander and Ritchie Barrett – ‘Some Other Guy’ was a great song.”

John Lennon: I’d like to make a record like ‘Some Other Guy’. I haven’t done one that satisfies me as much as that satisfies me.

The original, the BBC version, and the Cavern Version (it also shows a little of the original One after 909)…love Ringo’s drums on this.

Some Other Guy

Some other guy, now
Is taking my love away from me, oh now
Some other guy, now
Is taking away my sweet desire, oh now
Some other guy, now
Just threw water, hold my hand, oh now
I’m the lonely one, as lonely as I can feel, all right

Some other guy
Is tippin’ up behind me like a yellow dog, oh now
Some other guy, now
Has taken my love just like I’m gone, oh now
Some other guy, now
Has taken my love away from me, oh now
I’m the lonely one, as lonely as I can feel, all right

Oh oh oh oh

Some other guy
Is making me very, very mad, oh now
Some other guy, now
Is breaking my padlock off my pad, oh now
Some other guy, now
Took the first girl I’ve ever had, oh now
I’m the lonely one, as lonely as I can feel, all right now

Oh oh oh oh
I’m talking to you, right now

Beatles – Baby You’re A Rich Man

We have here a Stones- Beatles collaboration…a slight one with Mick Jagger is said to be singing backups to this song.The John and Paul returned the favor on the Stones song We Love You.

I first heard this on the Magical Mystery Tour album. I love the bass sound that Paul got on this song.

The cool sounding instrument on this song is the the Clavioline which John plays. It was a forerunner to the synthesizer.

The Story Of The Clavioline

John Lennon and Paul McCartney wrote parts of this separately and combined it to make one song… something they would repeat on “A Day In The Life.” At one point, the song was called “One Of The Beautiful People.”

On August 7th, 1967, just three weeks after the single was released in the US, George Harrison and entourage decided to make a brief visit to the Haight-Ashbury district of San Francisco, California, to visit the highly publicized “beautiful people” of the area and played the song on an acoustic after one was produced from a growing crowd. George didn’t stay too long.

Near the end of the song legend has it that John sings “Baby, you’re a rich f*g jew” as a reference to Brian Epstein toward the end of the song. Whether it is…it’s hard to tell. Whatever is in your head when you listen…it can become that. I’ve never read where John admitted it…and if he would have done that…I don’t see him shying away from admitting it.

Eddie Kramer…future producer for the Jimi Hendrix played the vibraphone.

From Songfacts

This song is about how everybody can have the things that matter, and it has nothing to do with material possessions. The Beatles were rich, but they claimed that money was not that important to them.

It was rumored that The Beatles sang “Baby you’re a rich fag Jew” as a slur to their manager, Brian Epstein. He was rich, gay and Jewish, but The Beatles never said this was about him. Epstein died later in that year when he overdosed on sleeping pills.

The Beatles started working on this song with the intention of using it on the Yellow Submarine soundtrack. It was used in the 1968 movie, but didn’t appear on the soundtrack.

Mick Jagger sang backup. McCartney and Lennon returned the favor by singing on The Stones’ “We Love You.”

Brian Jones, the guitarist from The Rolling Stones, played an oboe on this. A few years earlier, Lennon and McCartney gave The Stones a song called “I Wanna Be Your Man,” which was one of their first hits, and helped convince Mick Jagger and Keith Richards that they should write their own songs.

This was released as the B-side of “All You Need Is Love.”

Lennon played clavioline and piano on the song and George Harrison played tambourine. There is actually no guitar on this song at all. Paul played bass and piano as well.

This was released in mono, but in 1971 it was remixed in stereo along with several other tracks for a German version of Magical Mystery Tour. The stereo version is the one that is now the most common. 

The comedy rap trio The Fat Boys performed this song in their 1987 movie Disorderlies.

In 2010, this song was used at the end of the movie The Social Network to punctuate the raging financial success of the guys who invented Facebook. It was one of the few Beatles songs licensed to a movie in its original form, meaning the Beatles version was used. Apple Corp. is very particular about where Beatles songs are used.

