Recent Event Highlights: The Beatles PENNY LANE(OVERDUB) & PENNY LANE(STEREO) VERY RARE, The Beatles Carnival of Light excerpt from Reel to Reel, The Beatles - This Boy 1963, this boy- the beatles, George Harrison, Ringo Starr, Billy Joel, Mick Jagger, Bruce Springsteen & Bob Dylan - I Saw Her Standing There, The Beatles - Yellow Submarine Part 12 of 12, and 33 more...
Created by dipity on Dec 15, 2008
Last updated: 02/04/09 at 06:28 PM
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The Beatles PENNY LANE(OVERDUB) & PENNY LANE(STEREO)Very Rare. This is a treat for for those that love the song Penny Lane by The Beatles.Here are 2 different versions one which is very rare.The First one is PENNY LANE(OVERDUB) and the second version is PENNY LANE(STERE0).Hope you all enjoy both versions. Penny Lane" is a song by The Beatles, written by Paul McCartney, recorded during the Sgt. Pepper sessions, and released in February 1967 (see 1967 in music) as one side of a double A-sided single, along with John Lennon's "Strawberry Fields Forever". Beatles producer George Martin has stated he believes the pairing of these songs resulted in probably the greatest single ever released by the group. Both songs were later released on the US Magical Mystery Tour album in November 1967. In the UK, the pairing famously failed to reach #1 in the singles charts, stalling one place below Engelbert Humperdinck's "Please Release Me".[1] In the US The song reached #1 on the Billboard Hot 100 for a week before being knocked off by The Turtles song "Happy Together". The song features contrasting verse-chorus form and was credited "Lennon-McCartney", although McCartney was the main contributor to the song. [2] The song's title is derived from the name of a street in the band's hometown, Liverpool. The area that surrounds its junction with Smithdown Road is also commonly called Penny Lane. Locally the term "Penny Lane" was the name given to Allerton Road and Smithdown Road and its busy shopping area. Penny Lane is named after James Penny, an 18th century slave trader. McCartney and Lennon grew up in the area and they would meet at Penny Lane junction to catch a bus into the centre of the city. The street is an important landmark, sought out by most Beatles fans touring Liverpool. In the past, street signs saying "Penny Lane" were constant targets of tourist theft and had to be continually replaced. Eventually, city officials gave up and simply began painting the street name on the sides of buildings. This practice was stopped in 2007 and more theft-resistant "Penny Lane" street signs have since been installed though some are still stolen. The Abbey Road sign is also frequently stolen for the same reason (see Street sign theft). Following the success of the double A-side "Yellow Submarine"/"Eleanor Rigby", Brian Epstein inquired if they had any new material available. Both songs, though recorded during the sessions for Sgt. Pepper's Lonely Hearts Club Band, were left off the album — a decision George Martin regretted [3], although the Beatles usually did not include songs released as singles on their British albums. This was also the first single by the Beatles to be sold with a picture sleeve in the UK, a practice rarely used there at that time. However, packaging singles in individually designed sleeves was standard in the US and various other countries (such as Japan). In 2004, Rolling Stone ranked the song at #449 on its list of the 500 Greatest Songs of All Time. In Penny Lane there is a barber showing photographs Of every head he's had the pleasure to have known, And all the people that come and go Stop and say hello. On the corner is a banker with a motorcar, The little children laugh at him behind his back. And the banker never wears a mac In the pouring rain, very strange. Penny Lane is in my ears and in my eyes. WET beneath the blue suburban skies I sit, and meanwhile back In Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen. He likes to keep his fire engine clean, It's a clean machine. Penny Lane is in my ears and in my eyes. FULL OF fish and finger pies In summer, meanwhile back Behind the shelter in the middle of the roundabout A pretty nurse is selling poppies from a tray And though she feels as if she's in a play She is anyway. In Penny Lane the barber shaves another customer, We see the banker sitting waiting for a trim. And then the fireman rushes in From the pouring rain, very strange. Penny Lane is in my ears and in my eyes. There beneath the blue suburban skies I sit, and meanwhile back. Penny Lane is in my ears and in my eyes. There beneath the blue suburban skies, Penny Lane.
This 1:17 excerpt of experimental music was transferred to cd in 1998 by my father who was an in-house recording engineer for over 25 years in the music industry. It came from a reel to reel tape only marked 'Beatles Sound Mix#2 CL' and this is the only music on the tape. Everything else on the reel tape is either people talking, not the Beatles, or silence. He always assumed that this was a piece of their music because of the timing in which he had been given it. My father was invited to visit Abbey Road Studios in late 1967 and was in London doing assistant engineering for a few months after that but didn't ever get to work with the Beatles. He did meet George Harrison briefly one day and said he was very friendly and interested in what his thoughts were on the comparison between British and American recording techniques. This reel to reel tape was one of the souvenirs that he brought back from his stay in London. I guess you can decide if it's actually part of what is called 'Carnival of Light' that is in the news now. You can hear talking and weird sounds on it, but I'm no expert on how to tell exactly everything that is going on in this short excerpt. I've watched the Carnival of Light videos on youtube and this one doesn't sound like any of them, but like I said, I'm not an expert on this. If anyone has information on it, please share. I hope you enjoy it.
***The Beatles on DVD*** Title: In Town Location: Dublin Airport, Collinstown Country: Ireland Date: Thursday 7 November 1963 Aired: Thursday 7 November 1963 Source: Meet The Beatles (Capitol DVD-fake) Enjoy!
"This Boy" is a song by The Beatles composed by John Lennon,and was first released in November 1963 as the B-side of the UK Parlophone single "I Want to Hold Your Hand".The Beatles performed it live on 16 February 1964 for their second Ed Sullivan Show appearance in the USA.It also appears as the third track on side one of US release,Meet the Beatles. Its composition was an attempt by John Lennon at writing a song in the style of Motown star Smokey Robinson, specifically his song "I've Been Good To You",which has similar circular doo-wop chord changes,melody and arrangement,and Paul McCartney cites The Teddy Bears 1959 hit To Know Him Is To Love Him as also being influential.Lennon,McCartney,and George Harrison join together to sing an intricate three-part close harmony in the verses and refrain (originally the middle eight was conceived as a guitar solo,but altered during the recording process)and a similar song writing technique is exercised in later Beatles songs,such as "Yes It Is" and "Because" (which, interestingly,are among the few Beatles songs which also feature three-part harmonies). An instrumental version of "This Boy", orchestrated by George Martin,is used as the incidental music during Ringo Starr's towpath scene in the film A Hard Day's Night.The piece,under the title,"Ringo's Theme (This Boy)" was released as a single - but failed to chart in the UK - on 7 August 1964 with And I Love Her on the B Side, although it did reach #53 in the American Top 100 later that year.It was also included on Martins Parlophone album Off The Beatle Track and the EP Music From A Hard Days Night by the George Martin Orchestra,released 19 February 1965. It was also included on the American A Hard Day's Night soundtrack album.
