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Sunday, April 26, 2009

Fool on the Hill

The interesting Beatles facts for "Fool on the Hill" are that, although this is a McCartney composition, Paul first played the song for John at his (Paul's) house at St. John's Wood while the two were collaborating on "With a Little Help from My Friends."

The track was recorded at Abbey Road Studios on September 25, 1967, with flutes added on October 20th of that year. Lennon told interviewers over the years that he believed the song to be one of McCartney's best lyrics, as it represented a completely formed idea.

The portion of Magical Mystery Tour devoted to this song features Paul in Nice, France. McCartney has attested in Anthology and other interviews that he crossed the English Channel to shoot the footage on a lark, forgetting his passport. His small crew also didn't bring the right camera lenses, causing them to request that the lenses be sent at a price of 4000 British pounds. The footage was shot on November 1 and 2, 1967. The scenes were regarded as some of the more successful of Magical Mystery Tour, which was thoroughly panned in Britain. The film segment was used in Anthology, and McCartney still uses this portion of the film in concert when performing "The Fool on the Hill." The iconic portion of the film segment shows McCartney, wearing a dark navy-blue peacoat, standing on a hilltop against a backdrop of clouds. He is also seen hopping and skipping around various locations in and near Nice.

McCartney sings vocal and plays piano, flute, and recorder; Harrison plays lead guitar, Lennon maracas and harmonica, Starr finger cymbals. Some sources attribute an additional harmonica to Harrison.

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Wednesday, April 22, 2009

A Day in the Life

Of the many Beatles facts associated with "A Day in the Life" from Sgt. Pepper's Lonely Hearts Club Band, the most important is that the song is a mixture of a Lennon tune gleaned from articles in the newspaper and a partial song by McCartney, the latter representing the middle of the track that starts after the orchestral buildup and an alarm clock ringing. McCartney's contribution to the track, a snippet he couldn't fully develop, is about waking up and catching a bus.

In the song, Lennon wrote of a car crash in South Kensington that caused the death of Tara Browne, the twenty-one-year-old male heir to the Guinness family. Lennon also used other details he saw in the paper, such as the fact that four thousand potholes needed to be filled in Blackburn, Lancashire. The lyric "I saw a film today ... the English army had just won the war" is a reference to How I Won the War, a Richard Lester film in which Lennon appeared.

The song was recorded at Abbey Road Studios between January 19 and February 10, 1967, with overdubs added later. The original backing track featured Lennon playing an acoustic guitar and McCartney playing piano--nothing more. Lennon counts into the song by saying "Sugarplum fairy, sugarplum fairy," which can be heard on the Anthology version.

Lennon's unusual vocal quality was produced by use of a tape echo. The vocal was sent into the tape machine, where it was split into "record" and "replay," with the "replay" being fed into the machine again (as well as Lennon's headphones).

Roadie Mal Evans counted from one to twenty-four to measure each bar that would later be filled in by an orchestra building to a crescendo. Evans set the alarm clock for timing purposes and was left in because it fit the motif of McCartney's "Woke up, got out of bed ..." The orchestra was McCartney's idea, although George Martin originally believed a building crescendo was over the top.

It was George Martin's idea to have the last note of the song last as long as possible. The note was achieved by three of the Beatles hitting the note on three pianos, with sound engineers controlling the rate of fade-out. The note lasts for forty-five seconds and precedes what is known as "The Inner Groove," a few seconds of repeating gibberish heard if old stereo tone arms were left on the vinyl.

Composer Leonard Bernstein was especially impressed with this track.

Instrumental attributions for Harrison and Starr vary depending on the sources consulted. Lennon and McCartney sang lead vocals for their respective parts. Lennon played his acoustic Gibson J-160E, McCartney piano. The orchestra was a forty-one piece assembly of classical musicians. Most sources agree that Lennon, McCartney, and Starr played the last piano chord, with some sources also putting Starr on toms, drums, or both. Harrison's contribution is unclear, although some sources say he played bongos and one of the pianos at the end. Other sources also have McCartney playing bass guitar. Most sources agree that Martin scored the strings for parts of the song but that McCartney directed the orchestral crescendo.

The song is regarded by fans and musicians alike as one of the most innovative tracks ever written and performed by the band. Lennon thought it to be among his finest work.

Monday, April 13, 2009

All You Need Is Love

The Beatles facts for "All You Need Is Love" go beyond the mere recording of the song since it was performed for Our World TV on June 25, 1967, a global telecast using new satellite technology. The program was a six-hour telecast seen by 400,000,000 people in over twenty countries. Many other performers took part in the event, which was designed to unify the people of the world.

The song was recorded on June 14, 1967 at Olympia Studios, although overdubs were added at Abbey Road later. The song is a Lennon composition, although there is disagreement among George Martin and the remaining Beatles as to whether Lennon wrote the song specifically for the telecast. It was released in the UK on July 7, 1967 and in the U.S. on July 17, 1967.

The song has a very long fadeout that includes material from the Beatles (such as McCartney singing "She loves you, yeah yeah yeah") as well as scores from George Martin that include "Greensleeves," "In the Mood," and Bach.