At one point in this song, The Beatles ask, “How does it feel to be one of the beautiful people?” The phrase “beautiful people” was used a lot in 1967 as a derisive way to describe the social elite. A popular book by Marilyn Bender was published that year called The Beautiful People: a Candid Examination of a Cultural Phenomenon – the Marriage of Fashion and Society in the ’60s.

Baby You’re A Rich Man

How does it feel to be
One of the beautiful people
Now that you know who you are
What do you want to be
And have you traveled very far?
Far as the eye can see

How does it feel to be
One of the beautiful people
How often have you been there
Often enough to know
What did you see when you were there
Nothing that doesn’t show

Baby you’re a rich man
Baby you’re a rich man
Baby you’re a rich man, too
You keep all your money in a big brown bag
Inside a zoo, what a thing to do
Baby you’re a rich man
Baby you’re a rich man
Baby you’re a rich man, too

How does it feel to be
One of the beautiful people
Tuned to a natural E
Happy to be that way
Now that you’ve found another key
What are you going to play

Baby you’re a rich man
Baby you’re a rich man
Baby you’re a rich man, too
You keep all your money in a big brown bag
Inside a zoo, what a thing to do
Baby, baby, you’re a rich man
Baby you’re a rich man
Baby you’re a rich man, too, oh
Baby you’re a rich man
Baby you’re a rich man (baby)
Baby you’re a rich man, too
Baby you’re a rich man
Baby you’re a rich man
Baby you’re a rich man, too

Famous Rock Guitars Part 5

Back as promised…I know this isn’t everyone’s cup of tea so to speak but I hope you enjoy it. This is obviously the 5th edition of this series. In Part 1, Part2, Part 3, and Part 4. We covered Brian May’s Red Special, Willie Nelson’s Trigger, George Harrison’s Rocky, Eddie Van Halen’s Frankenstrat, Bruce Springsteen’s guitar, Neil Young’s Old Black guitar, John Lennon’s Casino + a Bonus, and Keith Richards Telecaster.

Today will we look at:

Paul McCartney’s Hofner Bass and Eric Clapton’s Blackie.

Paul McCartney’s Hofner Bass and the MISSING Hofner Bass

paul mccartney hofner bass | Tumblr | Paul mccartney, Beatles john, Beatles  photos

Paul’s bass is maybe the most iconic guitar/bass of all time in rock music. You see this bass and you think Beatles. I see the attraction to this bass. I have a Hofner copy and I’ve played a Hofner a few times. They are ultra light and have a nice feel to them. The Hofner is really easy to play.

Lets start with the Hofner he bought in Hamburg in 1961…we will call it The Cavern Bass or Hofner#1.  It was played on some iconic Beatles recordings including their very first studio outing in June 1961 in Hamburg, their first single Love Me Do in 1962 and their first two albums, Please Please Me and With The Beatles in 1963. It’s the one you hear on “She Loves You, “Twist and Shout”, it was played in Hamburg, at The Cavern Club, and at Abbey Road.

In 1965 he sent it in to get it worked on…it was  sprayed with a darker sunburst and the pickup guard removed.

It was last seen in the 1969 footage from Twickenham Studios, where the Beatles were filming “Let It Be.” Soon afterward, it was stolen, most likely from a closet at EMI’s Abbey Road studio, along with Harrison’s Gretsch Tennessean and second Ric 360-12. People are still looking for that bass guitar.

These two pictures show the same Bass…the Cavern Bass…notice the different colors and the removed pick guard…but same bass.

Pin on Men and their guitarsPin by Lynne Jones on THE BEATLES | Paul mccartney beatles, Lennon and  mccartney, Paul mccartney

In 1963 Paul bought another Hofner bass that he used as his primary bass and played it from then on and still does. We will call it Hofner #2. He didn’t retire the Cavern Bass but just used it as a back up to Hofner #2.

