by John Lennon and Paul McCartney
As Released by the Beatles (1968)
Come on, come on - come on, come on
Come on, it's such a joy
Come on, it's such a joy
Come on, let's take it easy
Come on, let's take it easy
Take it easy, take it easy
Everybody's got something to hide 'cept for me and my monkey - wuh.
The deeper you go, the higher you fly
The higher you fly, the deeper you go
So come on (come on) come on
Come on, it's such a joy
Come on, it's such a joy
Come on, let's make it easy
Come on, let's make it easy - wuh.
Take it easy, take it easy - wuh
Everybody's got something to hide 'cept for me and my monkey (yeah - wuh).
Your inside is out when your outside is in
Your outside is in when your inside is out
So come on (wuh), come on (wuh)
Come on, it's such a joy
Come on, it's such a joy
Come on, let's make it easy
Come on, let's make it easy
Make it easy (wuh), make it easy (wuh)
Everybody's got something to hide 'cept for me and my monkey - hey.
(Hey - yeah, wuh, yeah - wuh!)
Come on, come on, come on, come on, come on, come on, come, ...
Tuesday, July 07, 2009
Holy Grail Recording #2 - 27-minute Helter Skelter outtake (1968)
In this series, In The Life Of...The Beatles presents the top 10 unreleased recordings of the Beatles.I realize the legendary 27-minute version of "Helter Skelter" tops the lists of most people in terms of Beatles recordings they would like to hear, but just to mix things up I've decided to place it in the #2 spot. This recording has been written about extensively here and it is still no closer to being released. The last best chance was its consideration for inclusion on The Beatles Anthology 3 at the urging of Mark Lewisohn, who was asked by George Martin, "Why is this important?" For a hint of what it might sound like, here's an excerpt of take 2 from the same session, with a great vocal performance from Paul.
Final installment: July 14
Beatle People: David Mason
David Mason (born London, 1926) is an English orchestral, solo and session trumpet player. Despite his long career he is probably best known to many for playing the piccolo trumpet solo on The Beatles' song "Penny Lane." He is now retired.Career
Mason was educated at Christ's Hospital and the Royal College of Music where he studied with Ernest Hall. His early playing career benefited from the timing of the Second World War: as a sixteen-year-old he was ineligible for call-up where many older players had already been recruited, and was thus able to pick up a lot of work in London before and during his time as a student at the Royal College of Music, which was itself interrupted by his own call-up into the band of the Scots Guards. Before call-up he was the youngest member of the then National Symphony Orchestra.
After leaving the Royal College of Music, Mason became a member of the orchestra of the Royal Opera House, moving on later to the Royal Philharmonic Orchestra where he eventually became principal trumpet. After seven years in that role he moved to the Philharmonia, where he remained for most of the rest of his orchestral career. He was a professor of trumpet at the Royal College of Music for thirty years and thus taught many of the trumpet players who now make up the core of the profession in the UK. The Royal College of Music has awarded a David Mason Prize for Orchestral Trumpet Playing.
Mason was the flugelhorn soloist for the world premiere of Ralph Vaughan Williams's Symphony No. 9 on April 2nd 1958. The novelty of the flugelhorn (often seen as a jazz or brass band instrument) being used in such a significant mainstream classical work attracted much press comment at the time, perhaps to the detriment of the symphony's overall coverage and consideration.
Penny Lane
On 17 January 1967 at Abbey Road Studios Mason recorded the piccolo trumpet solo which is a prominent part of The Beatles' song Penny Lane. The solo, inspired by Mason's performance of Bach's 2nd Brandenburg Concerto with the English Chamber Orchestra, is in a mock-Baroque style for which the piccolo trumpet (a small instrument built about one octave higher than the standard instrument) is particularly suited, having a clean and clear sound which penetrates well through thicker midrange textures. Although such piccolo trumpet solos became almost commonplace in some types of pop, this was seen as innovative at the time and was among the first such uses: George Martin later wrote, "The result was unique, something which had never been done in rock music before."
Wikipedia
"That Would Be Something" Lyrics
by Paul McCartney
As Released by Paul McCartney (1970)
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Ooh ooh ooh
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Ooh
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain, woo
Now meet you in the fallin' rain, momma
Meet you in the fallin' rain
I'll meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain, woo
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
As Released by Paul McCartney (1970)
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Ooh ooh ooh
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
That would be something
That really would be something
That would be something
To meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Ooh
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain, woo
Now meet you in the fallin' rain, momma
Meet you in the fallin' rain
I'll meet you in the fallin' rain, momma
Meet you in the fallin' rain
Meet you in the fallin' rain, momma
Meet you in the fallin' rain, woo
Meet you in the fallin' rain, momma
Meet you in the fallin' rain
Monday, July 06, 2009
March 16, 1971 - The 13th Annual Grammy Awards
Taped: Tuesday 16 March 1971
Aired: Tuesday 16 March 1971
In Los Angeles, The Beatles' Let It Be album receives a Grammy Award for the 'Best Original Score Written For A Motion Picture or Television Special in 1970'. Paul and Linda, who only arrived in LA this morning, collect the award from the Hollywood legend John Wayne. As Paul leaves the building, a reporter asks him if he is in America to record an album. Paul replies by saying: "I have a knife and a fork and I'm here to cut a record" before escaping in a Cadillac amid screams from waiting Beatles fans. The couple depart into the night and remain unseen for months, even failing to show for a concert by Santana, for which they had booked (and received) two front row tickets. Prior to his departure, Paul had given his name to protesters demonstrating against the proposed building of a 200-room hotel in Cavendish Avenue, London. Westminster Council eventually scraps the idea.