For the tracks that were combined from the sessions at the two studios, McCartney plays upright and electric bass, Lennon harpsichord, Harrison guitar and violin, Starr drums, George Martin piano. Session musicians played trumpets, trombones, saxophones, violins, cellos, and an accordion. The chorus for the live TV performance included Jane Asher, Mick Jagger, Keith Richards, Keith Moon, Patti Harrison, Graham Nash, Marianne Faithful, and others.

Saturday, April 11, 2009

Within You Without You

This George Harrison composition from Sgt. Pepper's Lonely Hearts Club Band has many interesting Beatles facts. It was recorded on March 15, 1967 at Abbey Road Studios, with overdubs added on March 22 and April 3. Harrison wrote the melody for the song on a harmonium (not his sitar) while visiting the home of Klaus Voorman. The lyrics essentially describe what he and Voorman had been talking about that evening, and hence the first line of the song.

Harrison stated in many interviews that he didn't believe the other three band members were very interested in the track, although John Lennon said in his 1980 Playboy interview that he believed it was one George's best songs because of its clarity of purpose and a solid performance by Harrison.

A carpet was put on the floor of the studios, with flowers and incense added, to create the ambiance necessary for the Indian studio musicians. George Martin scored violins and cellos to mesh with the Indian instruments: dilruba (an Indian violin); tabla (Indian percussion); and swordmandel (similar to a zither).

Harrison said that he was especially fond of the 5/4 time of the interlude and the other distinctive cadences he borrowed from Indian music for the track.

The laughter at the end of the track was Harrison's idea because he believed the song was "too heavy" and wanted to lighten the atmosphere in order to segue into the next song. There was some disagreement on adding the laughter from the other Beatles.

Harrison sang lead vocal. Harrison and Neil Aspinall played the tamboura. Session musicians played all other instruments. No other Beatle aided in the recording of the song.

Wednesday, April 8, 2009

The Beatles Anthology

There are dozens of Beatles facts about The Beatles Anthology. This title alludes to the three-part documentary series aired by ABC in 1995 (November 19, 22, 23), which was the first time the three surviving band members told their history in their own words. The series, which also featured interviews with Neil Aspinall and George Martin, covered the history of the group from its early inception in Liverpool to the breakup of the band in 1970.

The series was accompanied by the release of three double CDs with alternate versions of Beatles tracks from studio sessions, as well as live performances and songs never included in the original Beatles catalog, although many of the alternate versions and live perfomances had circulated as bootlegs for many years. The TV series, which required five years of production time in order to secure interviews and collect film footage, was produced by Apple manager Neil Aspinall.

Finally, a book, The Beatles Anthology, was released in 2000, with photos and interviews from the original TV series as well as new material. The large hardcover volume quickly became a New York Times bestseller.

Both the TV series and the CDs debuted two new Beatles songs, "Free as a Bird" and "Real Love," on which McCartney, Harrison, and Starr overdubbed new vocals and instrumentation to augment John Lennon's voice and guitar on two Lennon demo tapes provided by Yoko Ono. It was the closest thing the Beatles could do to effect a "reunion."

The first CD, Anthology 1, was released on November 17, 1995 and fetured material from the early days of the Quarrymen to the albums Please Please Me and With the Beatles.

Anthology 2 was released on on March 17, 1996, with material from Help, Rubber Soul, Revolver, Sgt. Pepper's Lonely Hearts Club Band, and Magical Mystery Tour.

Anthology 3 was released on October 28, 1996 and contained material from The White Album, Let It Be, and Abbey Road.

The covers for all three CD cases consisted of collages of peeling Beatles posters and were designed by musician and Beatles associate Klaus Voorman, who had designed the iconic cover for Revolver.

Sunday, April 5, 2009

Beatles One

The Beatles facts for Beatles 1 are that is a compilation album featuring all number one British and American hit singles by the group and was released on November 13, 2000, the year representing the thirtieth anniversary of the band's break-up. It was released on the Apple label (with songs also registered to Parlophone and Capital). Production credits are attributed to George Martin and Phil Spector, although it was George Martin, together with Harrison, McCartney, and Starr, who compiled and produced the songs.

The twenty-seven songs were previously available on Past Masters, Volume One and Past Masters, Volume Two, as well as The Beatles 1962-1966 and The Beatles 1967-1970.

The songs were digitally remastered under the supervision of Peter Mew at Abbey Road Studios. Many fans have complained that the dynamic sound of the original analog masters was lost in the remastering. On the other hand, most fans believe that the songs sound clearer and more vibrant, with some original recording mistakes (and extraneous noises) now eliminated.

The package has become iconic, with the yellow numeral "1" set against a solid red background. The cover was designed by Rick Ward. The collection was released in CD, vinyl, and cassette formats. Beatles 1 reached Number One on charts in thirty-five countries. Apple claims that more than twenty-seven million copies have been sold to date.

