"Crying, Waiting, Hoping"

"Crying, Waiting, Hoping" is a song by Buddy Holly. It was released in 1959 as B-side to "Peggy Sue Got Married." There are actually three versions of Holly's recording in circulation: the 1959 commercial release, the 1964 reissue with different orchestration, and Holly's original, private home recording.

Recordings

The song was first recorded on December 14, 1958 by Holly (only himself with guitar) in apartment 4H of "The Brevoort", Fifth Avenue (Manhattan), Manhattan (many other sourced say apartment 3B). After Holly's death on February 3, 1959, his home recordings of his last six compositions were turned over to record producer Jack Hansen. Hansen hired studio musicians and a backup vocal group, the Ray Charles Singers, to augment Holly's vocal and guitar. The idea was to match the established sound of Buddy Holly and the Crickets as closely as possible.

"Crying, Waiting, Hoping" is technically the most successful of the six overdubs; it turned out so well that it was originally intended as the "A" side of a 45-rpm single. Holly wrote and recorded the song with pauses ("Cryin'... waitin'... hopin'... you'll come back"). Hansen ingeniously turned the solo into call-and-response verses, so the backup singers fill in the pauses with an "echo" of each word. (For a German reissue of this song, the producer took the "echo" idea literally, and played the Hansen recording in an echo chamber.)

Hansen's studio version of "Crying, Waiting, Hoping" was recorded on June 30, 1959 at Coral Records' Studio A, along with "Peggy Sue Got Married"). Both sides were released as Buddy Holly's first posthumous single. (The remaining four tunes on Holly's tape were re-recorded by Hansen and company in 1960. All six were issued on an album, "The Buddy Holly Story, Vol. 2.")

Holly's manager, Norman Petty, recorded his own versions of the last six Holly originals in 1964, using his own studio facilities and backup group, The Fireballs. Petty's versions differ from Hansen's versions in that there are no background vocals, and the melodies have new surf-guitar arrangements added to them.

The original, undubbed tape from 1958 has not seen widespread release but has circulated among collectors.

Covers

Because "Crying, Waiting, Hoping" was popular in England's Merseybeat-scene, the song was recorded by others, including a remake by The Beatles, with George Harrison doing the vocal and replicating studio guitarist Donald Arnone's instrumental bridge, note for note.

In 1987, Marshall Crenshaw portrayed Buddy Holly in the movie La Bamba, he is featured singing the song on what is supposed to be February 2, 1959, Buddy's final show before dying in the plane crash in the early hours of February 3rd, "the Day the Music Died". Crenshaw's version of "Crying, Waiting, Hoping" was produced by Garry Tallent and is featured on the original motion picture soundtrack.

B-side to "Peggy Sue Got Married" by Buddy Holly
Released: July 20, 1959
Recorded: December 14, 1958
Label: Coral C 62134
Writer: Buddy Holly
Producer: Jack Hansen

Wikipedia

Beatles News

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John Lennon on "Revolution 9"

"'Revolution 9' was to me like a sound picture, more an abstract sound picture, a montage of feelings in sound. It was really an unconscious vision of what happens, or what I think happens, when it happens. It was just like sketching a revolution in sound. I had about 30 or 40 tape loops going like we did with 'Tomorrow Never Knows,' and we fed them on to one track of the tape machine. That ominous voice repeating 'Number 9, Number 9' was one of these loops. It was some kind of an EMI test tape that I found in the library. I would cut up classical music tapes, all sorts of things from upstairs. We would make copies of the masters and chop them up into these loops and things. The others started losing interest in doing it, so that's why I'm credited with it. There are many symbolic messages going on in it, but it just happened. You know, cosmic meandering."

"You Can't Do That" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1964)

I got something to say
That might cause you pain
If I catch you talking
To that boy again.

I'm gonna let you down
And leave you flat
Because I told you before
Oh you can't do that.

Well, it's the second time
I caught you talking to him
Do I have to tell you one more time
I think it's a sin?

I think I'll let you down (let you down)
And leave you flat
(Gonna let you down and leave you flat)
Because I told you before
Oh you can't do that.

Everybody's green
'cos I'm the one who won your love
But if they'd seen
You talking that way
They'd laugh in my face.

So please listen to me
If you wanna stay mine
I can't help my feelings
I go outta my mind.

I'm gonna let you down (let you down)
And leave you flat
(Gonna let you down and leave you flat)
Because I told you before
Oh you can't do that - no!

You can't do that
You can't do that
You can't do that
You can't do that
You can't do that.