This Boy es una canción compuesta por la dupla Lennon/McCartney, grabada por primera vez por The Beatles y lanzada el 29 de noviembre de 1963, como lado B delsencillo I Want to Hold Your Hand (el cual se encuentra del lado A). Se encuentra también en el álbum Meet the Beatles! de 1964. Según George Harrison, This Boy fue el intento de John Lennon y Paul McCartney de escribir una melodía al estilo de la estrella de Motown, Smokey Robinson. La versión presentada en el sencillo fue grabada en 1963 en los estudios Abbey Road
I Saw Her Standing There es una canción compuesta por la dupla Lennon/McCartney, grabada por primera vez por The Beatles y lanzada el 22 de marzo de 1963 como canción inicial del disco debut de The Beatles Please Please Me por el sello Parlophone en Inglaterra, y como lado B del sencillo I Want to Hold Your Hand en Estados Unidos el 26 de diciembre del mismo año por el sello Capitol. Este sencillo alcanzó el primer lugar de las listas de popularidad en Estados Unidos por siete semanas comenzando el 18 de enero de 1964. Entró individualmente a la lista del top 100 de Billboard el 8 de febrero de 1964, permaneciendo por 11 semanas y alcanzando el número 14. También formó parte del primer álbum en Estados Unidos (Meet the Beatles!), lanzado en enero de 1964. La versión presentada en el sencillo fue grabado en diez tomas el 11 de febrero de 1963 en los estudios Abbey Road en Londres. Fue escrita principalmente por Paul McCartney alrededor de septiembre de 1962. El texto original decía "She was just seventeen / She'd never been a beauty queen", pero a sugerencia de John Lennon fue cambiada a "She was just seventeen / You know what I mean" lo que da un sentido menos meloso a la letra, ya que pensaba que si escribían este tipo de canciones, iban a terminar mal, así que tuvieron que buscar en el diccionario, hasta encontrar "mean" que rimaba con "seventeen". La parte inicial ("one, two, three, four!") fue incluida queriendo dar la impresión de estar escuchando una presentación en vivo.
The twelth and final part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The eleventh part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The tenth part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The ninth part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The first part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The seventh part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The sixth part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The fourth part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The third part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The first part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
The first part of the full length movie of The Yellow Submarine (1967) By the Beatles. This movie typifies the drawing style and acting of the late sixties, with psychedelic colors and imaginitive shapes. Clearly, this is a timeless masterpiece, both in children's movies and in psychedelic pop culture.
Music is "I Wanna Be Your Man" from "Meet The Beatles!"/"With The Beatles". The remnants of my once great (But ever-growing) Beatles collection on vinyl. All albums not shown are still missing, but presumed broken. Contained Within: * Introducing The Beatles * Meet The Beatles! * The Beatles' Second Album * A Hard Day's Night * Something New * Help! (UK) * Help! (US) * Rubber Soul * "Yesterday"... And Today! * Paperback Writer/Rain * Revolver * Sgt. Pepper's Lonely Hearts Club Band * Magical Mystery Tour * Let It Be * Hey Jude * 1962-1966 * 1967-1970 * Rock & Roll Music * Live At The Hollywood Bowl
Another wonderful hit by the Beatles - written by John Lennon and Paul McCartney. Lady Madonna, children at your feet Wonder how you manage to make ends meet Who find the money when you pay the rent Did you think that money was heaven sent Friday night arrives without a suitcase Sunday morning creeping like a nun Monday's child has learned to tie his bootlegs See how they run Lady Madonna, baby at your breast Wonders how you manage to feed the rest Pa pa pa pa... See how they run Lady Madonna lying on the bed Listen to the music playing in your head Tuesday afternoon is never ending Wednesday morning papers didn't come Thursday night you stocking needed mending See how they run Lady Madonna, children at your feet Wonder how you manage to make ends meet
"Don't Bother Me" is the first song written by George Harrison to appear on an album by The Beatles.It originally appeared on the group's With the Beatles album in the UK, released in 1963,and on their Meet the Beatles album in the US,released in 1964.Harrison wrote the song while sick in bed at a hotel room in Bournemouth, England (where The Beatles were playing some shows during the summer of 1963).Harrison never regarded it highly,stating on one occasion,"It was a fairly crappy song.I forgot all about it completely once it was on the album".He considered it an exercise in whether he could write a song,later saying, "At least it showed me that all I needed to do was keep on writing and then maybe eventually I would write something good".Harrison receives a writing credit for two earlier songs, "In Spite of All the Danger"(Paul McCartney/Harrison) and "Cry for a Shadow"(Harrison/John Lennon).Both were recorded by The Beatles but neither was released officially by the band until 1995's Anthology 1 compilation.Because the former was largely a McCartney composition (Harrison received a credit simply for playing the guitar solo) and the latter was an instrumental pastiche of The Shadows,"Don't Bother Me" is considered Harrison's first song by most (including the author himself). The sullen mood and desolate lyrics "So go away,leave me alone,don't bother me" were unusual for The Beatles at the time but would become characteristic for Harrison.The song mostly stays in a minor key and achieves a thick sound through its double-tracked vocal,reverbed guitars, and busy drumming.The elaborate percussion lends the song a Latin rhythm accentuated by its stop-time structure. "Don't Bother Me" is one of several songs featured in A Hard's Day's Night,during a scene where The Beatles dance at a nightclub while Paul's grandfather gambles elsewhere.At the end of the film,it is noted as a Lennon/McCartney composition rather than a Harrison composition.
The Beatles Penny Lane "Penny Lane" is a song by The Beatles, written by Paul McCartney, recorded during the Sgt. Pepper sessions, and released in February 1967 (see 1967 in music) as one side of a double A-sided single, along with John Lennon's "Strawberry Fields Forever". Beatles producer George Martin has stated he believes the pairing of these songs resulted in probably the greatest single ever released by the group. Both songs were later released on the US Magical Mystery Tour album in November 1967. The song reached #1 on the Billboard Hot 100 for a week before being knocked off by The Turtles song "Happy Together". The song features contrasting verse-chorus form and was credited "Lennon-McCartney", although McCartney was the main contributor to the song. [1] The song's title is derived from the name of a street in the band's hometown, Liverpool. The area that surrounds its junction with Smithdown Road is also commonly called Penny Lane. Locally the term "Penny Lane" was the name given to Allerton Road and Smithdown Road and its busy shopping area. Penny Lane is named after James Penny, an 18th century slave trader. McCartney and Lennon grew up in the area and they would meet at Penny Lane junction to catch a bus into the centre of the city. The street is an important landmark, sought out by most Beatles fans touring Liverpool. In the past, street signs saying "Penny Lane" were constant targets of tourist theft and had to be continually replaced. Eventually, city officials gave up and simply began painting the street name on the sides of buildings. This practice has now stopped (2007) and more thief resistant "Penny Lane" street signs have been installed, however they are still stolen on a regular basis. The Abbey Road sign is also frequently stolen for the same reason; see Street sign theft for more information. Following the success of the double A-side "Yellow Submarine"/"Eleanor Rigby", Brian Epstein inquired if they had any new material available. Both songs, though recorded during the sessions for Sgt. Pepper's Lonely Hearts Club Band, were left off the album — a decision George Martin regretted [2], although the Beatles usually did not include songs released as singles on their British albums. This was also the first single by the Beatles to be sold with a picture sleeve in the UK, a practice rarely used there at that time. However, packaging singles in individually designed sleeves was standard in the US and various other countries (such as Japan). In 2004, Rolling Stone ranked the song at #449 on its list of the 500 Greatest Songs of All Time.