Tracks include:

Love Me Do
From Me to You
She Loves You
I Want to Hold Your Hand
Can't Buy Me Love
A Hard Day's Night
I Feel Fine
Eight Days a Week
Ticket to Ride
Help!
Yesterday
Day Tripper
We Can Work It Out
Paperback Writer
Yellow Submarine
Eleanor Rigby
Penny Lane
All You Need Is Love
Hello, Goodbye
Lady Madonna
Hey Jude
Get Back
The Ballad of John and Yoko
Something
Come Together
Let It Be
The Long and Winding Road

Saturday, April 4, 2009

Penny Lane

Of all Beatles facts associated with "Penny Lane" is that George Martin thought that the song, along with "Strawberry Fields Forever," should have been included on Sgt. Pepper's Lonely Hearts Club Band because it had the same feel as the other songs at the beginning of the Beatles' studio years. "Penny Lane" was the B-Side for "Strawberry Fields Forever" and is considered to be a McCartney response to the A-Side, much as "Paperback Writer" was a response to "Day Tripper." Penny Lane is a "bus roundabout" in Liverpool that still exists today. Both songs were about places the Beatles had encountered years earlier, and at one point, before the concept for Sgt. Pepper's emerged, the group considered using these two songs on an album about their childhood.

The song is primarily a McCartney composition, with Lennon having helped with a very few lyrics. It was recorded on December 29, 1966 at Abbey Road, with overdubs added over the following three weeks. The single was released in the UK on February 17, 1967, and in the U.S. on February 13, 1967. Neither "Penny Lane" nor "Strawberry Fields Forever" were issued on Parlophone's Magical Mystery Tour, but Capital included both songs on its release of the LP in the United States.

McCartney sang lead vocal, with Lennon providing harmony. McCartney played bass and flute; Lennon played piano, Harrison conga drum, Starr drums, George Martin piano, David Mason piccolo trumpet, and Philip Jones trumpet. Martin claims that McCartney's idea to use very high trumpet notes came from listening to Bach's Brandenburg concerti. George Martin transcribed McCartney's ideas into correct music notation for Mason and Jones.

McCartney admits to sneaking two obscenities into the lyrics that only the British might notice: "fish and finger pie" and "he keeps his fire engine clean."

As with "Strawberry Fields Forever," a promotional film was made for "Penny Lane." The two promos were shown in the U.S. for the first time on American Bandstand. The teens in the audience had mixed reactions to both the films and the songs, many feeling that they couldn't relate to the altered look and songs of the group, which represented sharp deviations from the standard rock and roll that had made the Beatles famous.

Friday, April 3, 2009

Ticket to Ride

One of the most interesting Beatles facts for "Ticket to Ride" is that John Lennon, the sole composer, believed that it was the first heavy metal song. If one stretches the imagination, it's possible to listen to the heavy lead and rhythm guitars and understand what Lennon was saying. It's as if the song was more of a precursor than the actual first heavy metal song. A better case for "the first" can be made for "Helter Skelter" from the White Album.

The song was recorded on February 15, 1965 at Abbey Road Studios and featured on both Parlophone and Capital LP releases of Help. It was released as a single in in the UK on April 9, 1965 and in the U.S. on April 14, 1965. Like the single "Help," the label on the 45 rpm of "Ticket to Ride" also said, "From the United Artists screenplay Eight Arms to Hold You, which was the working title for the film.

Lennon sang lead vocal, with McCartney adding harmony. McCartney played bass and the distinctive lead guitar line. Lennon played rhythm guitar and Starr drums. Harrison played electric guitar, although sources disagree as to his studio contribution. Harrison did play lead during live performances, such as the performance of "Ticket to Ride" on The Ed Sullivan Show in 1965, a version which was played ridiculously fast and, like the other songs on their 1965 appearance on the Sullivan show, indicate performances not nearly as clean as their 1964 appearances (with the exception of McCartney's "Yesterday"). Lennon even fumbled the lyrics for both "Help" and "I Feel Fine," although he recovered quickly.

Thursday, April 2, 2009

Imagine: The Album

There are many Beatles facts for John Lennon's Imagine, but the most important is that it is his most popular solo project owing to the title track (and also because it was recorded for its potential commercial value as opposed to Lennon's more avant-garde material before and after). It was recorded from June to July of 1971 and released on the Apple label on September 9, 1971 and October 8, 1971 in the U.S. and UK respectively. Production credits are assigned to John Lennon, Phil Spector, and Yoko Ono. The album is listed as number seventy-six on Rolling Stone's 500 Greatest Albums of All Time.

Many of the basic tracks for Imagine were laid down at Lennon's home studio at Tittenhurst Park, with overdubs added at New York City's The Record Plant. Footage of several of the album's sessions was released on the documentary Gimme Some Truth.

One of the more popular tracks on the LP is "Jealous Guy," which was composed during the Beatles visit with the Maharishi in India in 1968. "Oh Yoko" has also remained one of Lennon's more popular songs, an upbeat homage to his wife. "How Do You Sleep?" is generally considered to be addressed to Paul McCartney. Its sarcastic tone was considered to be in bad taste by Ringo Starr, although George Harrison played on this track (and a few others on the album). The song "How?" is a reflection of Lennon's Primal Scream Therapy. The most popular ballad on the album is the very gentle "Oh My Love."