Here are the two basses labeled…the #1 is the lost/stolen Cavern bass and the #2 is the 1963 bass he used throughout the Beatles. Paul is still looking for the Cavern Bass and the Hofner company has a webpage describing the bass and trying to get it back for Paul.

The Daily Beatle has moved!: The Höfner setlist

I have to wonder who has this bass. Odds are they don’t know what they have… if it survives. I hope Paul gets it back… he loves instruments and still has many of the instruments he used with The Beatles… Hey…lets go out and find this bass…that would be one way to meet him!

***From the  mid-sixties on he would use a Rickenbacker bass which produced brighter and clearer bass sound. He famously used one on Sgt Pepper. He used both basses through the years.

Paul McCartney on the set of Magical Mystery Tour in 1967 playing his  painted Rickenbacker 4001S bass. | Paul mccartney, The beatles, Lennon and  mccartney

Eric Clapton’s Blackie

The Guitar Center Puts Eric Clapton's Legendary Stratocaster on Display -  Bloomberg

Eric built this guitar in around 1970 from different Fender Strats…here is Eric telling the story.

Eric Clapton: “I was in Nashville and I went into this shop called Sho-Bud where they had stacks of Fender Strats going for virtually nothing because they were so unfashionable and unwanted,” 

“I bought a big pile of them all for a song – they were really cheap, like $300 or $400 each – and I took them home and gave them out. I gave Steve Winwood one, I gave Pete Townshend one, I gave George Harrison one and I kept a few, and I made Blackie out of a group of them. I took the pickups out of one, the scratchplate off another, the neck off another and I made my own guitar, like a hybrid guitar that had all the best bits from all these Strats.”

Blackie would be the main guitar used on every one of Eric’s albums for 15 years. During that time, Eric and Blackie would rack up an impressive number of hits, including “Cocaine,” “I Shot the Sheriff,” “Wonderful Tonight,” and “Lay Down Sally.”

in 2004, Eric worked with Christie’s to auction the legendary guitar off. The winner paid $959,000 for Blackie, with most of the proceeds again supporting Eric’s Crossroads Center.

Eric Clapton's Blackie: History of the Great Fender Stratocaster |  Guitarriego

Beatles – She Loves You

This song help kick off the sixties. The melody, music, the great harmonies and just the excitement of the song. She Loves You help define them and broke huge. Ozzy Osbourne made a statement about the song… “Imagine you go to bed today and the world is black and white and then you wake up, and everything’s in color.” 

These great melodies that John, Paul, and later George would come up with lasted through their career. Even when their music got a little more sophisticated the melodies remained…they were  underneath the early, middle, and late era Beatle music.

It’s best known for the yeah, yeah, yeah… Yeah, the Everly Brothers did it first, using a hook of “yeah, yeah, yeah, yeah” on their 1961 cover of the song “Temptation,” which was a #1 hit in the UK.

Paul McCartney’s dad wanted the Beatles to sing yes, yes, yes instead because he thought it sounded more dignified.…doesn’t have the same ring does it?

She Loves You peaked at #1 in the Billboard 100, Canada, the UK, and New Zealand in 1964.

In the UK, this is the biggest selling Beatles single. It held the record for top-selling UK single of all time until 1977, when Wings topped it with Mull Of Kintyre.

George Martin didn’t like the ending chord. He thought it sounded too much like the The Andrew Sisters but the Beatles liked it and over rode the producer on this one…and it works great.

in April 1964 The Beatles had the Top 5 Songs on the Billboard Top 100 Singles of the week. The closest any other artist ever got was 3 songs in the Top 10. But there they were- Can’t Buy Me Love, Twist and Shout,  She Loves You, I Want To Hold Your Hand, Please Please Me, sitting at the top, along with 7 other Beatles songs in the Top 100 the same week.