Everybody's green
'cos I'm the one who won your love
But if they'd seen
You talking that way
They'd laugh in my face.

So please listen to me
If you wanna stay mine
I can't help my feelings
I go outta my mind.

I'm gonna let you down (let you down)
And leave you flat
(Gonna let you down and leave you flat)
Because I told you before
Oh you can't do that.

Beatles News

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John Lennon on "Help!"

"I meant it--it's real. The lyric is as good now as it was then. It is no different, and it makes me feel secure to know that I was that aware of myself then. It was just me singing 'Help!' and I meant it.

"I don't like the recording that much; we did it too fast trying to be commercial. I like 'I Want to Hold Your Hand.' We wrote that together, it's a beautiful melody. I might do 'I Want to Hold Your Hand' and 'Help!' again, because I like them and I can sing them. 'Strawberry Fields' because it's real, real for then, and I think it's like talking, 'You know, I sometimes think no . . .' It's like he talks to himself, sort of singing, which I thought was nice."

"Wild Honey Pie" Lyrics

by John Lennon and Paul McCartney

Honey Pie, Honey Pie.

Honey Pie, Honey Pie.

Honey Pie, Honey Pie, Honey Pie, Honey Pie
I love you, yeah, Honey Pie, wuh!

"Cry for a Shadow"

"Cry for a Shadow" is an early Beatles instrumental. It was recorded on 22 June 1961 at the Friedrich-Ebert-Halle, Hamburg-Harburg, Germany while they were performing as Tony Sheridan's backup band for a few tracks. It was written by George Harrison with John Lennon as a parody of The Shadows style. (The Shadows, who backed Cliff Richard were the biggest British instrumental rock & roll group at the time of the recording.) It imitates the lead guitar with typical Hank Marvin licks, the melodic bass fills, and even has an imitation during the second middle 8 of the famous Jet Harris yell. It is the only Beatles track to be credited to Lennon and Harrison alone.

It was intended to be released as the b-side of "Why," another Sheridan song with The Beatles, but the record company chose to release another song instead. In early 1964, as The Beatles were gaining popularity, the record company Polydor decided to release it, with "Why" changed to the b-side. According to Bill Harry, editor of the Mersey Beat newspaper, "Cry for a Shadow"'s original title was "Beatle Bop."

It was also released in 1995 as part of the Anthology 1 compilation.

It is the only Beatles song to have been sold via iTunes Store, however the track has since been removed.

Personnel

* John Lennon – guitar
* Paul McCartney – bass
* George Harrison – lead guitar
* Pete Best – drums

B-side: "Why"
Released: 27 March 1964 (single), 30 November 1994 (Anthology 1)
Recorded: 22 June 1961
Genre: Rock
Length: 2:20
Label: Polydor
Writer(s): Harrison/Lennon
Producer: Bert Kaempfert

Wikipedia

Beatle People: George Smith

George Toogood Smith (1903–5 June 1955) was the maternal uncle, through marriage, of John Lennon. Smith operated his family's two dairy farms and a retail outlet with his brother, Frank Smith, in the village of Woolton, Liverpool. The farms had been in the Smith family for four generations, but after the start of World War II, they were taken over by the British Government for war work.

Smith started courting Mimi Stanley in the spring of 1932, but was thwarted by her indifference and her father's interference. After delivering milk to the hospital where she worked he gave her an ultimatum that she must marry him, "or nothing at all!" On 15 September 1939, she finally married him. They bought a semi-detached house called Mendips, named after the range of hills, at 251 Menlove Avenue, Liverpool.

Lennon lived with Smith and his wife for the majority of his childhood, and Smith taught the young Lennon to read, read him nursery rhymes at night, and later taught Lennon how to solve crossword puzzles. He also taught him to draw and paint and bought him his first mouth organ. Smith collapsed and died on a Sunday at his home of a liver haemorrhage, aged 52, and was buried in St Peter’s Church graveyard, Woolton.

Early years

George Toogood Smith's parents, Francis and Alice Smith, had eight children in total; Mary, Eleanor, Francis, Robert, Alice, George, Alfred and one other who died. Robert was killed in action on the 30th August 1918 in World War I. George's paternal grandmother's maiden name was Toogood which explains how George acquired his middle name. Alice Smith died in 1949.

Smith operated his family's two dairy farms and a shop with his brother Frank in the village of Woolton. The farms had been in the Smith family for four generations. Smith delivered milk by horse and cart in the Woolton area. The raw milk he provided was stored in a large churn and was ladled out into the bottles and receptacles of customers.