Session musicians for Imagine included Alan White (drums), Klaus Voorman (bass), George Harrison (electric and slide guitars and dobro), The Flux Fiddlers (strings), King Curtis (sax), Andy Davis, (acoustic guitar), Nicky Hopkins (piano), and Mike Pinder (of the Moody Blues--tambourine). Some sources also add Joey Molland, Rod Linton, Ted Turner, and Tom Evans on acoustic guitars.

Lennon provided vocals and played piano, acoustic and electric guitars, and harmonica.

Under the supervision of Yoko One, the album was remixed and remastered for a 2003 reissue.

The tracks include:

Imagine
Crippled Inside
Jealous Guy
It's So Hard
I Don't Want to Be a Soldier
Gimme Some Truth
Oh My Love
How Do You Sleep?
How?
Oh Yoko.

Saturday, March 28, 2009

McCartney: The Album

One of the primary Beatles facts for the album McCartney is that it was the first solo album released by the Beatle. Recorded from November 1969 to March 1970, it was released on April 17, 1970. The other Beatles tried to delay its release since it might potentially conflict with the impending release of the controversial Let It Be LP and film. Phil Spector was still mixing the album as late as March of 1970. McCartney not only declined to postpone the release of his album but declared on April 10, 1970 that he was leaving the band, in part because of his dissatisfaction with Spector's work on Let It Be. The group, of course, had already begun to slowly disintegrate during the White Album sessions.

A portion of the album was recorded at McCartney's home in London on a four-track tape recorder. Another portion was recorded at Abbey Road Studios under the pseudonym of Billy Martin. Some of the tracks were instrumentals (see below).

Except for some backing vocals from his wife Linda McCartney, Paul played all instruments on the album and sang all lead vocals. The instrumentation was quite varied and included electric and acoustic guitars, bass, drums, organ, Mellotron, and mini-xylophone.

While George Harrison thought the album had merit, John Lennon thought that the LP lacked distinction given McCartney's perpetual desire for perfection in the recording studio.

The tracks include:

The Lovely Linda
That Would Be Something
Valentine Day (instrumental)
Every Night
Hot as Sun/Glasses (instrumental)
Junk
Man We Was Lonely
Oo You
Momma Miss America
Teddy Boy
Junk (instrumental)
Maybe I'm Amazed
Kreen-Akrore

Wednesday, March 18, 2009

Double Fantasy

Of the many Beatles facts related to Double Fantasy, the saddest is that is was John Lennon's last release (not counting anthologies, compilations, archival material, and performances released posthumously since Lennon was assassinated on December 8, 1980, shortly after the double album's release). It was recorded at The Hit Factory for the Geffen label from August 4, 1980 to late September of that same year. Produced by John Lennon, Yoko Ono, and Jack Douglas, it was released on November 17, 1980.

The album marked Lennon's new burst of creativity, one that followed a five-year period, beginning in 1975, during which he suspended his recording career (except for occasional demos done at his apartment in the Dakota) in order to take care of his son Sean. His new creative energies had been kindled after sailing to Bermuda on the schooner Megan Jayne. When the schooner ran into heavy squalls and the crew became ill, Lennon lashed himself to the chrome railing and began to sing old Liverpool sea chanteys. It was as if he were exorcising himself of personal demons that had plagued him for years. Upon arriving in Bermuda, he began to compose again, calling Yoko on the phone to play early drafts of the songs. Indeed, so prolific was his output at this time that he would accumulate enough songs for more than just Double Fantasy. Another album, Milk and Honey, was already in the planning stage when Lennon was killed. In the months before he was shot, Lennon even called Julian in England to ask his older son's opinion of some tracks, and the greatest tragedy perhaps is that Lennon's road to reconciliation with Julian was cut short at this time of their lives.

The album was re-released in 2000. Singles issued from "Double Fantasy" (both releases) included "Watching the Wheels," "Woman," "Walking on Thin Ice," and "Just Like Starting Over." Double Fantasy won the Grammy Award for 1981 Album of the Year.

Lennon believed the personal demos of some of the tracks were exceptionally good because they conveyed immediacy and emotion, and he reworked some of the demos at the Dakota as well as the recording studio. The concept of the album was that the songs were John and Yoko singing to each other, an idea that appealed to the Lennons inasmuch as they were releasing to the public an intimate side of themselves. (Seven of the album's tracks are Ono's.) The LP's cover, showing a black and white photo of John and Yoko kissing, has become iconic in the world of music and beyond.

The tracks include:

(Just Like) Starting Over
Kiss Kiss Kiss *
Cleanup Time
Give Me Something *
I'm Losing You
I'm Moving On *
Beautiful Boy
Watching the Wheels
Yes I'm Your Angel *
Woman
Beautiful Boys *
Dear Yoko
Every Man Has a Woman Who Loves Him *
Hard Times Are Over *

(Songs with asterisks represent Yoko Ono's contributions.)

The 2000 re-release included the following extra tracks:

Help Me to Help Myself
Walking on Thin Ice *
Central Park Stroll (brief conversation)

Thursday, March 12, 2009

I Want to Hold Your Hand

There are many Beatles facts associated with "I Want to Hold Your Hand," but the most pertinent is that before the issue of this song in the United States, Capitol Records had declined to release the Beatles' successful UK singles in America, songs such as "Please Please Me," "From Me to You," "Love Me Do," and "She Loves You." Producer George Martin believed that the latter song had been good enough to crack the American charts.