Aired: Tuesday 16 March 1971
In Los Angeles, The Beatles' Let It Be album receives a Grammy Award for the 'Best Original Score Written For A Motion Picture or Television Special in 1970'. Paul and Linda, who only arrived in LA this morning, collect the award from the Hollywood legend John Wayne. As Paul leaves the building, a reporter asks him if he is in America to record an album. Paul replies by saying: "I have a knife and a fork and I'm here to cut a record" before escaping in a Cadillac amid screams from waiting Beatles fans. The couple depart into the night and remain unseen for months, even failing to show for a concert by Santana, for which they had booked (and received) two front row tickets. Prior to his departure, Paul had given his name to protesters demonstrating against the proposed building of a 200-room hotel in Cavendish Avenue, London. Westminster Council eventually scraps the idea.
"Maybe I'm Amazed" Lyrics
By Paul McCartney
As Released by Paul McCartney (1970)
Baby I'm amazed at the way you love me all the time
And maybe I'm afraid of the way I love you
Baby I'm amazed at the way you pulled me out of time
You hold me on the line
Maybe I'm amazed at the way I really need you
Baby I'm a man and maybe I'm a lonely man
Who's in the middle of something
That he doesn't really understand
Baby I'm a man and maybe you're the only woman
Who could ever help me
Baby won't you help me to understand, ooh
Baby I'm a man and maybe I'm a lonely man
Who's in the middle of something
That he doesn't really understand
Baby I'm a man and maybe you're the only woman
Who could ever help me
Baby won't you help me to understand, ooh
Baby I'm amazed at the way you're with me all the time
And maybe I'm afraid of the way I leave you
Baby I'm amazed at the way you help me sing my song
You right me when I'm wrong
Maybe I'm amazed at the way I really need you
Oh oh, oh yeah hey
Oh oh, oh ooh yeah, yeah, yeah
Ooh
As Released by Paul McCartney (1970)
Baby I'm amazed at the way you love me all the time
And maybe I'm afraid of the way I love you
Baby I'm amazed at the way you pulled me out of time
You hold me on the line
Maybe I'm amazed at the way I really need you
Baby I'm a man and maybe I'm a lonely man
Who's in the middle of something
That he doesn't really understand
Baby I'm a man and maybe you're the only woman
Who could ever help me
Baby won't you help me to understand, ooh
Baby I'm a man and maybe I'm a lonely man
Who's in the middle of something
That he doesn't really understand
Baby I'm a man and maybe you're the only woman
Who could ever help me
Baby won't you help me to understand, ooh
Baby I'm amazed at the way you're with me all the time
And maybe I'm afraid of the way I leave you
Baby I'm amazed at the way you help me sing my song
You right me when I'm wrong
Maybe I'm amazed at the way I really need you
Oh oh, oh yeah hey
Oh oh, oh ooh yeah, yeah, yeah
Ooh
"Dear Prudence" Lyrics
by John Lennon and Paul McCartney
Original Manuscript (1968)
(1) Dear Prudence
won't you come out to play?
Dear Prudence
greet the brand new day!
the sun is up the sky is blue it's
beautiful and so are you
Dear Prudence
won't you come out to play?
(2) Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
that you are part of everything
Dear Prudence open up your eyes
Look around
let me see you smile
like a little child
As Recorded by the Beatles (Demo May 1968)
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Dear Prudence, open up your eyes
Dear Prudence, see the sunny skies.
The wind is low, the birds will sing
That you are part of everything.
Dear Prudence, won't you open your eyes?
Look around, 'round
Look around, 'round, 'round
Look around.
Dear Prudence, let me see you smile
Dear Prudence, like a sleeping child.
The clouds will be a daisy chain
So let me see you smile again.
Dear Prudence, won't you let me see you smile?
Look around, 'round
Look around, 'round, 'round
Look around.
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
In a meditation course in Rishikesh, India
No one was to know that sooner or later she was to go completely berserk
Under the care of Maharishi Mahesh Yogi
All the people around were very worried about the girl
Because she was going insane
So we sang to her
As Released by the Beatles (1968)
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Dear Prudence, open up your eyes
Dear Prudence, see the sunny skies.