When other girls were thinking of marriage, Mimi Stanley talked of challenges and adventures. She once confided that she never wanted to get married, as she hated the idea of being "tied to the kitchen sink." She became a resident trainee nurse at the Woolton Convalescent Hospital, to which Smith delivered milk very morning. Smith started seriously courting Mimi in the spring of 1932, but was constantly thwarted by her indifference and her father's interference. George Stanley (Mimi's father) would only allow the couple to sit in the back room of the family home in Newcastle Road when he or his wife were in the front room, and before it grew too late he would burst into the back room and loudly order Smith home. The courtship lasted almost seven years, but Smith grew tired of waiting, so after delivering milk to the hospital one morning he gave her an ultimatum that she must marry him, "or nothing at all!" The youngest sister of the Stanley family, Julia Stanley, got married to Alfred Lennon nine months before, on 3 December 1938.

Marriage

On 15 September 1939, Mimi finally married Smith. They bought a semi-detached house called called Mendips (named after the range of hills) at 251 Menlove Avenue (across the road from the Allerton Park golf course) in a middle-class area of Liverpool. After World War II started the British Government took over the Smith family's farmland for war work, and they had to find other sources of income.

Menlove Avenue suffered extensive damage during the war, and Smith and his wife often had to throw a wet blanket on incendiary bombs that fell in their garden. Smith was called up for military service, but was discharged three years later, and subsequently worked in an aircraft factory in Speke until the end of the war. Smith later left the milk trade and started a small bookmaker's business, which led his wife to complain that Smith was a compulsive gambler, and had lost most of their money. During 1942–1943, Mimi's sister Julia lived with Lennon at The Dairy Cottage; 120a Allerton Road, Woolton, which was owned by the Smith family.

John Lennon

Lennon lived with Smith and his wife for the majority of his childhood when his mother Julia (under pressure from the local authorities, Mimi, and the Stanley family) was told that she was unable to care for her son. Julia was eventually forced to hand the care of Lennon over to Mimi and George, who had no children of their own. Lennon then lived continuously at Mendips, in the smallest bedroom above the front door. Lennon later talked about Mendips and the area around it: "I lived in the suburbs in a nice semi-detached place with a small garden and doctors and lawyers and that ilk living around... not the poor slummy kind of image that was projected in all The Beatles' stories."

Smith was very fond of Lennon, and his softer approach to parenting was in stark contrast to his stern wife, who based everything on decorum, honesty, and a black-and-white attitude; either you were good enough or you were not. Pete Shotton—Lennon's school friend—later commented that "Mimi had a very strong sense of what was right or wrong." In contrast, Smith used to give the young Lennon "squeakers" (kisses) that his wife did not approve of.

Smith taught the four-year-old Lennon to read by reading out loud the headlines of the Liverpool Echo, read him nursery rhymes at night, and later taught Lennon how to solve crossword puzzles. Smith told Lennon that words did not have to be taken at face value, as they had many different meanings, which Lennon would later use in his writing. He also taught Lennon to draw and paint and bought him his first mouth organ. Mimi admitted that she never had the time to "go playing ducks in the bath with him" (Lennon) but that Smith would put Lennon to bed nearly every night. Mimi later said: "John [Lennon] loved his uncle George. I felt quite left out of that. They'd go off together, just leaving me a bar of chocolate and a note saying: 'Have a happy day.'"

Smith often took Lennon and his cousins to the cinema or the park, even though he worked at night and early in the morning on the farm and his milk round. When the cousins played outside Smith allowed them to eat meals with their hands in the garden shed. During the school holidays Lennon and his cousins were allowed to accompany Smith on his milk rounds, and every year he allowed Lennon to place a bet on the Grand National.

Death

Smith collapsed on a Sunday at home of a liver haemorrhage (aged 52) and was buried in the graveyard of St. Peter's Church, Woolton, Liverpool, in the Smith family grave.

At the time of Smith's death, the fourteen-year-old Lennon was visiting members of the Stanley family in Sango Bay, Durness, Scotland, and was not informed until he returned home. Lennon's first reaction was to laugh hysterically, but then to privately grieve and cry, as he later did after hearing about the death of his mother three years later, and the death of Stuart Sutcliffe (The Beatles' first bass player) which were all major factors in Lennon's early life. In the same year as Smith’s death the McCartney family moved to 20 Forthlin Road, which is only ¾ of a mile (1.2 km) from Mendips. Lennon would later meet Paul McCartney for the first time at St. Peter's Church, where Smith was buried.