In preparation for the Beatles' first tour of America and their debut on The Ed Sullivan Show, Brian Epstein reassured Capitol that "I Want to Hold Your Hand" was a record that would sell well in America.

The song was released as a single in the UK on November 29, 1963. It was released in the U.S. on January 13, 1964 and was the song most responsible, in tandem with the Sullivan appearance, for the beginning of Beatlemania in America.

This early composition was an equal collaboration between Lennon and McCartney, and part of the song was written in Jane Asher's basement. It was then recorded on October 17, 1963 at Abbey Road Studios, this session representing the first time that the Beatles used four-track recording equipment.

The song was performed live by the band in 1963 and 1964, and was performed on The Ed Sullivan Show in 1964, as well as at the Washington Coliseum and Carnegie Hall on the first American tour in February of 1964. "Komm, Gib Mir Deine Hand," a German version of the song (i.e., the song was recorded in German) appeared as a single in 1964 and was later issued on the LPs Something New, Rarities, and Past Masters, Volume 1.

Lennon and McCartney share lead vocals. Lennon plays rhythm guitar, Harrison lead, McCartney bass, and Starr drums.

Inside John Lennon: Free Online Film

A great Beatles fact for those who have not seen the 2003 Inside John Lennon is that it is now available for free online viewing (if you are willing to sit through a sixty second commercial every now and then).

There have been numerous documentaries about John Lennon, many of them hopelessly redundant except to the hardcore Beatles or Lennon fan. Inside John Lennon , however, is an exception. While the film does indeed cover the familiar phases of his life, from his birth in Liverpool to rise to fame with the Beatles to his solo career and days as peace activist with Yoko Ono, the film is compact and approaches Lennon's life with clarity through great interviews and lesser-used film footage.

Both Paul McCartney and George Martin have relevant and informative comments on their former colleague, and there are many interviews with former members of The Quarrymen, who relate what it was like to play music with Lennon during the skiffle craze in Liverpool. There are also comments from the Beatles' first manager, Allan Williams, and John's half-sister, Julia Baird. This is definitely a film worth watching.

Inside John Lennon may be purchased from Amazon or may be viewed online for free at Inside John Lennon

Sunday, March 1, 2009

Sgt. Pepper's Lonely Hearts Club Band: The Album

There are more Beatles facts associated with Sgt. Pepper's Lonely Hearts Club Band than with any other of the group's albums. It was released in the UK on June 1, 1967 and in the U.S. one day later. Recorded from December 6, 1966 to April 3, 1967, it remained on the Billboard Top 100 chart for more than eighty weeks. The album broke with tradition radically inasmuch as the Beatles, now a studio band tired of touring, decided to add far greater instrumentation, imagination, and texture to their tracks.

The concept for the album came from McCartney, who had been thinking of small carnival bands with odd names such as Dr. Hook's Medicine Show (a real band) or Captain Tim's Traveling Circus Band. In McCartney's mind, the Beatles would take the persona of such a band for the entire LP. Even though many songs segue from one to the other, and despite the reprise of the song "Sgt. Pepper's Lonely Hearts Club Band," Lennon said repeatedly that he didn't see any real concept in the album at all and that any given song could stand on its own, the exception being the connection between the opening track and "With a Little Help from My Friends."

The other derivation for the album came from the Beach Boys' Pet Sounds, which had impressed McCartney with its innovative use of instruments and distinctive harmonies. "Good Vibrations" is a perfect example of how the Beach Boys were stretching a standard pop number to new limits. (It should be noted that the Beach Boys had made their album because they were so impressed with the innovative Revolver and its own departure into experimentation.) When Sgt. Pepper was finally released, it changed the very foundation of rock and roll at the time and was praised by fans as well as artists far outside the mainstream of pop music as being one of the most creative albums in decades.

The album took an estimated seven hundred hours to record. The songs were methodically thought out before the backing tracks were laid down. After that, many rehearsals were used to do the overdubs since the recording equipment didn't have as many channels available as modern recording equipment. An overdub might include a tambourine, guitar, and piano on a single channel, and if a mistake was made on one instrument, all instruments on the overdub had to be redone as well.

The Beatles were well into their psychedelic period by this time, and Mal Evans and Neil Aspinall would have joints rolled and ready for the Beatles, who smoked them in the bathrooms at Abbey Road. Producer George Martin knew they were smoking marijuana but said nothing. Lennon was also using LSD at the time, and various biographies have reported the same account of Lennon freaking out in the studio while tripping and then running to the roof of Abbey Road, where McCartney followed in order to make sure Lennon was safe.

Lennon told Derek Taylor that the Pepper sessions were some of the most enjoyable he'd had with the Beatles. McCartney felt that his bass playing was more versatile and lyrical. Harrison, although he felt as though there wasn't much interest by his band mates for "Within You Without You," produced a phenomenal track thanks to many Indian session musicians and a violin section scored by George Martin, As for Ringo's drumming, many record producers feel that Sgt. Pepper goes far beyond ordinary drum fills, making the album that much more distinctive.