The wind is low, the birds will sing
That you are part of everything.
Dear Prudence, won't you open up your eyes?
Look around, 'round
('round, 'round, 'round, 'round, 'round, 'round, 'round, 'round)
Look around, 'round, 'round
('round, 'round, 'round, 'round, 'round, 'round, 'round)
Look around (('round)).
Dear Prudence, let me see you smile
Dear Prudence, like a little child.
The clouds will be a daisy chain
So let me see you smile again.
Dear Prudence, won't you let me see you smile?
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Original Manuscript (1968)(1) Dear Prudence
won't you come out to play?
Dear Prudence
greet the brand new day!
the sun is up the sky is blue it's
beautiful and so are you
Dear Prudence
won't you come out to play?
(2) Dear Prudence open up your eyes
Dear Prudence see the sunny skies
The wind is low the birds will sing
that you are part of everything
Dear Prudence open up your eyes
Look around
let me see you smile
like a little child
As Recorded by the Beatles (Demo May 1968)
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Dear Prudence, open up your eyes
Dear Prudence, see the sunny skies.
The wind is low, the birds will sing
That you are part of everything.
Dear Prudence, won't you open your eyes?
Look around, 'round
Look around, 'round, 'round
Look around.
Dear Prudence, let me see you smile
Dear Prudence, like a sleeping child.
The clouds will be a daisy chain
So let me see you smile again.
Dear Prudence, won't you let me see you smile?
Look around, 'round
Look around, 'round, 'round
Look around.
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
In a meditation course in Rishikesh, India
No one was to know that sooner or later she was to go completely berserk
Under the care of Maharishi Mahesh Yogi
All the people around were very worried about the girl
Because she was going insane
So we sang to her
As Released by the Beatles (1968)
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Dear Prudence, open up your eyes
Dear Prudence, see the sunny skies.
The wind is low, the birds will sing
That you are part of everything.
Dear Prudence, won't you open up your eyes?
Look around, 'round
('round, 'round, 'round, 'round, 'round, 'round, 'round, 'round)
Look around, 'round, 'round
('round, 'round, 'round, 'round, 'round, 'round, 'round)
Look around (('round)).
Dear Prudence, let me see you smile
Dear Prudence, like a little child.
The clouds will be a daisy chain
So let me see you smile again.
Dear Prudence, won't you let me see you smile?
Dear Prudence, won't you come out to play?
Dear Prudence, greet the brand new day.
The sun is up, the sky is blue
It's beautiful and so are you.
Dear Prudence, won't you come out to play?
Sunday, July 05, 2009
"Every Little Thing" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles (1964)
When I'm walking beside her
People tell me I'm lucky
Yes I know I'm a lucky guy.
I remember the first time
I was lonely without her
Can't stop thinking about her now.
Every little thing she does
She does for me, yeah
And you know the thing she does
She does for me, ooo.
When I'm with her I'm happy
Just to know that she loves me
Yes I know that she loves me now.
There is one thing I'm sure of
I will love her forever
For I know love will never die.
Every little thing she does
She does for me, yeah
And you know the thing she does
She does for me, ooo.
Every little thing
Every little thing
Every little thing.
As Released by the Beatles (1964)
When I'm walking beside her
People tell me I'm lucky
Yes I know I'm a lucky guy.
I remember the first time
I was lonely without her
Can't stop thinking about her now.
Every little thing she does
She does for me, yeah
And you know the thing she does
She does for me, ooo.
When I'm with her I'm happy
Just to know that she loves me
Yes I know that she loves me now.
There is one thing I'm sure of
I will love her forever
For I know love will never die.
Every little thing she does
She does for me, yeah
And you know the thing she does
She does for me, ooo.
Every little thing
Every little thing
Every little thing.
June 12, 1971 - Record Release Party for Some Time in New York City
John Lennon & Yoko Ono's LP Some Time in New York City was released on this day in the United States. To celebrate, John & Yoko hung out with Andy Warhol, Jerry Rubin, Miles Davis, Jesse Ed Davis, and others at Allen Klein's home in New York City. Later that day, John recorded an interview with the freelance American radio journalist Scott Johns at his Greenwich Village apartment, during which he discussed his relationship with the musician David Peel. In 1980, the tape was subsequently released on the limited edition disc The David Peel Interviews.