Cynthia Lennon: “He was also romantic, a side of him I saw more often as our relationship deepened. He wrote love poems on scraps of paper and passed them to me at college. For our first Christmas he drew a card with a picture of me in my new shaggy coat, standing opposite him, our heads together, his hand on my arm. It was covered with kisses and hearts and he wrote, ‘Our first Christmas, I love you, yes, yes, yes.’ A few years later he used the same idea in one of the Beatles’ first hits, ‘She loves you, yeah, yeah, yeah.'”

John Lennon: “I remember it was Paul’s idea,” Lennon recalled, “Instead of singing ‘I love you’ again, we’d have a third party.”

Paul McCartney: “We were in a van up in Newcastle somewhere,” “and we’d just gone over to our hotel. I originally got an idea of doing one of those answering songs, where a couple of us sing about ‘she loves you’ and the other one sort of says the ‘yes, yes’ bit. You know, ‘yeah, yeah’ answering whoever who is saying it. But we decided that was a crummy idea anyway. But we had the idea of writing a song called ‘She Loves You’ then. And we just sat up in the hotel bedroom for a few hours and wrote it.”

From Songfacts

The Beatles tell quite a tale in this tidy pop song. Some poor guy thinks he has lost his girl for good, but he’s redeemed when he finds out from a friend that she still loves him. There’s even a moral at the end of the story: “Pride can hurt you too.” Good advice when arguing with a loved one.

This was an instant hit in the UK, but not in America, where it was released on Swan records, the only US label that would take it. Swan put it out in September 1963, but while The Beatles were huge in their homeland, they were still no big deal in America until February 1964. That’s when Beatlemania took hold and “She Loves You” became a US hit.

This was one of four Beatles songs that was never released in stereo. The others are “Love Me Do,” “I’ll Get You” and “You Know My Name (Look Up The Number).” 

The Beatles released a German version translated as “Sie Liebt Dich” in the US in 1964. They learned some German when they became the house band at the Star-Club in Hamburg in 1962, but needed a German speaker to help them with the lyrics. They recorded the German version in Paris – it was the only time they recorded outside of England.

Apart from “My Bonnie,” which was recorded with Tony Sheridan in their early days in Hamburg, the only other song the Beatles recorded in another language, again German, was “I Want To Hold Your Hand.” “Komm Gib Mir Deine Hand” was recorded the same time as “Sie Liebt Dich.”

“Sie Liebt Dich” peaked at #97, the lowest position of the Beatles’ 71 Hot 100 charted songs.

Jack Paar played a video clip of The Beatles performing the song on his show January 3, 1964. The Beatles had appeared on news clips as part of stories about their success in England, but this was the first time they appeared on a US TV talk show. They also played it on both of their live Ed Sullivan Show appearances. When The Beatles agreed to do the show, they were not a big deal in America and took less money than most acts received for their fee. When The Beatles played The Ed Sullivan Show for the first time, it got the largest audience ever for a TV show. Sullivan began having regular musical guests from the world of popular music, and it became a showcase for groups like The Rolling Stones, The Supremes, Santana and Creedence Clearwater Revival.

Paul McCartney and John Lennon were inspired to write this after a concert at the Majestic Ballroom in Newcastle when they were part of a tour with Roy Orbison and Gerry & the Pacemakers. Says McCartney, “There was a Bobby Rydell song out at the time ‘Forget Him’ and, as often happens, you think of one song when you write another. We were in a van up in Newcastle-Upon-Tyne. I’d planned an answering song where a couple of us would sing ‘She loves you’ and the other ones would answer ‘Yeah Yeah.’ We decided that was a crummy idea but at least we then had the idea of a song called She Loves You. So we sat in the hotel bedroom for a few hours and wrote it; John and I, sitting on twin beds with guitars.” 

In the UK, this hit #1 twice in 1963, first on September 4 and again on November 20.

Regarding the falsetto exaltation that occurs at the song’s manic peak, McCartney once explained: “The ‘wooooo’ was taken from the Isley Brothers’ ‘Twist and Shout.’ We stuck it in everything.”

These wordless vocalizations of joy were a Beatles hallmark; they most obvious example is the extended fadeout in “Hey Jude.”