Feeling free to experiment with all phases of the album, the cover and package were equally distinctive. The Beatles, wearing colorful band costumes, are seen on the front cover standing in a garden surrounded by dozens of well known figures such as Mae West, Johnny Weissmuller, Aldous Huxley, Laurel and Hardy, Fred Astaire, Bob Dylan, Edgar Allan Poe, Marilyn Monroe, Marlon Brando, H. G. Wells and a host of others. The LP's song lyrics were printed legibly on the back cover, and the inside of the fold-out design included cardboard cut-outs of moustaches, badges, and the Beatles as Sgt. Pepper's Lonely Hearts Club Band.

George Martin has said many times over the years that "Strawberry Fields Forever" and "Penny Lane" should have been included on the album since they mesh so well with the album's overall sound and represent what the Beatles were doing during this time period. As in other previous instances, however, singles were not included on Parlophone LPs.

The final track on the album was originally missed by most fans and is now on the CD despite the fact that its title stems from vinyl copies of the LP. If one let the stereo's tone arm continue tracing the grooves long enough, a thirty second sound loop of gibberish was heard.

The tracks included:

Sgt. Pepper's Lonely Hearts Club Band
With a Little Help From My Friends
Lucy in the Sky with Diamonds
Getting Better
Fixing a Hole
She's Leaving Home
Being for the Benefit of Mr. Kite
Within You Without You
When I'm Sixty-four
Lovely Rita
Good Morning, Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)
A Day in the Life
The Inner Groove

Friday, February 27, 2009

Give Peace a Chance

"Give Peace a Chance" is associated with many interesting Beatles facts, a perfect example being that the song was the first solo single to be released while the Beatles were still together. It was a Lennon composition credited to the songwriting team of Lennon-McCartney. (The McCartney credit was later removed with the issue of Lennon's posthumous Live in New York City, an LP recorded with the his Elephant's Memory Band.)

Released on July 4 and 7, 1969 in the UK and U.S. respectively, the song was recorded on June 1, 1969 on a four-speed tape recorder at the Lennons' bed-in at the Queen Elizabeth Hotel in Montreal Canada, the first bed-in having been held in Amsterdam. The song was rehearsed for several days in the hotel room, and the subsequent recording session was attended by Tommy Smothers, Petula Clark, Timothy Leary, Dick Gregory, Allen Ginsberg, Murray the K, Al Capp, Derek Taylor, and others. Lennon could not always recall the exact lyrics to the last verse and switched them frequently when performing the song.

"Give Peace a Chance" was the A Side of the single, with "Remember Love" as the B Side. The song was also issued on The John Lennon Collection, Shaved Fish, Lennon, and the soundtrack for The U.S. vs. John Lennon.

Like "Imagine," the song quickly became an anthem for peace and was used for many charitable and political events, including the demonstration in Washington, D.C. on Vietnam Memorial Day on October 16, 1969. The song was performed by a host of celebrities on that occasion, including Pete Seeger and Peter, Paul, and Mary. It has also been included in the soundtracks for countless films.

The song has been covered by hundreds of artists. Some include: Paul McCartney (live), Ringo Starr (live), John Frusciante, Lenny Kravitz, Sean Ono Lennon, Bonnie Raitt, Steven Van Zandt, Tom Petty, Cindi Lauper, Bruce Hornsby, Peter Gabriel, MC Hammer, LL Cool J, and Michael McDonald. Lennon friend Elton John used the song as the B Side to his single "The Club at the End of the Street."

Tuesday, February 24, 2009

All Things Must Pass: The Album

Because George Harrison's All Things Must Pass was issued as a triple album, it is associated with dozens of fascinating Beatles facts. Recorded at Abbey Road Studios from May to September, 1970, the LP was released on November 27, 1970 on Apple-EMI. It was produced by Harrison and Phil Spector.

Harrison had written many of the songs, such as "Isn't It a Pity," as early as 1966. Other songs, such as "All Things Must Pass" and "Hear Me Lord" were written slightly later and played during the Let It Be sessions. An elegant acoustic version of "All Things Must Pass" is featured on Anthology. Other songs were written while visiting Bob Dylan and The Band at Woodstock circa 1968. In fact, Harrison and Dylan co-wrote "I'd Have You Anytime." "Behind That Locked Door" was written for Dylan, who had left the stage at the Isle of Wight concert feeling disheartened after performing songs from Nashville Skyline and John Wesley Harding, songs that were understated compared to Dylan's more energetic electric/acoustic period--songs that did not receive the kind of enthusiastic response Dylan was anticipating. "Wah Wah" is allegedly a song aimed at McCartney, who had become overbearing during Beatles' sessions from the White Album on. Harrison, it is said, didn't want all of Paul's criticism, advice, and "wah wah." "The Ballad of Frankie Crisp" is an allusion to the nineteenth-century builder of the mansion at Harrison's estate at Friar Park, Sir Frank Crisp. Harrison learned "If Not For You" while attending a Dylan session for Dylan's New Morning LP. "Apple Scruffs" referred to Beatles fans that would wait outside of Abbey Road Studios or Apple headquarters at Saville Row to see the group. "It's Johnny's Birthday" was a gift for John Lennon.