"Every Night" Lyrics
by Paul McCartney
As Released by Paul McCartney (1970)
Every night I just want to go out, get out of my head
Every day I don't want to get up, get out of my bed
Every night I want to play out
And every day I want to do ooh ooh ooh ooh
But tonight I just want to stay in
And be with you
And be with you
Ooh
Ooh ooh
Ooh
Ooh ooh
Every day I lean on a lamp post, I'm wasting my time
Every night I lay on a pillow, I'm resting my mind
Every morning brings a new day
And every night that day is through ooh ooh ooh ooh
But tonight I just want to stay in
And be with you
And be with you
Ooh
Ooh ooh
Believe me mama
Ooh
Ooh ooh
Ooh
Ooh ooh
As Released by Paul McCartney (1970)
Every night I just want to go out, get out of my head
Every day I don't want to get up, get out of my bed
Every night I want to play out
And every day I want to do ooh ooh ooh ooh
But tonight I just want to stay in
And be with you
And be with you
Ooh
Ooh ooh
Ooh
Ooh ooh
Every day I lean on a lamp post, I'm wasting my time
Every night I lay on a pillow, I'm resting my mind
Every morning brings a new day
And every night that day is through ooh ooh ooh ooh
But tonight I just want to stay in
And be with you
And be with you
Ooh
Ooh ooh
Believe me mama
Ooh
Ooh ooh
Ooh
Ooh ooh
Saturday, July 04, 2009
"Honky Tonk Blues"
"Honky Tonk Blues" was a hit country and western song written and performed by Hank Williams. The original 1952 recording was a major hit and it later became a hit for latter-day superstar Charley Pride. The song was part of the Beatles' live act from 1957 to 1959.
Song history
The song was about a young farm boy who leaves his father's farm for the enticements of the city, only to become worn down and disillusioned. Williams' version reached No. 2 on the Billboard magazine country best-sellers chart.
Covers
Since the release of Williams' hit version, the song has been covered by Doc Watson, The Nitty Gritty Dirt Band (with Watson for the album Will the Circle Be Unbroken), and Williams' son, Hank Williams, Jr.
Huey Lewis and the News covered the song on their 1983 album Sports.
The song was covered in 1990 by Pirates of the Mississippi. Their version was released as a single, and peaked at No. 26. In 2004, The Kentucky Headhunters also covered the song on their Big Boss Man album.
The most successful cover version was by Charley Pride; his version reached the top of the Billboard magazine Hot Country Singles chart in April 1980.
Legacy
The title served as the name for a documentary about Williams broadcast by PBS as part of its American Masters series. The documentary was also shown at the 48th London Film Festival in 2004.
Single by Charley Pride
from the album There's a Little Bit of Hank in Me
Released: January 1980
Format: 7"
Recorded: 1979
Genre: country
Length: 2:00
Label: RCA Records
Writer: Hank Williams
Wikipedia
Song history
The song was about a young farm boy who leaves his father's farm for the enticements of the city, only to become worn down and disillusioned. Williams' version reached No. 2 on the Billboard magazine country best-sellers chart.
Covers
Since the release of Williams' hit version, the song has been covered by Doc Watson, The Nitty Gritty Dirt Band (with Watson for the album Will the Circle Be Unbroken), and Williams' son, Hank Williams, Jr.
Huey Lewis and the News covered the song on their 1983 album Sports.
The song was covered in 1990 by Pirates of the Mississippi. Their version was released as a single, and peaked at No. 26. In 2004, The Kentucky Headhunters also covered the song on their Big Boss Man album.
The most successful cover version was by Charley Pride; his version reached the top of the Billboard magazine Hot Country Singles chart in April 1980.
Legacy
The title served as the name for a documentary about Williams broadcast by PBS as part of its American Masters series. The documentary was also shown at the 48th London Film Festival in 2004.
Single by Charley Pride
from the album There's a Little Bit of Hank in Me
Released: January 1980
Format: 7"
Recorded: 1979
Genre: country
Length: 2:00
Label: RCA Records
Writer: Hank Williams
Wikipedia
"The End" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles (1969)
Oh yeah, alright
Are you gonna be in my dreams tonight?
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you.
And in the end
The love you take is equal to the love you make.
Aah!
As Released by the Beatles (1969)
Oh yeah, alright
Are you gonna be in my dreams tonight?
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you, love you
Love you, love you, love you, love you.
And in the end
The love you take is equal to the love you make.
Aah!
Beatle People: Jimmy Nicol
James George Nicol, known as Jimmie Nicol or Jimmy Nicol (born August 3, 1939), is a British drummer, best known for being a temporary member of The Beatles.When Ringo Starr collapsed and was hospitalised on 3 June 1964 with tonsillitis on the eve of The Beatles' 1964 Australasian tour, manager Brian Epstein and producer George Martin discussed the possibility of using a stand-in drummer rather than cancel part of the tour. Martin suggested Jimmy Nicol, as he had recently recorded a Tommy Quickly session with him. Nicol had also drummed on a budget label album of Beatle covers called "Beatlemania" and knew the songs. The whole thing happened very quickly, from a phone call to attend a run-through at Abbey Road Studios to packing his bags all in the same day.
Nicol wore Ringo Starr's suit on stage, and apparently needed clothes pegs to make the jacket fit. His first show with The Beatles took place on 4 June in Copenhagen, Denmark. He played a further nine shows, until Starr returned to the group in Melbourne, Australia, on 14 June. Nicol said he was "praying he [Starr] would get well at the same time I was hoping he would not want to come back." He was not able to say goodbye to The Beatles as they were still asleep when he left, and Nicol did not want to disturb them. At the airport, Brian Epstein presented him with a cheque (probably for around £500, although much bolder figures have been quoted) and a gold Eternamatic wrist watch inscribed: "From The Beatles and Brian Epstein to Jimmy - with appreciation and gratitude."