The Beatles played part of this at the end of “All You Need Is Love,” which they recorded four years later.

This song was played at the conclusion of the concert sequence at the end of the film A Hard Day’s Night, although it wasn’t included on the soundtrack album. 

Norman Smith, who was The Beatles engineer, told the story in his autobiography John Called me Normal about feeling his heart sink when he spotted the lyrics on the music stand. As he later relayed to Mark Lewinsohn: “She loves you, yeah yeah yeah, She loves you, yeah yeah yeah, she loves you yeah yeah yeah yeah… I thought, My God, what a lyric! This is going to be the one I do not like.”

Smith had a hit in 1972 with “Oh Babe What Would You Say” as Hurricane Smith. He also produced the first three Pink Floyd albums.

There is a very clear edit in this song between the lines “I think it’s only fair/Pride can hurt you too.” It appears that two version had been edited together. 

In August 2009 the Official Chart Company compiled a list of the Beatles biggest selling hits in the UK, including re-issues. They revealed that this song was the Fab Four’s best seller in their native country, followed by “I Want To Hold Your Hand” and “Can’t Buy Me Love.”

The Melissa Manchester hit You Should Hear How She Talks About You was written as a contemporary take on this song, with the singer telling a friend that a guy is really into her.

She Loves You

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah, yeah

You think you’ve lost your love
Well, I saw her yesterday-ay
It’s you she’s thinking of
And she told me what to say-ay

She says she loves you
And you know that can’t be bad
Yes, she loves you
And you know you should be glad

She said you hurt her so
She almost lost her mind
But now she says she knows
You’re not the hurtin’ kind

She says she loves you
And you know that can’t be bad
Yes, she loves you
And you know you should be glad, ooh

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
With a love like that
You know you should be glad

You know it’s up to you
I think it’s only fair
Pride can hurt you, too
Apologize to her

Because she loves you
And you know that can’t be bad
Yes, she loves you
And you know you should be glad, ooh

She loves you, yeah, yeah, yeah
She loves you, yeah, yeah, yeah
With a love like that
You know you should be glad
With a love like that
You know you should be glad
With a love like that
You know you should be glad
Yeah, yeah, yeah
Yeah, yeah, yeah, yeah

Quick Martha Update Part 3

I had some requests to show an update on Martha. I was going to post an update on her on October 4th 2020…exactly a year after we got her but with my work right now I had to hold that off. Her birthday is August 18, 2019 so now she is one year and five months old.

She has settled down now a little bit. This is our third Saint and we never had one with this much energy but now she has matured a little.

We had one scare with her. This goes out as a warning to anyone who is taking their pet to get a rabies shot. We never had trouble with it at all with our other dogs… but around 12 hours after the shot…she started to get really sick. For three days she could not hold anything down and would not eat… and the vet kept telling us to give her Benadryl. She was allergic to the rabies shot. After the third day my son came home with a hamburger and she ate it. When she did that she started to get better and was soon back to normal.

So after your pet gets a rabies shot…keep a close eye on them.

Anyway she has free range in our house. After she was house broken AND we could trust her not to eat our couch… she no longer has to stay in her kennel.

She still has a lot of energy but nothing like she did a few months ago.

I’ll give you a few pictures for updates starting with the first ones.

Martha at 2 months old…Oct 4, 2019

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Martha at 3 Months old

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Martha at 4 Months old…she still has the penguin and plays with it.

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Martha at 7 months and 8 days in our driveway…March 26, 2020

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Martha now…I brought her along to work with me…since I’m the only one left in IT at this moment and I have it all to myself…I had her setup…we were a little messy that day. 

After coming home from work…logging in trying to get a few more things done at work…Martha has other ideas

The song that she is named after! “Martha My Dear”

Beatles – Get Back

John Lennon was primarily a rhythm guitar player but George Harrison briefly left the Beatles during the recording of Let It Be.  John took the lead guitar part on this song and made a memorable solo. John was a very aggressive guitar player and on this one he was on the mark.