Harrison played approximately fifteen songs for Spector on his acoustic guitar at the album's inception in May, 1970, these songs representing Harrison's growing backlog of songs accumulated before the Beatles' break-up since Harrison was only allotted one to three songs per album by the group. Some songs did not make Spector's cut and have never been issued: "Cosmic Empire," "Tell Me What Happened to You," "Mother Divine," Nowhere to Go," and "Window, Window." Other songs not included on the LP would find release on other Harrison albums and/or projects.

The third vinyl record (titled "Apple Jam") in the All Things Must Pass package consisted of long jam sessions with musician friends. Featured on the album are musicians such as Ringo Starr, Badfinger, Alan White, Billy Preston, Phil Collins, Eric Clapton, Dave Mason, Klaus Voorman, Peter Frampton, and John Lennon.

The other Beatles were reportedly astonished at the success of Harrison's album, which reached the number one spot in both the UK and U.S. for eight and seven weeks respectively. The break-out single on the album was the immensely popular "My Sweet Lord" that would eventually embroil Harrison in a controversy over ownership of the song since the Chiffon's music company claimed it borrowed the melody from their hit, "He's So Fine."

In 2001, a remastered All Things Must Pass was issued, including recently re-recorded parts of "My Sweet Lord." Harrison had worked on the re-mastering of the triple LP in 2000 but died shortly after its release. The cover was changed from the original box set, which featured Harrison sitting on the grounds of Friar Park surrounded by short statues of gnomes. The work is now available on a two-CD mini-box set.

Covers of various tracks from "All Things Must Pass" were done by Eric Clapton, Billy Preston, Tom Petty, Joe Cocker, Nina Simone, and the Rutles.

The tracks included:

I'd Have You Anytime
My Sweet Lord
Wah Wah
Isn't It a Pity (version 1)
What Is Life
If Not For You
Behind that Locked Door
Let It Down
Run of the Mill
Beware of Darkness
Apple Scruffs
Ballad of Sir Frankie Crisp (Let It Roll)
Awaiting on You All
All Things Must Pass
I Dig Love
Art of Dying
Isn't It a Pity (version 2)
Hear Me Lord
Out of the Blue
It's Johnny's Birthday
Plug Me In
I Remember Jeep
Thanks for the Pepperoni

Sunday, February 22, 2009

Instant Karma

This single by the Beatles' John Lennon has an interesting history with several relevant facts about Lennon's solo recording career. The song was recorded on January 27, 1970 and released on February 6, 1970, only ten days after the track was laid down. "Instant Karma" was, almost literally, an instant record. Recorded at Abbey Road Studios, it was produced by Phil Spector and issued under the Apple label, with "Who Has Seen the Wind" on the B Side. The A Side had the words "Play Loud" stamped near the spindle hole, while Side B had "Play Soft" stamped in the same place.

Some biographers believe Lennon used Spector as the producer for this track in order to gauge how he worked since the band was considering giving the Let It Be tapes to Spector to remix. Ultimately, Spector's work would not pass muster with the Beatles, especially McCartney, and the band's final response came with the issue of Let It Be Naked over twenty-five years later, with a different mix of the album.

Recorded the very same day it was written, "Instant Karma" featured an impressive group of musicians backing Lennon. Klaus Voorman played bass, Billy Preston piano, Alan White drums, and George Harrison lead guitar. (Harrison was naturally interested in promoting the idea of karma.) Harrison and Yoko Ono provided backing vocals, and former Beatles roadie Mal Evans provided handclaps. Lennon sang lead vocal and played the electric piano, the latter instrument giving the track its now-famous and distinctive opening two chords.

"Instant Karma" is one of Rolling Stone magazine's Top 500 Records of all time. Covers for the song were done by many artists, including Duran Duran, U2, John Hiatt, and The Rascals. The title of Stephen King's The Shining derives from the song's lyric "We all shine on." The song has been featured in many movies, and it also prompted a sketch on the cult TV show Mystery Science Theater 3000.

Thursday, February 19, 2009

The White Album

The White Album has about as many Beatles facts as any other album by the group. The double LP was recorded from May 30, 1968 to October 14, 1968, and the Beatles themselves admit it was "the beginning of the end" as band members more and more recorded their tracks (or parts of others' tracks) separately or in different studios at Abbey Road. (A few tracks were recorded at Trident Studios.) It was this time, in fact, that Ringo temporarily left the group. Also, Yoko began attending the sessions, and the album marks the first time other artists recorded with the Beatles, artists such as Eric Clapton ("While My Guitar Gently Weeps"), Jackie Lomax, and Dave Mason. It was released in the UK on November 22, 1968 and in the U.S. on November 25, 1968. Until 1977, it was the best-selling double LP of all time.

George Martin believed that the group should have recorded a solid single album, but the Beatles had written many songs while in India and had a backlog that they were determined to put out in this double-package format. Even then, many songs did not make it onto the final product, such as Harrison's "Not Guilty," Lennon's "What's the New Mary Jane," and several others. (The two mentioned above are included on Anthology.