Here is a Beatle song I did a couple years ago. This was George Harrison's first written song from The Meet The Beatles Album in America and from With The Beatles in England and on CD. All vocals by Me and alll music is MIDI. Hope you like it.
"I Want to Hold Your Hand" is a song by the English pop and rock band The Beatles. Written by John Lennon and Paul McCartney, and recorded in October 1963, it was the first Beatles record to be made using four-track equipment. McCartney and Lennon did not have any particular inspiration for the song. Instead, they had received specific instructions from manager Brian Epstein to write a song with the American market in mind. "I Want to Hold Your Hand" was the band's first number-one hit on the Billboard Hot 100 chart, starting the British Invasion of the United States music charts. It also held the top spot in the United Kingdom charts. A million copies of the single had already been ordered on its release. "I Want to Hold Your Hand" became The Beatles' best-selling single worldwide. I Wanna to Hold Your Hand es una canción de The Beatles escrita por John Lennon y Paul McCartney. I Wanna... fue la primer canción de The Beatles en alcanzar un alto rating en Estados Unidos, en el Reino Unido permaneció primera durante cinco semanas consecutivas. Los dos sencillos en los que se publicó esta canción fueron lo más vendido de la banda en todo el mundo, llegando a sumar 15 millones de copias vendidas. También fue grabada en alemán bajo el título de "Komm, gib mir deine Hand". Forma parte del álbum Meet The Beatles! grabado en el Estudio 2 de Abbey Road el 17 de octubre de 1963.
This is the first episode of The fool on the hill were you meet Joe, Bob, and Proud Mary for the first time. This is our first Stop-Motion movie and it is a little shaky but well well...enjoy!
"Penny Lane" is a song by The Beatles, written by Paul McCartney, recorded during the Sgt. Pepper sessions, and released in February 1967 as one side of a double A-sided single, along with John Lennon's "Strawberry Fields Forever". Beatles producer George Martin has stated he believes the pairing of these songs resulted in probably the greatest single ever released by the group. Both songs were later released on the US Magical Mystery Tour album in November 1967. The song reached #1 on the Billboard Hot 100 for a week before being knocked off by The Turtles song "Happy Together". The song features contrasting verse-chorus form and was credited "Lennon-McCartney", although McCartney was the main contributor to the song. The song's title is derived from the name of a street in the band's hometown, Liverpool. The area that surrounds its junction with Smithdown Road is also commonly called Penny Lane. Locally the term "Penny Lane" was the name given to Allerton Road and Smithdown Road and its busy shopping area. Penny Lane is named after James Penny, an 18th century slave trader. McCartney and Lennon grew up in the area and they would meet at Penny Lane junction to catch a bus into the centre of the city. The street is an important landmark, sought out by most Beatles fans touring Liverpool. In the past, street signs saying "Penny Lane" were constant targets of tourist theft and had to be continually replaced. Eventually, city officials gave up and simply began painting the street name on the sides of buildings. This practice has now stopped and more thief resistant "Penny Lane" street signs have been installed, however they are still stolen on a regular basis. The Abbey Road sign is also frequently stolen for the same reason; see Street sign theft for more information. Following the success of the double A-side "Yellow Submarine"/"Eleanor Rigby", Brian Epstein inquired if they had any new material available. Both songs, though recorded during the sessions for Sgt. Pepper's Lonely Hearts Club Band, were left off the album — a decision George Martin regretted, although the Beatles usually did not include songs released as singles on their British albums. This was also the first single by the Beatles to be sold with a picture sleeve in the UK, a practice rarely used there at that time. However, packaging singles in individually designed sleeves was standard in the US and various other countries (such as Japan). In 2004, Rolling Stone ranked the song at #449 on its list of the 500 Greatest Songs of All Time.
"I Saw Her Standing There" is a song written by John Lennon and Paul McCartney and is the opening track on the The Beatles' debut album Please Please Me, released in the United Kingdom by Parlophone on 22 March 1963. In December 1963, Capitol Records released the song in the United States as the B-side on the label's first single by The Beatles, "I Want to Hold Your Hand". The single topped the U.S. charts for seven weeks starting 18 January 1964. "I Saw Her Standing There" entered the Billboard Hot 100 on 8 February 1964, remaining there for 11 weeks, peaking at number 14. In 2004, the song was ranked #139 on Rolling Stone's list of the 500 Greatest Songs of All Time. The song was a Lennon & McCartney collaboration based on McCartney's original titled "Seventeen", the song was apparently conceived by McCartney whilst driving home from a Beatles concert in Southport, Merseyside,and later completed at his Forthlin Road home in September 1962 with Lennon while the two were playing hooky from school. The song was recorded at Abbey Road Studios on 11 February 1963, as part of the marathon recording session that produced 10 of the 14 songs on Please Please Me. The Beatles were not present for the mixing session on 25 February 1963,which was not unusual at that time. On the album, the song starts with a rousing "one-two-three-FOUR!" count-in by McCartney (pronounced "one-two-three-FAH!"). Usually, these count-ins are edited off the final audio mix. However, this was left on by record producer George Martin, as it was considered especially spirited,and began the album in an upbeat vein. Music journalist, Richard Williams suggests that this dramatic introduction to their debut album was just as stirring as Elvis Presley's "Well, it's one for the money, two for the show..." on his opening track, Blue Suede Shoes, for his debut album seven years earlier and makes the statement that the Beatles were a performing band as they also opened their live set in this way. However, by listening to outtakes of the song, one can hear that the count-in is actually from take 9, while the master take is take 1. (Take 1 was not preceded by a loud count-in).George Martin initially contemplated recording the Please Please Me LP live at the Cavern in front of their own audience and visited the Liverpool club to experience the Beatles phenomenon for himself.But when time constraints intervened it was decided to book them into the Abbey Road studios instead. Outtakes of this recording reveal that Paul McCartney on occasion, altered his bass line during the chorus as he regularly did on live versions. In the UK, "I Saw Her Standing There" is the opening track on Please Please Me. In the U.S., Vee Jay Records released it as the opening track on both versions of Introducing... The Beatles, editing out the "One, two, and three" portion of the count in - thus the song starts with, "FOUR!". In addition to the "I Want to Hold Your Hand" B-side offer, Capitol released it as the second track on Meet the Beatles!, released in late January 1964. Vee-Jay had a limited portfolio of Beatle songs to offer, and re-issued their material using various names including Songs, Pictures and Stories of the Fabulous Beatles and other packages. Capitol reissued the song twice in the 70's, once on the Rock 'n' Roll Music compilation released on 11 June 1976, and as the opening track in the 14-disc Limited-limited edition boxed set, The Beatles Collection released in December 1978.
matt & ted - all my loving
I Want to Hold Your Hand es una canción de The Beatles escrita por John Lennon y Paul McCartney. I Want to hold your hand fue la primera canción de Los Beatles en alcanzar el número uno en Estados Unidos, en el Reino Unido permaneció primera durante cinco semanas consecutivas. Los dos singles en los que se publicó esta canción fueron lo más vendidos de la banda en todo el mundo, llegando a sumar 15 millones de copias vendidas. También fue grabada en alemán bajo el título de "Komm, gib mir deine Hand". Forma parte del álbum Meet The Beatles! grabado en el Estudio 2 de Abbey Road el 17 de octubre de 1963.