After his time with The Beatles, Nicol and his band, The Shubdubs, released the single "Husky"/"Don't Come Back," followed by "Humpty Dumpty"/"Night Train," neither of which was a commercial success. Nicol was reunited with The Beatles when his band was set down on a bill with The Beatles and The Fourmost. They performed on 12 July 1964 at the Hippodrome Theatre in Brighton.
During Nicol's stay with The Beatles, John Lennon and Paul McCartney were constantly questioning him about how he was coming along, and his answer would always be, "It's getting better." A couple of years later, McCartney was walking his dog, Martha, with Hunter Davies, when the sun came out and Paul commented that the weather was "getting better," and began to laugh, remembering Nicol. This event inspired the song "Getting Better" on 1967's Sgt. Pepper's Lonely Hearts Club Band.
On Let It Be tapes from 12 January 1969, Paul comments, "I think you'll find we're not going abroad. 'Cause Ringo just said he doesn't want to go abroad. You know, he put his foot down. Although Jimmy Nicol might go abroad."
Later career and life
After his brief time with The Beatles, Nicol declared bankruptcy in 1965. That year, he joined numerous bands including Swedish group The Spotnicks, which he left in 1967. In 1975 he returned to England after setting up a button factory in Mexico. Other work in this time included housing renovations and carpentry.
Later in his life, it was rumoured that Nicol had died in 1988, but a report in 2005 by the Daily Mail confirmed that he was still alive and living as a recluse in London.
Nicol's son, Howie, is a BAFTA-winning sound recordist.
Discography and performance history
1950s Choir boy at Honeywell Road School, Wandsworth, in London. The Boys Brigade (percussion). Army Cadet Military Band (percussion and xylophone). For a short time, Nicol also worked as a drum repairer for (UK) musical instrument distributor Boosey & Hawkes
1957/1958 Colin Hicks & The Cabin Boys (Colin Hicks is the younger brother of British rock 'n' roll star Tommy Steele). Singles:
* Pye 7N15114 Wild Eyes And Tender Lips / Empty Arms Blues -
* Pye 7N15125 La Dee Dah / Wasteland -
* Pye 7N15163 Little Boy Blue / Jamabalaya
1959/60 Vince Eager and the Quite Three. Jimmy on drums. Kenny Packwood/Colin Green, guitarists. Tex Makins, bass.
1960: Oscar Rabin Band. 1961: Cyril Stapleton Big Band. 1961-1963: session work (including jobs with musicians from the orchestras of Ted Heath and Johnny Dankworth).
1964: The Shubdubs Singles:
* Pye 7N15623 2/1964 Humpty Dumpty / Night Train
* Mar-Mar 313 1964 Humpty Dumpty / Night Train (US)
* Pye 7N15666 6/1964 Husky / Please Come Back
* Pye 7N15699 10/1964 Baby Please Don't Go / Shubdubery
1964 April / May: Georgie Fame and The Blue Flames.
June: The Beatles (temporary stand in for Ringo Starr)
* June 4, 1964: KB Hallen, Tivoli Gardens, Copenhagen, Denmark.
* June 5, 1964: Treslong, Hillegom, Holland, (recording TV show, VARA).
* June 6, 1964: Auction Hall (Veilinghal), Blokker, Holland.
* June 9, 1964: Princess Theatre, Kowloon, Hong Kong.
* June 12, 1964: Centennial Hall, Adelaide, Australia.
* June 13, 1964: Centennial Hall, Adelaide, Australia.
1964/1965: Jimmy Nicol & The Shubdubs (touring). Solo single as The Sound of Jimmy Nicol - Decca F12017
1965 (Sept) - 1967 (Feb) : The Spotnicks. In September 1965 joined the well-known Swedish guitar group The Spotnicks. He was also offered the drumming job for the musical West Side Story on the same day which he turned down. The Spotnicks rush-released a single, The Spotnicks Introducing Jimmy Nicol, titled Husky and Drum Diddley.
In 1967, Nicol lived in Mexico working with samba & bossa nova groups. He married and had a son, Howard, who in the 1990s was to win an award as sound engineer for his work on a BBC collection of Beatles recordings.
In 1969, he recorded "Jumpin' Jack Flash" (sung in Spanish) with his own band, "Jimmie Nicol Show." 1969 Discos Orfeon LP-E-12-623 (Mexico) (LP) Era Psicodelica Del A Go Go Jimmie Nicol Show: Jumpin' Jack Flash (Spanish)
Wikipedia
Friday, July 03, 2009
"Eight Days a Week" Lyrics
by John Lennon and Paul McCartney
As Released by the Beatles (1964)
Ooo I need your love babe
Guess you know it's true
Hope you need my love babe
Just like I need you.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week.