Harrison, Lennon, and Starr felt at this point that they were becoming a back-up band for McCartney (although Starr quit because he felt he wasn't drumming well). McCartney was paying extraordinary attention to his own material at the expense of working on the others' material, although there are some notable exceptions. Starr noted in Anthology, for example, that the feuding went out the window when the group was working on a solid track, such as "Yer Blues."

Many present at the sessions, such as former Quarryman Pete Shotton, felt that Yoko's presence stifled communication among the band members, who no longer felt as if the sessions were intimate enough to offer constructive criticism. At one point, Ono moved her bed into the studio because she was ill, and biographers have stated that she went as far as offering criticisms for various tracks, a gesture that didn't sit well with Harrison, McCartney, or Starr.

There are even great facts surrounding the actual white packaging. The official title of the LP was The Beatles, which was embossed on the cover together with serial numbers to make each copy completely distinctive. (The numbering was allegedly McCartney's idea.) Inside the album was a large fold-out sheet with a collage of pictures of the Beatles on one side and the lyrics to all album songs on the other. The package also contained decent-sized, individual color pictures of each band member. The design for the collage was done by Jeremy Banks.

The working title for the album was A Doll's House. After "Cry Baby Cry," part of a McCartney song is heard with the lyric "Can you take me back where I feel good, brother can you take me back." This track is not listed on the album even though "Wild Honey Pie," another snippet, is included.

Lennon liked his work on the White Album very much. Harrison liked the LP as well, although like George Martin, he felt that there was too much material for the listener to deal with. Starr thought it was a better exercise in pure rock and roll, unlike the very experimental Sgt. Pepper. McCartney has always defended the album simply on the basis that it was a Beatles' album and sold well, although he has also added that it has merit because it shows the band in an atmosphere where it was free to experiment.

The White Album also fed the "Paul Is Dead" mania because there are bits and pieces of sentences from "Revolution 9" which, when played backwards, seem to reveal Lennon saying "Turn me on dead man" or other fragments alluding to Paul's demise. As far as this track in general, McCartney, Starr, and Harrison did not like it at all and fought unsuccessfully to keep it from being included.

The tracks included:

Back in the U.S.S.R.
Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
Wild HOney Pie
The Continuing Story of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is a Warm Gun
Martha My Dear
I'm So Tired
Blackbird
Piggies
Rocky Raccoon
Don't Pass Me By
Why Don't We Do It in the Road
I Will
Julia
Birthday
Yer Blues
Mother Nature's Son
Everybody's Got Something to Hide Except for Me and My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Revolution I
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night

Wednesday, February 18, 2009

My Sweet Lord

George Harrison, the quiet member of Beatles, released "My Sweet Lord" as a single in the U.S. on November 23, 1970 and in the UK on January 14, 1971. Many facts are associated with the song, starting with the above release dates. Harrison had decided not to release the song as a single so as not to hurt sales for album on which it was featured, All Things Must Pass. When Harrison, EMI, and Apple relented, the song hit the number one position on charts in America and Britain and was therefore the first song by any of the former Beatles to top the charts. In England, the B Side was "What Is Life," while in America, the B Side was "Isn't It a Pity." "My Sweet Lord" was produced by George Harrison and Phil Spector.

The song was originally written for Billy Preston's LP Encouraging Words, although Harrison's version became the mega-hit. Preston's version was produced by Harrison and featured Alan White (from Yes) on drums.

Harrison played the song on a Gibson Hummingbird, which helps produce the rich, dominant tones that open the song. Early in the song, and continuing throughout, are various chants and mantras, such as the Hindu "Hare Krishna/Hare Rama." A chorus is also heard singing "Hallelujah." Harrison would often change the chant in concert so as not to single out any denomination, at times using the word "Christ" in a respectful manner. He performed the song during The Concert for Bangladesh. As he opened the song with the famous minor-to-major chord strumming, the crowd erupted, and a brief smile crossed Harrison's face.

The song was covered by many other artists: Andy Williams, Peggy Lee, John Mayer, to name just a few.

Although Harrison claimed that the song's inspiration came from "Oh Happy Day" by the Edwin Hawkins Singers, George's music publishing company, Harrisongs, was sued because of the similarities between the Chiffon's "He's So Fine" and "My Sweet Lord." A United States Federal Court ruled in the favor of Bright Tunes Music, which governed rights to the Chiffon's song, and Harrisongs was ordered to pay a sizable portion of the royalties form "My Sweet Lord" and partial royalties from All Things Must Pass. Harrison later wrote a satire on the protracted legal battle called "Sue Me, Sue You Blues." His "This Song" also alludes to the lawsuit. The Chiffons later recorded "My Sweet Lord" as well.

The song's legacy is safe, however. Harrison later bought the rights to "He's So Fine," and he recorded a different version of "My Sweet Lord" for the 2000 re-issue of All Things Must Pass. The song is also listed as one of Rolling Stone's best 500 songs, and the song was performed by Dhani Harrison and others at The Concert for George in 2002 at London's Royal Albert Hall.