This is a Beatles Tribute... I love this 60's band, and I wanted to do something "for" them... These are the songs in this video: 1) In My Life; 2) All My Loving; 3) Please Please Me; 4) P.S. I love you; 5) Here Comes the Sun; 6) Yellow Submarine; 7) I'm a Loser; 8) Girl; I hope you like it! =)
(John Lennon / Paul McCartney) Late yesterday night I saw a light shine from a window And as I looked again Your face came into sight I couldn't walk on Until you'd gone from your window I had to make you mine I knew you were the one Oh I would be glad Just to have a love like that Oh I would be true And I'd spend my life with you So meet me tonight Just where the light shines from a window And as I take your hand Say that you'll be mine tonight ------ guitar solo ------ Oh I would be glad Just to have a love like that Oh I would be true And I'd spend my life with you So meet me tonight Just where the light shines from a window And as I take your hand Say that you'll be mine tonight Be mine tonight
Brian May meets George Formby, Ozzy Osbourne meets John Lennon, Paul McCartney meets Buddy Holly, Ritchie Blackmore meets Jimi Hendrix and Cliff Richard meets Elvis Presley.
New York City NYC and Kingston Jamaica meet in a powerful fusion of hope and inspiration, Performed, composed, produced and directed by Stephen Forsyth. Musicians; CP Roth, Alvin Haughton (Burning Spear) percussion, Stephen Forsyth. Background Vocals: Marcia Griffiths and Judy Mowatt of the I Threes. Engineer: Tom Lord Algae. Recording Studios: Tuff Gong Studio, Jamaica and Downtown Sound, NYC. Influences: Benjamin Britten; John Tavener; Arvo Pärt; Henryk Górecki; Philip Glass; Glenn Gould; Brian Eno; Gavin Bryars; John Cage; Frank Martin; Eric Whitacre; Leonard Bernstein; John Cale; Aaron Copland; Laurie Anderson; Luciano Berio; George Gershwin; David Mahler; Michael Nyman; Krzysztof Penderecki; Harold Budd; Arnold Schoenberg; Takashi Yoshimatsu; Frank Zappa; Zbigniew Preisner (from the films of Krzysztof Kieslowski) other: Amy Milan; Ana Egge; Andrew Cash; The Arcade Fire; Badly Drawn Boy; Barrington Pheloung; Brian Wilson; The Beat; The Beatles; Beck; Belle & Sebastian; Ben Folds; Beth Orton; Billy Bragg; Bjork; Bob Dylan; Bob Mould; Bruce Springsteen; The Cash Brothers; Cat Power; Clem Snide; Counting Crows; The Cranberries; Cranes; Crosby, Stills, Nash & Young; Curve; Damien Rice; Daniel Lanois; Dashboard Confessional; David Francey; David Gray; David Sylvian; Death Cab for Cutie; The Decemberists; Do Make Say Think; Don Peris; Doves; Elbow; Ella Fitzgerald; Elliott Smith; Emerson, Lake & Palmer; Emily Haines; Emm Gryner; The Fire Theft; The Flaming Lips; The Frames; Frank Sinatra; Garrison Starr; Gene; Genesis; George Harrison; The Get Up Kids; Glen Hansard; The Gloria Record; Godspeed You! Black Emperor; Gordon Lightfoot; Great Lake Swimmers; Hayden; His Name Is Alive; Husker Du; The Innocence Mission; Iron & Wine; James Taylor; Jane Siberry; Japan; Jeff Buckley; Jenny Lewis; Joe Jackson; John Denver; John Lennon; Jon & Vangelis; Jonathan Elias; Joni Mitchell; Joseph Arthur; Joy Division; Julie Doiron; King Crimson; Kraftwerk; The La's; The Lemonheads; Lisa Germano; The London Apartments; Lou Reed; Loudon Wainwright III; Low; Lucinda Williams; Mark Kozelek; Martha Wainwright; Mary Margaret O'Hara; Matthew Good; Micah P Hinson; Michelle McAdorey; Mineral; Mojave 3; Morrissey; My Bloody Valentine; My K.; Neil Young; The New Amsterdams; Nick Drake; Oh Susanna; Orchestral Manoeuvres in the Dark (OMD); Paul McCartney; Paul Simon; Pernice Brothers; Pete Townshend; Peter Gabriel; Pink Floyd; The Pogues; The Police; The Polyphonic Spree; Portishead; The Postal Service; The Psychedelic Furs; Pukka Orchestra; R.E.M.; Radiohead; Rain Tree Crow; Red House Painters; Regina Spektor; Richard Buckner; Rickie Lee Jones; Rilo Kiley; Ron Sexsmith; Rose Chronicles; Rufus Wainwright; Rush; Sarah Dougher; Sarah Harmer; Scott Merritt; The Shins; Sigur Ros; Simon & Garfunkel; The Smiths; Spoons; Stars; Stephen Fearing; Steve Hackett; Sufjan Stevens; Sugar; Sugarcubes; Sun Kil Moon; The Sundays; Sunny Day Real Estate; Switchfoot; Taking Back Sunday; Thom Yorke; Thursday; Tommy Dorsey & Frank Sinatra; Tori Amos; Tracey Chapman; The Tragically Hip; The Trash Can Sinatras; Travis; Treble Charger; U2; Veda Hille; The Verve; The Waterboys; Weeping Tile; The Who; Wilco; Yes!