McCartney got the idea for the title “Get Back” from the line “Get back to where you should be” from a song George Harrison wrote called “Sour Milk Sea,” which was eventually recorded by Jackie Lomax. McCartney changed the line to, “Get back to where you once belonged”.

Early versions include the line “I dig no Pakistanis.” The song began as a commentary about immigration, telling people to “get back” to their own countries. It was meant to mock Britain’s anti-immigrant proponents. Paul McCartney, who wrote the song and sang lead, thought better of it and made the lyrics more palatable.

At the end of this album version, we hear cheering, followed by McCartney saying, “Thanks Mo” in response to Ringo’s wife, Maureen, who was clapping. Lennon then says, “I’d like to say thank you on behalf of the group and ourselves, and I hope we’ve passed the audition.” This part came from the live rooftop performance.

This song went number 1  everywhere. #1 in the  Billboard 100, Canada, UK, New Zealand, The UK, Australia, Austria, Belgium, Ireland…and so on. The B side was Don’t Let Me Down…which personally I like more.

From Songfacts

“Get Back” was going to be the title of the album and the documentary film about making it. The Beatles stopped touring in 1966 and were worn thin by 1968, but they rekindled their passion for performance after shooting the “Hey Jude” promotional film in September that year before a live audience. Energized by the effort, they agreed to the documentary; the concept was The Beatles “getting back” to their roots and playing new songs for a live audience without any studio tricks.

The song “Get Back” came closest to capturing that spirit. Produced by George Martin, it was released as the follow-up single to “Hey Jude” in April 1969 (a month later in America) and was another blockbuster for the group, going to #1 in most territories.

The album became something completely different from the live set they planned. Glyn Johns, who engineered the sessions, was asked to put it together from what were really rehearsal tapes. After he assembled the album, it sat around while the Let It Be documentary was being edited from the film footage of The Beatles rehearsing in the studio and playing on the rooftop. During this time, The Beatles made the Abbey Road album, released it, and broke up.

Phil Spector, who had worked on John Lennon’s solo song “Instant Karma” (which George Harrison played on), was brought in to produce the Get Back album, which was re-titled Let It Be. Spector took the tapes and added orchestrations using his “Wall Of Sound” technique, and the album that was supposed to be the raw sound of The Beatles returning to their roots was released as a highly produced swan song on May 8, 1970, after they had broken up.

The Beatles famously performed this song from the rooftop of Apple Records on January 30, 1969, footage of which serves as the climax to their Let It Be documentary film. Knowing it would get shut down pretty quickly, the group kept mum about the performance, which was designed to promote the single and provide an ending for their film. They got in three takes of “Get Back” before police pulled the plug. The plan worked: Not only did they get their film ending, but the audio (including their banter) was used on various edits of “Get Back” to give it a live feel and add some character.

In their early days, The Beatles were musical warriors, playing in clubs for hours most nights. The “Get Back” single harkened to those days and was advertised as “The Beatles as nature intended.”

The single version runs 3:11 and contains a false ending at 2:34, after which McCartney comes back with a spoken verse:

“Get back Loretta, your mummy’s waiting for you, wearing her high-heeled shoes and her low-neck sweater, get back home, Loretta.”

The album version is a little shorter (3:09) and omits this section. It begins with a behind-the-scenes bit from the band tuning up during a session for the song on January 27, 1969. We hear John Lennon poke fun at the first line (“Jojo was a man who thought he was a loner, but he knew it couldn’t last”) by saying:

“Sweet Loretta fat she thought she was a cleaner, but she was a frying pan.”

Preston was a salve and a spark for the group. On January 10, 1969, George Harrison quit and almost left for good. He came back to work on January 21, but the tension lingered. Preston showed up the next day and galvanized the group; he played on “Get Back” and “Don’t Let Me Down,” and participated in sessions for several other tracks.