Love you every day girl
Always on my mind
One thing I can say girl
Love you all the time.
Hold me, love me
Hold me, love me
I ain't got nothing but love girl
Eight days a week.
Eight days a week I love you
Eight days a week is not enough to show I care.
Ooo I need your love babe
Guess you know it's true
Hope you need my love babe
Just like I need you, oh - oh.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week.
Eight days a week I love you
Eight days a week is not enough to show I care.
Love you every day girl
Always on my mind
One thing I can say girl
Love you all the time.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week
Eight days a week
Eight days a week.
As Released by the Beatles (1964)
Ooo I need your love babe
Guess you know it's true
Hope you need my love babe
Just like I need you.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week.
Love you every day girl
Always on my mind
One thing I can say girl
Love you all the time.
Hold me, love me
Hold me, love me
I ain't got nothing but love girl
Eight days a week.
Eight days a week I love you
Eight days a week is not enough to show I care.
Ooo I need your love babe
Guess you know it's true
Hope you need my love babe
Just like I need you, oh - oh.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week.
Eight days a week I love you
Eight days a week is not enough to show I care.
Love you every day girl
Always on my mind
One thing I can say girl
Love you all the time.
Hold me, love me
Hold me, love me
I ain't got nothing but love babe
Eight days a week
Eight days a week
Eight days a week.
November 3, 1968 - All My Loving
Aired: Sunday 3 November 1968
On May 23, 1968, Paul and Ringo were interviewed at Abbey Road for Tony Palmer's BBC Television Omnibus documentary on pop music called All My Loving.
On May 23, 1968, Paul and Ringo were interviewed at Abbey Road for Tony Palmer's BBC Television Omnibus documentary on pop music called All My Loving.
Outtake of the Week: "I'm A Loser" (Takes 4-7)
The Beatles work through "I'm A Loser" during sessions for Beatles For Sale. The take that followed (take 8) turned out to be the album version.
"Sally G" Lyrics
by Paul McCartney
As Released by Paul McCartney & Wings (1974)
Somewhere to the south of New York City
Lies the friendly state of Tennessee
Down in Nashville town I met a pretty
Who made a pretty big fool out of me
And they call her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
The nightlife took me down to Printers Alley
Where Sally sang a song behind the bar
I ran my eyes across her as she sang a tangled mime
I used to love to hear her sweet guitar
And they called her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
Me and Sally took up
Things began to look up
Me and her were going strong
Then she started lying
I could see our love was dying
I heard a voice say, "Move along, move along"
Well now I'm on my own again
I wonder if she ever really understood
I never thought to ask her what the letter "G" stood for
But I know for sure it wasn't good
And they call her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
Take it chaps
Sally G
Yeah, Sally G
As Released by Paul McCartney & Wings (1974)
Somewhere to the south of New York City
Lies the friendly state of Tennessee
Down in Nashville town I met a pretty
Who made a pretty big fool out of me
And they call her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
The nightlife took me down to Printers Alley
Where Sally sang a song behind the bar
I ran my eyes across her as she sang a tangled mime
I used to love to hear her sweet guitar
And they called her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
Me and Sally took up
Things began to look up
Me and her were going strong
Then she started lying
I could see our love was dying
I heard a voice say, "Move along, move along"
Well now I'm on my own again
I wonder if she ever really understood
I never thought to ask her what the letter "G" stood for
But I know for sure it wasn't good
And they call her Sally, Sally G
Why do you wanna do the things you do to me?
You're my Sally, Sally G
You took the part that was the heart of me, Sally G
Take it chaps
Sally G
Yeah, Sally G
Thursday, July 02, 2009
Beatle People: Doris Troy
Doris Troy (6 January 1937 – 16 February 2004) was an American R&B singer, known to her many fans as "Mama Soul."She was born Doris Higginson in The Bronx, the daughter of a Barbadian Pentecostal minister. Her parents disapproved of "subversive" forms of music like rhythm & blues, so she cut her teeth singing in her father's choir. She was working as an usherette at the Apollo where she was discovered by the "Godfather of Soul," James Brown.
Troy worked with Solomon Burke, The Drifters, Cissy Houston, and Dionne Warwick before she co-wrote and recorded "Just One Look," which hit #10 in 1963. The song has been covered by The Hollies, Linda Ronstadt, Bryan Ferry, Klaus Nomi, and Harry Nilsson, among others. As her solo career peaked, she did back-up for the Rolling Stones, Humble Pie, Kevin Ayers, Pink Floyd (on their seminal album Dark Side of the Moon), George Harrison, Dusty Springfield, Nick Drake, Junior Campbell and Carly Simon.
Doris worked in the UK throughout the 1970s, appearing at Ronnie Scott's Club and recording a live album (The Rainbow Testament). Her People records album Stretching Out showed her versatility, though it was not a seller.