A video tribute I made for them last year (2007) on July, after 50 years since they met. I added this song, because of a very especial story that I would like to tell you if you're going to see this: As you know, the friendship between Lennon and McCartney was really damaged when the Beatles broke up, but after almost 10 years, as John Lennon said "(Just Like) Starting Over", they wanted to have their friendship back. One November day in 1980, Paul and Linda visited John on the Dakota in NY. All the time they were there, John and Paul didn't stop talking and right before Paul left, they gave a walk through the Dakota's interior gardens and it was there where John said to Paul "Will you think about me, my old friend?". A few weeks later, John died. In 1981, Paul and Linda invited Carl to stay with them in Montserrat. Paul wanted Carl's help recording a song called Get It for his new album, Tug Of War. Carl spent eight days with them, and George and Ringo had been there to help out as well. It was a great time between old friends who had shared such a legendary musical past. The night before he left, a song came to Carl that summed up his warm feelings about the visit, and he couldn't get it out of his mind. It was so strong that Carl didn't even write it down, which was strange for him. He usually always wrote his songs down immediately. In the morning, Carl Perkins sang the song, which he named My Old Friend, for Linda and Paul, saying it was his gift for having him as a guest. Half way through the song, after singing "if we never meet again this side of life, in a little while, over yonder, where there's peace and quiet, my old friend, won't you think about me every now and then?" tears streamed down Paul's face and he stood up and stepped outside. Not knowing what the matter was, Carl stopped and Linda put her arms around him, thanking him for helping Paul to connect with his grief over John Lennon's death. Carl had no doubt that the song was from John Lennon, as a gift to Paul. Hope you like it! *** Here are the lyrics :) My Old Friend Carl Perkins and Paul McCartney On the Isle of Montserrat Though I never shall forget Just a country boy, a guitar and a song You invited me in And you treated me like king And you've given me a reason to go on My old friend, Thanks for inviting me in My old friend, May this goodbye never mean the end If we never meet again this side of life In a little while, over yonder, Where it's peace and quiet My old friend, Won't you think about me every now and then If I told you how I feel Oh, it wouldn't sound so real 'Cause emotions, they are just now settin' in But it sure is great to know That wherever we may go We can always be the best of friends My old friend, Thanks for inviting me in My old friend, May this goodbye never mean the end And if we never meet again this side of life In a little while, over yonder, Where it's peace and quiet My old friend, Won't you think about me every now and then And I'll think about you, My old friend Yeah...My old friend
The Beatles - Glass Onion Copyright - 1968 EMI Records Ltd. "Glass Onion" is a song by The Beatles from The White Album primarily written by John Lennon and credited to Lennon/McCartney. The song is a response to those who attempted to find hidden meanings in Beatle songs, and references "I Am the Walrus", "Strawberry Fields Forever", "Lady Madonna", "The Fool on the Hill", and "Fixing a Hole". The song's "The Walrus was Paul" lyric is both a reference to "I Am the Walrus" and Lennon saying "something nice to Paul" in response to changes in their relationship at that time. Later, the line was interpreted as a "clue" in the "Paul is dead" urban legend that alleged McCartney died in 1966 during the recording of Sgt. Pepper's Lonely Hearts Club Band and was replaced by a look-alike and sound-alike. Ironically, the line is preceded with "Well, here's another clue for you all". Lennon was asked if there was a deeper meaning to the mysterious lyrics: " I threw the line in—'the Walrus was Paul'—just to confuse everybody a bit more. It could have been 'The fox terrier is Paul.' I mean, it's just a bit of poetry. I was having a laugh because there'd been so much gobbledygook about Pepper—play it backwards and you stand on your head and all that. " This is the first track on the White Album to feature Ringo Starr on drums. Starr had left the band briefly, so McCartney drummed on "Back in the USSR" and "Dear Prudence". Recorded 11 September 1968 Lyrics: I told you about strawberry fields You know the place where nothing is real Well here's another place you can go Where everything flows Looking through the bent backed tulips To see how the other half live Looking through a glass onion I told you about the walrus and me, man You know that we're as close as can be, man Well here's another clue for you all The walrus is Paul Standing on the cast iron shore, yeah Lady Madonna trying to make ends meet, yeah Looking through a glass onion Oh yeah, oh yeah, oh yeah Looking through a glass onion I told you about the fool on the hill I tell you man he's living there still Well here's another place you can be Listen to me Fixing a hole in the ocean Tryin' to make a dovetail joint Looking through a glass onion
The Beatles - Lady Madonna High Quality: http://www.youtube.com/watch?v=4xT4F_zALYk&feature=email&fmt=18 Copyright - 1968 EMI Records Ltd. "Lady Madonna" is a song by The Beatles, written mostly by Paul McCartney and credited to Lennon/McCartney. In March 1968 it was released as a single, backed by "The Inner Light". The song was recorded at Abbey Road Studios during sessions on 3 February and 6 February 1968 before the Beatles left for India. This single was the last release by the band on Parlophone in the UK and Capitol Records in the U.S. All subsequent releases, starting with "Hey Jude" in August of 1968, were released on their own label Apple Records, under EMI distribution, until the late 1970s, when Capitol and Parlophone re-released old material. Inspiration The piano playing on this song was inspired by 1950s rock/blues pianist, Fats Domino. McCartney recalled in 1994, "'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing ... It reminded me of Fats Domino for some reason, so I started singing a Fats Domino impression. It took my voice to a very odd place."[1] Domino himself would cover the song later in 1968, and it would become his most recent U.S. Hot 100 hit (peaking at exactly #100). The song and in particular the introduction are similar to Humphrey Lyttelton's "Bad Penny Blues" from 1956. John Lennon helped write the lyrics. The line "see how they run" was included after his suggestion (and was a theme that had been used in the previous year's "I Am the Walrus"). The saxophone solo was played by British jazz musician and club owner Ronnie Scott. The mix used in the single had much of Scott's saxophone removed, but the versions on Anthology 2 and Love feature a more prominent use of Ronnie's solo, at the end of the song. In a recent BBC documentary, Timewatch, McCartney explained the decision behind this saying that at the time, Scott had not been impressed that his music had been hidden behind other instruments, so McCartney had decided to fix it with the most recent mix. Recorded Abbey Road Studios, 3 February-6 February 1968 Lyrics: Lady Madonna, children at your feet Wonder how you manage to make ends meet Who find the money when you pay the rent Did you think that money was heaven sent Friday night arrives without a suitcase Sunday morning creeping like a nun Monday's child has learned to tie his bootlegs See how they run Lady Madonna, baby at your breast Wonders how you manage to feed the rest Pa pa pa pa... See how they run Lady Madonna lying on the bed Listen to the music playing in your head Tuesday afternoon is never ending Wednesday morning papers didn't come Thursday night you stocking needed mending See how they run Lady Madonna, children at your feet Wonder how you manage to make ends meet