The Beatles met Preston in 1962 when they were both playing in Germany, but they hadn’t seen each other since. It was Harrison’s idea to bring him in; after George left the Let It Be sessions, he saw Preston in concert with Ray Charles and arranged for him to join The Beatles. Having him in the studio eased the tension and made it easier for the group to put personal conflicts aside and record the album.

The press release to promote the single contains this quote from McCartney: “We were sitting in the studio and we made it up out of thin air… we started to write words there and then… when we finished it, we recorded it at Apple Studios and made it into a song to roller coast by.”

Lennon claimed this was basically a rewrite of their 1968 song “Lady Madonna.”

Beatles fans found lots of hidden meaning in their lyrics, and sometimes the band did too. In his 1980 Playboy interview, John Lennon claimed that Paul looked at Yoko in the studio when he sang the line “get back to where you once belong.” John was sure he was disrespecting her.

There was speculation that the character “JoJo” was based on Joseph Melville See Jr., Linda McCartney’s first husband, who was from Tucson, Arizona. McCartney denied this, explaining in his 1988 autobiography Many Years From Now that he and Linda were on good terms with See, who used the first name Melville, and that “JoJo” was “an imaginary character, half-man and half-woman.”

Linda attended the University of Arizona in Tucson, and in 1979 she and Paul bought a ranch there. As for Joseph Melville See, he never remarried, and in 2000 he killed himself in Tucson.

Billy Preston’s piano solo was spontaneous. he told New Jersey’s Asbury Park Press in 2000: “I was playing a Fender Rhodes on ‘Get Back.’ They just told me, ‘Take a solo!’ I wasn’t expecting to do a solo. When we were rehearsing, I wasn’t playing a solo.”

The last version of the song The Beatles played on the Apple rooftop can be heard in the widely bootlegged “rooftop sessions,” which finds McCartney mocking the police as they shut them down. You can hear him ad-lib the lines “You been out too long, Loretta! You’ve been playing on the roofs again! That’s no good! You know your mommy doesn’t like that! Oh, she’s getting angry… she’ll have you arrested! Get back!”

An edited version of the rooftop performances was released on the Anthology 3 collection in 1996.

Some of the artists to cover this song include: The Bee Gees, The Crusaders, Dizzy Gillespie, Al Green, Elton John, The London Symphony Orchestra, The Main Ingredient, Nitty Gritty Dirt Band, Billy Preston, Kenny Rogers, The Royal Philharmonic Orchestra, The Shadows, Status Quo, Rod Stewart, Ike and Tina Turner, and Sarah Vaughan.

In 2003, Paul McCartney and Ringo Starr gave permission to Apple Records to rework the album and remove Phil Spector’s production. The result is the stripped-down version called Let It Be… Naked, which McCartney claims is what the group intended.

McCartney played this at halftime of the 2005 Super Bowl. This was the year after Janet Jackson’s breast was exposed during the halftime show, so the NFL insisted on an act that wouldn’t incite controversy or push the envelope. McCartney fit the bill.

Get Back

Jojo was a man who thought he was a loner
But he knew it wouldn’t last
Jojo left his home in Tucson, Arizona
For some California grass

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Jojo, go home

Get back, get back
Back to where you once belonged
Get back, get back
Back to where you once belonged
Get back Jo

Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she’s got it coming
But she gets it while she can

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged
Get back Loretta, go home

Get back, get back
Get back to where you once belonged
Get back, get back
Get back to where you once belonged

Get back, get back
Get back to where you once belonged
Get back, get back, get back

“The Perfect Pop Song”

I found this article about The Max Planck Institute in Germany conducting a study on the perfect pop song… the winner was Ob-La-Di, Ob-La-Da

As everyone here knows I’m a huge Beatles fan…but this one? I couldn’t disagree more with their conclusion but it is interesting on how they made the choice… I posted a couple of links.

‘Ob-La-Di, Ob-La-Da’ is the most perfect pop song ever, science proves

The Beatles ‘Ob-La-Di, Ob-La-Da’ is “the perfect pop song”, according to science