Mama, I Want To Sing is a stage musical based on her life, and was co-written with her sister, Vy. It ran for 1,500 performances at the Heckscher Theatre in Harlem. Troy played her own mother, Geraldine. Chaka Khan played her Aunt in the London production, as did Deniece Williams. The musical has been reinterpreted as a motion picture, due for release in early 2009. The film's cast includes musicians Ciara, Ne-Yo, Bobby Valentino, Ralph Tresvant and Patti Labelle. Also starring is CSI: NY actor, Hill Harper.
Troy died from emphysema at her home in Las Vegas, Nevada, aged 67.
Wikipedia
"Clean Up Time" Lyrics
by John Lennon
Original Manuscript, Bermuda (July 1980)
Moonlight on the water
Sunlight on my face
You + me together
we are in our place
the Gods are in the heavens
the angels treat us well
the oracle has spoken
we cast the (perfect) spell
now it begins - let it begin
clean-up time
the Queen is in the counting house
counting out the money
the King is in the kitchen
making bread + honey
no friends + yet no enemies
absolutely free
no rats aboard the magic ship
of (perfect) harmony
now it begins
clean-up time
However far we travel
wherever we may roam
the centre of the circle
will always be our home
As Released by John Lennon (1980)
Moonlight on the water
Sunlight on my face
You and me together
We are in our place
The Gods are in the heavens
The angels treat us well
The oracle has spoken
We cast the perfect spell
The queen is in the counting house
Counting out the money
The king is in the kitchen
Making bread and honey
No friends and yet no enemies
Absolutely free
No rats aboard the magic ship
Of perfect harmony
Now it begins
Let it begin
Clean up time
Clean up time
Clean up time
Well, well, well
However far we travel
Wherever we may roam
The center of the circle
Will always be our home
Yeah, yeah
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Original Manuscript, Bermuda (July 1980)Moonlight on the water
Sunlight on my face
You + me together
we are in our place
the Gods are in the heavens
the angels treat us well
the oracle has spoken
we cast the (perfect) spell
now it begins - let it begin
clean-up time
the Queen is in the counting house
counting out the money
the King is in the kitchen
making bread + honey
no friends + yet no enemies
absolutely free
no rats aboard the magic ship
of (perfect) harmony
now it begins
clean-up time
However far we travel
wherever we may roam
the centre of the circle
will always be our home
As Released by John Lennon (1980)
Moonlight on the water
Sunlight on my face
You and me together
We are in our place
The Gods are in the heavens
The angels treat us well
The oracle has spoken
We cast the perfect spell
The queen is in the counting house
Counting out the money
The king is in the kitchen
Making bread and honey
No friends and yet no enemies
Absolutely free
No rats aboard the magic ship
Of perfect harmony
Now it begins
Let it begin
Clean up time
Clean up time
Clean up time
Well, well, well
However far we travel
Wherever we may roam
The center of the circle
Will always be our home
Yeah, yeah
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Clean up time
Wednesday, July 01, 2009
"Don't Pass Me By" Lyrics
by Richard Starkey
As Released by the Beatles (1968)
All right!
I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive.
Waiting for your knock, dear
On my old front door,
I don't hear it
Does it mean you don't love me any more?
I hear the clock a - ticking
On the mantelshelf
See the hands a - moving
But I'm by myself.
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more?
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair.
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
One, two, three, four, five, six, seven, eight.
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
As Released by the Beatles (1968)
All right!
I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive.
Waiting for your knock, dear
On my old front door,
I don't hear it
Does it mean you don't love me any more?
I hear the clock a - ticking
On the mantelshelf
See the hands a - moving
But I'm by myself.
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more?
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair.
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
One, two, three, four, five, six, seven, eight.
Don't pass me by, don't make me cry, don't make me blue
'cos you know, darling, I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by - don't make me cry.
With the Beatles
With The Beatles is The Beatles' second UK album, recorded four months after the band's first album and released on 22 November 1963 on Parlophone in mono (catalogue number PMC 1206) and stereo (PCS 3045.)The album features eight original compositions (including the first by George Harrison) and six covers, mostly of Motown and R&B hits. Most of the songs from the album were released in the United States as Meet The Beatles! on 20 January 1964, and the remaining that were not, were released on their next U.S. album, The Beatles' Second Album.
The LP had advance orders of a half million and sold another half million by September 1965 — making it the second album to sell a million copies in the UK (the first being the South Pacific soundtrack). It stayed at the top of the charts for 21 weeks, displacing Please Please Me, so that the Beatles occupied the top spot for 51 consecutive weeks. It even reached number eleven in the "singles charts" (because at the time UK charts counted all records sold, regardless of format).
In 2003, the album was ranked number 420 on Rolling Stone magazine's list of the 500 greatest albums of all time.