The Beatles - Penny Lane Copyright - 1967 EMI Records Ltd. "Penny Lane" is a song by The Beatles, written by Paul McCartney with a small contribution from John Lennon (the slangy reference 'fish and finger pie')", recorded during the Sgt. Pepper sessions, and released in February 1967 as one side of a double A-sided single, along with John Lennon's "Strawberry Fields Forever". Beatles producer George Martin has stated he believes the pairing of these songs resulted in probably the greatest single ever released by the group. Both songs were later released on the US Magical Mystery Tour album in November 1967. The song reached #1 on the Billboard Hot 100 for a week before being knocked off by The Turtles song "Happy Together". The song features contrasting verse-chorus form and was credited "Lennon-McCartney", although McCartney was the main contributor to the song. The song's title is derived from the name of a street in the band's hometown, Liverpool. The area that surrounds its junction with Smithdown Road is also commonly called Penny Lane. Locally the term "Penny Lane" was the name given to Allerton Road and Smithdown Road and its busy shopping area. Penny Lane is named after James Penny, an 18th century slave trader. McCartney and Lennon grew up in the area and they would meet at Penny Lane junction to catch a bus into the centre of the city. The street is an important landmark, sought out by most Beatles fans touring Liverpool. In the past, street signs saying "Penny Lane" were constant targets of tourist theft and had to be continually replaced. Eventually, city officials gave up and simply began painting the street name on the sides of buildings. This practice has now stopped (2007) and more thief resistant "Penny Lane" street signs have been installed, however they are still stolen on a regular basis. The Abbey Road sign is also frequently stolen for the same reason; see Street sign theft for more information. This was also the first single by the Beatles to be sold with a picture sleeve in the UK, a practice rarely used there at that time. However, packaging singles in individually designed sleeves was standard in the US and various other countries. The barber shop mentioned in the song was, according to McCartney, a shop owned by a Mr. Bioletti, who has claimed to have cut hair for Lennon, McCartney, and George Harrison when they were children. The fire station in the song ("It's a clean machine") was not at Penny Lane junction, but a short walk away along Allerton Road. It was around the corner near to where Mather Avenue meets Rose Lane. The station is very close to the site of Quarry Bank School, which Lennon attended. Mather Avenue leads to Forthlin Road, home of McCartney. The line about the banker with a motor car probably refers to an employee of the Penny Lane branch of Barclays Bank, which was situated on one of the corners of the junction. However, there were also two other nearby banks. These were TSB (now Lloyd's TSB) and Martin's Bank (later to be merged into Barclays Bank). The promotional film for the song was not in fact filmed at Penny Lane — The Beatles were reluctant to travel to Liverpool. Street scenes of the Beatles were actually filmed in and around Angel Lane in London's East End. The outdoor scenes were filmed at Knole Park in Sevenoaks on 30 January 1967, where the promotional film for "Strawberry Fields Forever" was also shot. Both videos were selected by New York's MoMA as some of the most influential music videos in the late 1960s. Film of Penny Lane was included - with some scenes of green Liverpool buses and a brief overhead view of the 'shelter in the middle of the roundabout', but none of the Beatles attended. Lyrics: Penny Lane there is a barber showing photographs of every head he's had the pleasure to know And all the people that come and go stop to say hello On the corner is a banker with a motor car the little children laugh at him behind his back And the banker never wears a "mac" in the pouring rain Very strange Penny Lane is in my ears and in my eyes Wet beneath the blue suburban skies I sit and meanwhile back in Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen He likes to keep his fire engine clean It's clean machine Penny Lane is in my ears and in my eyes Full of fish and finger pies in summer meanwhile back Behind the shelter in the middle of the roundabout A pretty nurse is selling poppies from a tray And though she feels as if she's in a play She is anyway Penny Lane, the barber shaves another customer We see the banker sitting waiting for a trim And then the fireman rushes in from the pouring rain very strange Penny Lane is in my ears and in my eyes Wet beneath the blue suburban skies I sit and meanwhile back Penny Lane is in my ears and in my eyes There beneath the blue suburban skies Penny Lane
The Beatles - Good Morning High Quality: http://www.youtube.com/watch?v=11XnonLGilE&feature=email&fmt=18 Copyright - 1967 EMI Records Ltd. "Good Morning Good Morning" is a song composed by John Lennon (credited to Lennon/McCartney) and performed by The Beatles on the 1967 Sgt. Pepper's Lonely Hearts Club Band album. Inspiration for the song came to Lennon from a television commercial for Kellogg's Corn Flakes. The jingle went: "Good morning, good morning, The best to you each morning, Sunshine Breakfast, Kellogg's Corn Flakes, Crisp and full of fun". The line "It's time for tea and Meet the Wife" refers to a BBC sitcom Meet the Wife. Time signature The song, which is played at 117 beats per minute, has an unusual time signature in that 5/4 alternates with 4/4. For transition between 5/4 and 4/4 beat, 3/4 is used. There is a total of 64 bars, which can be grouped in seven groups with three unique bar sequences: A, B, C, B, C, B, A, which is symmetrical relative to the middle B part (disregarding the last, fadeout bar). Recording The track was recorded on February 8, 1967, with overdubs on February 16 (bass and vocals), March 13 (brass section), March 28 (backing vocals and guitar solo), and March 29 (animal noises). The guitar solo was played by Paul McCartney on a Fender Esquire. At Lennon's request, George Martin brought in Sounds Incorporated to play the brass section with their signature saxophone sound. Lennon asked engineer Geoff Emerick to arrange the animal noises heard at the end of the song so that the animal was capable of devouring or frightening the animal that came before it. The song features double-bass drum playing by Ringo Starr. The final sound effect of a chicken clucking was so placed that it transforms into the guitar on the following track "Sgt. Pepper's Lonely Hearts Club Band (Reprise)". Recorded Abbey Road Studios 8, 16 February--13, 28, 29 March 1967 Lyrics: Good morning good morning good morning good morning good morning, a Nothing to do to save his life call his wife in Nothing say but what a day how's your boy been Nothing to do, it's up to you I've got noting to say but it's O.K. Good morning good morning good morning a Going to work don't want to go feeling low down Heading for home you start to roam then you're in town Everybody knows there's nothing doing Everything is closed, it's like a ruin Everyone you see is half asleep And you're on your own, you're in the street After a while you start to smile now you feel cool Then you decide to take a walk by the old school Nothing has changed it's still the same I've got nothing to say but it's O.K. Good morning good morning good morning a People running 'round it's five o'clock Everywhere in town it's getting dark Everyone you see is full of life It's time for tea and meet the wife Somebody needs to know the time glad that I'm here Watching the skirts you start to flirt no you're in gear Go to a show you hope she goes I've got nothing to say but it's O.K. Good morning good morning good morning good morning
The Beatles - She's Leaving Home HQ: http://www.youtube.com/watch?v=jkJciEf-ENA&feature=email&fmt=18 Copyright - 1967 EMI Records Ltd. "She's Leaving Home" is a song, written and sung by John Lennon and Paul McCartney, and released in 1967 on The Beatles album Sgt. Pepper's Lonely Hearts Club Band. McCartney wrote and sung the verse and Lennon the chorus. Background Paul McCartney: " John and I wrote 'She's Leaving Home' together. It was my inspiration. We'd seen a story in the newspaper about a young girl who'd left home and not been found, there were a lot of those at the time, and that was enough to give us a story line. So I started to get the lyrics: she slips out and leaves a note and then the parents wake up ... It was rather poignant. I like it as a song, and when I showed it to John, he added the long sustained notes, and one of the nice things about the structure of the song is that it stays on those chords endlessly. Before that period in our song-writing we would have changed chords but it stays on the C chord. It really holds you. It's a really nice little trick and I think it worked very well. While I was showing that to John, he was doing the Greek chorus, the parents' view: 'We gave her most of our lives, we gave her everything money could buy.' I think that may have been in the runaway story, it might have been a quote from the parents. Then there's the famous little line about a man from the motor trade; people have since said that was Terry Doran, who was a friend who worked in a car showroom, but it was just fiction, like the sea captain in "Yellow Submarine", they weren't real people. " The newspaper story McCartney mentioned was from the front page of the Daily Mirror, about a girl named Melanie Coe. Although McCartney made up most of the content, Coe, who was 17 at the time claims that he got most of it right. Her parents wondered why she had left... "She had everything she wanted". In real life, Melanie did not "meet a man from the motor trade", but instead a croupier, and left in the afternoon while her parents were at work. The adventure ended a week later. Coincidentally, Coe had met McCartney three years earlier when she was a contestant and prize winner on ITV's Ready Steady Go!. Recording The day before McCartney wanted to work on the string arrangement, he learned that George Martin was not available to do the score. He contacted Mike Leander, who did it in Martin's place. It was the first time a Beatle song was not arranged by Martin (and the only time it was done with The Beatles' consent - Phil Spector's orchestration of Let It Be was done without The Beatles' knowledge). Martin was hurt by McCartney's actions, but he produced the song and conducted the string section. The harp was played by Sheila Bromberg, the first female musician to appear on a Beatles record. Recorded Abbey Road Studios 17 March 1967 Lyrics: Wednesday morning at five o'clock as the day begins Silently closing her bedroom door Leaving the note that she hoped would say more She goes downstairs to the kitchen clutching her handkerchief Quietly turning the back door key Stepping outside she is free She (we gave her most of our lives) is leaving (sacrificed most of our lives) home (we gave her everything money could buy) She's leaving home after living alone for so many years (bye bye) Father snores as his wife gets into her dressing gown Picks up the letter that's lying there Standing alone at the top of the stairs She breaks down and cries to her husband Daddy our baby's gone Why would she treat us so thoughtlessly How could she do this to me She (We never thought of ourselves) is leaving (never a thought for ourselves) home (we struggled hard all our lives to get by) She's leaving home after living alone for so many years (bye bye) Friday morning at nine o'clock she is far away Waiting to keep the appointment she made Meeting a man from the motor trade She (what did we do that was wrong) is having (we didn't know it was wrong) fun (fun is the one thing that money can't buy) Something inside that was always denied for so many years (bye bye) She's leaving home (bye bye)
The Beatles - Got To Get You Into My Life High Quality: http://www.youtube.com/watch?v=nOgeEMELX1I&feature=email&fmt=18 "Got to Get You into My Life" is a song by The Beatles on the album Revolver. It was released as a single in the US in 1976, a decade after its initial release and six years after The Beatles split up. This was the single that was released as a promo for the Rock 'n' Roll Music compilation album. It hit #7 on the pop charts- this was 6 years after the band broke up, The Beatles' last top ten hit there until their 1995 release "Free as a Bird". A cover version by Cliff Bennett and the Rebel Rousers, produced by Paul McCartney, made the British Top 10 in the summer of 1966. Another cover version by Earth, Wind & Fire topped the US R&B charts and reached #9 on the US pop charts in 1978. Development of song Though officially credited to Lennon-McCartney, McCartney was primarily responsible for the writing of this track, to which he also contributes lead vocals. John Lennon was said to have been very fond of the song, saying this was, "Paul at his best," according to a 1980 Playboy interview. McCartney attempted to write in the style of American soul music for this song, as particularly inspired by the Stax label. The soul revue-style horns are especially allusive to the Stax "Memphis soul" sound. Traces of Motown influence are apparent as well. It was recorded at Abbey Road Studios between 7 April and 17 June 1966 and evolved considerably between the first takes and the final version released on album. The mono and stereo versions of the recording also feature completely different ad libs in the fade-out. Song structure Following the outro chords of "I Want to Tell You", the song immediately starts with the horns. McCartney's vocals clock in at 0:07. The predominant instrument playing is the horns, similar to the soul records of the late '50s and early '60s. The chorus of the song appears at 1:04, with the song's title sung. The song switches between a verse and the refrain. The electric guitar solo clocks in at 1:53, and at 2:10 the horns come in, playing the same chords as the song opened with. The song closes with fading vocals of McCartney, much akin to the soul records of the time. The percussion instrument most predominant is the tambourine, overdubbed onto the standard drum kit. Meaning Although many believed it was a love song that Paul was writing for a girl, he later disclosed the song was about marijuana in Barry Miles' book Paul McCartney: Many Years from Now. Many lyrics from the song suggested this - "I took a ride I didn't know what I would find there / Another road where maybe I could see some other kind of mind there.", "What can I do, what can I be when I'm with you I want to stay there / If I am true I will never leave and if I do I know the way there." Recorded Abbey Road Studios 7 April, 17 June 1966 Lyrics: I was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind there Ooo, then I suddenly see you Ooo, did I tell you I need you Every single day of my life You didn't run, you didn't hide You know i wanted just to hold you And had you gone, you knew in time We'd meet again for I had told you Ooo, you were meant to be near me Ooo, and I want you to hear me Say we'll be together every day Got to get you into my life What can I do, what can I be When I'm with you I want to stay there If I'm true I'll never leave And if I do I know the way there Ooo, then I suddenly see you Ooo, did I tell you I need you Every single day of my life Got to get you into my life I was alone, I took a ride I didn't know what I would find there Another road where maybe I could see another kind of mind there Ooo, then I suddenly see you Ooo, did I tell you I need you Every single day
Come and meet "THE BEAT" at the Victoria Hall Stoke on August 15th. Box office 0870 0606649.The Cavern Beat are making their first visit to the UK, featuring their debut performance at the world famous Cavern Club in Liverpool August 7th and their much anticipated participation in the Beatle Week Festival over the Bank Holiday weekend. A Splendid Time Is Guaranteed For All, as someone once wrote...