On 26 February 1987, With The Beatles was officially released on Compact disc (in mono only, catalogue number CDP 7 46436 2), as were three other of the Beatles' albums, Please Please Me, A Hard Day's Night, and Beatles for Sale. Having been available only as an import in the US in the past, the album was also issued domestically in the US on LP and cassette on 21 July 1987.
Along with all the other original UK studio albums, it will be re-released on CD in newly remastered versions on 9 September 2009 in stereo and mono editions. The expected 2009 remasters will replace the infamously poor quality 1987 remasters.
Track listing
All songs written and composed by Lennon/McCartney, except where noted.
Side one
# Title Length
1. "It Won't Be Long" 2:13
2. "All I've Got to Do" 2:04
3. "All My Loving" 2:09
4. "Don't Bother Me" (George Harrison) 2:29
5. "Little Child" 1:48
6. "Till There Was You" (Meredith Willson) 2:16
7. "Please Mister Postman" (Georgia Dobbins, William Garrett, Freddie Gorman, Brian Holland, Robert Bateman) 2:36
Side two
# Title Length
8. "Roll Over Beethoven" (Chuck Berry) 2:47
9. "Hold Me Tight" 2:32
10. "You Really Got a Hold on Me" (Smokey Robinson) 3:02
11. "I Wanna Be Your Man" 1:59
12. "Devil in Her Heart" (Richard P. Drapkin) 2:27
13. "Not a Second Time" 2:08
14. "Money" (Janie Bradford, Berry Gordy) 2:47
Personnel
The Beatles
* George Harrison – lead, harmony and background vocals; lead and acoustic guitars; handclaps; nylon-string acoustic guitar on "Till There Was You"
* John Lennon – lead, harmony and background vocals; rhythm and acoustic guitars; harmonica and handclaps; nylon-string acoustic guitar on "Till There Was You"; Hammond organ on "I Wanna Be Your Man" and tambourine on "Don't Bother Me"
* Paul McCartney – lead, harmony and background vocals; bass guitar and handclaps; piano on "Little Child" and claves on "Don't Bother Me"
* Ringo Starr – drums, tambourine, maracas, handclaps; lead vocals on "I Wanna Be Your Man" and Arabian loose-skin bongo on "Don't Bother Me"
Production
* Robert Freeman – cover photograph
* George Martin – arrangements, producer and mixer; piano on "You Really Got a Hold on Me", "Money (That´s What I Want)" and "Not A Second Time"
* Norman Smith: engineer and mixer
Sales chart positions
Singles
Billboard charts (North America) Year Song Chart Rank
1964 "All My Loving" Billboard Hot 100 45[citation needed]
1964 "Roll Over Beethoven" Billboard Hot 100 68[citation needed]
Released: 22 November 1963
Recorded: 18 July – 23 October 1963, Abbey Road Studios, London, United Kingdom
Genre: Rock and roll, pop, beat music
Length: 32:24
Language: English
Label: Parlophone
Producer: George Martin
Wikipedia
Bigger Than the Beatles: Liverpool's Mersey Beat Goes on
by Bill Harry
A fascinating and entertaining insight into the cultural phenomenon that was Merseyside in the 1960s. Featuring rare and exclusive photographs from the archives. Documents the success of Mersey Beat and beyond, from global superstars to hidden gems - a must for any music fan. AT the start of the Swinging Sixties, Liverpool was a remarkable place. A global music and fashion revolution was about to explode,inspired by a sound that was tagged by journalist, music promoter and author Bill Harry as 'Mersey Beat'. If you read the well-prepared script written by the publicists of the day, it was all about four lads who shook the world. The truth is that Liverpool was actually Bigger Than The Beatles. Liverpool was a hub of talent, and while the giant acts under the management of the legendary Brian Epstein swept all before them, the city was much more than Mersey Beat as we know it. There were more country and western groups than anywhere else in Britain, more folk groups, more soul singers, more black artists and more female artists. This book investigates the Liverpool scene and the people who inspired John, Paul, George and Ringo to believe anything was possible.
A fascinating and entertaining insight into the cultural phenomenon that was Merseyside in the 1960s. Featuring rare and exclusive photographs from the archives. Documents the success of Mersey Beat and beyond, from global superstars to hidden gems - a must for any music fan. AT the start of the Swinging Sixties, Liverpool was a remarkable place. A global music and fashion revolution was about to explode,inspired by a sound that was tagged by journalist, music promoter and author Bill Harry as 'Mersey Beat'. If you read the well-prepared script written by the publicists of the day, it was all about four lads who shook the world. The truth is that Liverpool was actually Bigger Than The Beatles. Liverpool was a hub of talent, and while the giant acts under the management of the legendary Brian Epstein swept all before them, the city was much more than Mersey Beat as we know it. There were more country and western groups than anywhere else in Britain, more folk groups, more soul singers, more black artists and more female artists. This book investigates the Liverpool scene and the people who inspired John, Paul, George and Ringo to believe anything was possible.
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