The Beatles - Don't Bother Me High Quality: http://www.youtube.com/watch?v=k8ceqOuAohw&feature=related&fmt=18 Copyrigth - 1963 EMI Records Ltd. "Don't Bother Me" is the first song written by George Harrison to appear on an album by The Beatles. It originally appeared on the group's With the Beatles album in the UK, released in 1963, and on their Meet the Beatles! album in the U.S., released in 1964. History Harrison wrote the song while sick in bed at a hotel room in Bournemouth, England (where The Beatles were playing some shows during the summer of 1963). Harrison never regarded it highly, stating on one occasion, "'It was a fairly crappy song. I forgot all about it completely once it was on the album." He considered it an exercise in whether he could write a song, later saying, "At least it showed me that all I needed to do was keep on writing and then maybe eventually I would write something good." Harrison receives a writing credit for two earlier songs, "In Spite of All the Danger" (Paul McCartney/Harrison) and "Cry for a Shadow" (Harrison/John Lennon). Both were recorded by The Beatles but neither was released officially by the band until 1995's Anthology 1 compilation (see 1995 in music). Because the former was largely a McCartney composition (Harrison received a credit simply for playing the guitar solo) and the latter was an instrumental pastiche of The Shadows, "Don't Bother Me" is considered Harrison's first song by most (including the author himself). The sullen mood and desolate lyrics--"So go away, leave me alone, don't bother me"--were unusual for The Beatles at the time but would become characteristic for Harrison. The song mostly stays in a minor key and achieves a thick sound through its double-tracked vocal, reverbed guitars, and busy drumming. The elaborate percussion lends the song a Latin rhythm accentuated by its stop-time structure. "Don't Bother Me" is one of several songs featured in A Hard's Day's Night, during a scene where The Beatles dance at a nightclub while Paul's grandfather gambles elsewhere. Recorded 11-12 September 1963 Lyrics: Since she's been gone I want no one to talk to me It's not the same but I'm to blame It's plain to see So go away and leave me alone Don't bother me I can't believe that she would leave me on my own It's just not right where every night I'm all alone I've got no time for you right now Don't bother me I know I'll never be the same If I don't get her back again because I know she'll always be The only girl for me But till she's here please don't come near just stay away I'll let you know when she's come home Till that the day Don't come around leave me alone Don't bother me I've got no time for you right now Don't bother me I know I'll never be the same If I don't get her back again because I know she'll always be The only girl for me But till she's here please don't come near just stay away I'll let you know when she's come home Till that the day Don't come around leave me alone Don't bother me Don't bother me Don't bother me
The Beatles - I Saw Her Standing There Copyright - 1963 EMI Records Ltd. HIGH Quality: http://www.youtube.com/watch?v=VpCdDwvhgcw&feature=email&fmt=18 "I Saw Her Standing There" is a song written by John Lennon and Paul McCartney and is the opening track on the The Beatles' debut album Please Please Me, released in the United Kingdom by Parlophone on 22 March 1963. In December 1963, Capitol Records released the song in the United States as the B-side on the label's first single by The Beatles, "I Want to Hold Your Hand". The single topped the U.S. charts for seven weeks starting 18 January 1964. "I Saw Her Standing There" entered the Billboard Hot 100 on 8 February 1964, remaining there for 11 weeks, peaking at number 14. Composition The song was co-written but based on McCartney's initial Originally titled "Seventeen", the song was conceived by McCartney driving home from a concert in Southport, Merseyside and later completed at his Forthlin Road home in September 1962 McCartney said: "I had: 'She was just seventeen,' and then: 'Beauty queen'. When I showed it to John, he screamed with laughter, and said 'You're joking about that line, aren't you?'" "It was one of the first times he ever went 'What? Must change that...'" The lyrics were written on a Liverpool Institute exercise book. Remember, a book by McCartney's brother Mike McCartney, includes a photograph of Lennon and McCartney writing the song while strumming guitars and reading the exercise book. McCartney admits to lifting his bass line directly from a Chuck Berry song called "I'm Talking About You" (1961). Recording The song was recorded at Abbey Road Studios on 11 February 1963, as part of the marathon recording session that produced 10 of the 14 songs on Please Please Me. The Beatles were not present for the mixing session on 25 February 1963, which was not unusual at that time. On the album, the song starts with a rousing "one-two-three-FOUR!" count-in by McCartney (pronounced "one-two-three-FAH!"). Usually, these count-ins are edited off the final audio mix. However, this was left on by record producer George Martin, as it was considered especially spirited, and began the album in an upbeat vein. Live performances of this tune demonstrate how Ringo crashed his high hat as opposed to his quieter and smoother treatment of the high hat on the actual recording. Outtakes of this recording reveal that Paul on occasion, altered his famous bass line during the chorus as he regularly did on live versions. Release In the UK, "I Saw Her Standing There" is the opening track on Please Please Me. In the U.S., Vee Jay Records released it as the opening track on both versions of Introducing... The Beatles, editing out the "One, two, and three" portion of the count in - thus the song starts with, "FOUR!". In addition to the "I Want to Hold Your Hand" B-side offer, Capitol released it as the second track on Meet the Beatles!, released in late January 1964. Vee-Jay had a limited portfolio of Beatle songs to offer, and re-issued their material using various names including Songs, Pictures and Stories of the Fabulous Beatles and other packages. Capitol reissued the song twice in the 70's, once on the Rock 'n' Roll Music compilation released on 11 June 1976, and as the opening track in the 14-disc Limited-limited edition boxed set, The Beatles Collection released in December 1978. Lyrics: Lyrics: Well she was just seventeen You know what I mean And the way she looked Was way beyond compare So how could I dance with another, Oh, when I saw her standing there Well she looked at me and I, I could see That before too long I'd fall in love with her She wouldn't dance with another Oh, when I saw her standing there Well my heart went boom When I crossed that room And I held her hand in mine Oh we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another Oh, when I saw her standing there Well my heart went boom When I crossed that room And I held her hand in mine Oh we danced through the night And we held each other tight And before too long I fell in love with her Now I'll never dance with another Oh, when I saw her standing there Oh, since I saw her standing there Yeah, well since I saw her standing there
Parody of the Beatles' Ticket to Ride as seen in the movie HELP!. Using Shit Talker version 1.2 by Jaundice, a computer-generated voice was added. What's funny is how the computerized voice doesn't really track with the song, but somehow it keeps up.
Released on August 6,1965 Written by Paul McCartney I've just seen a face I can't forget the time or place Where we just meet She's just the girl for me And want all the world to see We've met, mmm-mmm-mmm-m'mmm-mmm Had it been another day I might have looked the other way And I'd have never been aware But as it is I'll dream of her Tonight, di-di-di-di'n'di Falling, yes I am falling And she keeps calling Me back again I have never known The like of this, I've been alone And I have missed things And kept out of sight But other girls were never quite Like this, da-da-n'da-da'n'da Falling, yes I am falling And she keeps calling Me back again Falling, yes I am falling And she keeps calling Me back again I've just seen a face I can't forget the time or place Where we just meet She's just the girl for me And want all the world to see We've met, mmm-mmm-mmm-da-da-da Falling, yes I am falling And she keeps calling Me back again Falling, yes I am falling And she keeps calling Me back again Oh, falling, yes I am falling And she keeps calling Me back again ORIGINAL SONG Not the one from Across the Universe
Dedicated to the loving memory of our dear cousin, Mary Beth (Sherman) McClimans (1965 - 1993). She requested that my brother and I sing this song at her wedding in 1992. And what a grand wedding celebration it was. Her fond presence is still with us... here, there, and everywhere... "Here, There and Everywhere" by Paul McCartney and John Lennon To lead a better life, I need my love to be here. Here, making each day of the year Changing my life with a wave of her hand, Nobody can deny that there's something there. There, running my hands through her hair Both of us thinking how good it can be Someone is speaking, but she doesn't know he's there. I want her everywhere And if she's beside me I know I need never care. But to love her is to meet her everywhere Knowing that love is to share, Each one believing that love never dies Watching her eyes, and hoping I'm always there. To be here, there, and everywhere. Here, there, and everywhere.
Dedicated to the loving memory of our dear cousin, Mary Beth (Sherman) McClimans (1965 - 1993). She requested that my brother and I sing this song at her wedding in 1992. And what a grand wedding celebration it was. Her fond presence is still with us... here, there, and everywhere... "Here, There and Everywhere" by Paul McCartney and John Lennon To lead a better life, I need my love to be here. Here, making each day of the year Changing my life with a wave of her hand, Nobody can deny that there's something there. There, running my hands through her hair Both of us thinking how good it can be Someone is speaking, but she doesn't know he's there. I want her everywhere And if she's beside me I know I need never care. But to love her is to meet her everywhere Knowing that love is to share, Each one believing that love never dies Watching her eyes, and hoping I'm always there. To be here, there, and everywhere. Here, there, and everywhere.
august 28 1964 the beatles meet bob dylan at the hotel delmonico, nyc, lucidity clobbers paul mccartney & western civilization turns on a dime here's why
Maccaband, Italy's one ond only Paul McCartney, Wings & Beatles tribute band plays live in Rome!
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