After Smith's death, Lennon insisted on wearing a large overcoat that had belonged to Smith, and even though it became worn and threadbare, Lennon wore it throughout his art college years. Mimi never used the downstairs sitting rooms again after Smith's death (only using the breakfast room and the kitchen) and never replaced the furniture, which became old and faded. Lennon continued to live at Mendips (and also for a time with his first wife Cynthia Lennon) until his early 20s, before moving to London.

When Lennon was living in America he asked his half-sister, Julia Dykins, to send the clock that was previously in the living room at Mendips, that had Smith's name (George Toogood Smith) inscribed onto a metal plate on the back. In Lennon's last published interview, he said: "This image of me being an orphan is garbage, because I was well protected by my auntie and uncle [Smith and Mimi] and they looked after me very well, thanks."

Wikipedia

Beatles News

• Meet the Beatles! Boxcar 2-Pack (Lionel)
• Paul McCartney: In response to today's article in The Mirror (BeatlesNews.com)
• Julian Lennon Returns to His Musical Roots (CBS News)
• State artists make Beatles' music their own (Post Bulletin)
• Beatles tribute band plays Port (Canada.com)
• Hot Gift: The Beatles USB Green Apple Limited Edition (I4U)
• From the archive: What is a Beatle? (guardian.co.uk)
• Rock of Ages: Inspired by The Beatles, Kevin Teare shows us where we've been (The Sag Harbor Express)

"Why Don't We Do It In The Road?" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1968)

Why don't we do - do it in the road?
Why don't we do it in the road? (ah-ha)
Why don't we do it in the road? - mmm
Why don't we do it in the road?
No-one will be watching us
Why don't we do it in the road?

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

Well, why don't we do it in the road?
Why don't we do it in the road?
Why don't we do - do it, do it in the road?
Why don't we do it, yeah, in the road?
No-one will be watching us
Why don't we do it in the road?

George Harrison's Thoughts on LSD

"Although we've been identified a lot with hippies, especially since all this thing about pot and LSD's come out, we don't want to tell anyone else to have it because it's something that's up to the person himself. Although it was like a key that opened the door and showed a lot of things on the other side, it's still up to people themselves what they do with it.

"LSD isn't a real answer. It doesn't give you anything. It enables you to see a lot of possibilities that you may never have noticed before, but it isn't the answer. You don't just take LSD and that's it forever, you're okay.

"A hippie is supposed to be someone who becomes aware--you're hip if you know what's going on. But if you're really hip you don't get involved with LSD and things like that. You see the potential that it has and the good that can come from it, but you also see that you don't really need it.

"I needed it the first time I ever had it. Actually, I didn't know that I'd had it, I'd never heard of it then. This is something that just hasn't been told. Everybody now knows that we've had it but the circumstances were that somebody just shoved it into our coffee before we'd ever heard of the stuff. So we happened to have it quite unaware of the fact.

"I don't mind telling people I've had it. I'm not embarrassed. It makes no difference because I know that I didn't actually go out and try to get some.

". . . It can help you to go from A to B, but when you get to B, you see C. And you see that to get really high, you have to go it straight. There are special ways of getting high without drugs--with yoga, meditation, and all those things. So this was the disappointing thing about LSD.

"In the physical world we live in, there's always duality--good and bad, black and white, yes and no. Whatever there is, there's always the opposite. There's always something equal and opposite to everything, and this is why you can't say LSD is good or it's bad because it's good and it's bad. It's both of them and it's neither of them all together. People don't consider that."

John Lennon's Record Collection: Bob Dylan - Positively 4th Street

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• The Beatles Tribute Cruise: tickets are selling out fast (Examiner.com)
• Beatles music for exercising, meditating or just plain listening (Examiner.com)
• Paul McCartney - Day Tripper (ClashMusic.com)
• Photos document life with Harrison, Clapton (ABC Online)

John Lennon on "I Don't Want to Spoil the Party"

"That was a very personal one of mine. In the early days I wrote less material than Paul because he was more competent on guitar than I. He taught me quite a lot of guitar, really."

"When I Get Home" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1964)

Whoa-oh-aah, whoa-oh-aah
I got a whole lot of things to tell her
When I get home.

Come on, out my way
'cos I'm a - gonna see my baby today
I got a whole lot of things I gotta say to her.

Whoa-oh-aah, whoa-oh-aah
I got a whole lot of things to tell her
When I get home.

Come on if you please
I got no time for triviality
I got a girl who's waiting home for me tonight.

Whoa-oh-aah, whoa-oh-aah
I got a whole lot of things to tell her
When I get home.

When I get home tonight
I'm gonna hold her tight
I'm gonna love her till the cows come home
I bet I'll love her more
Till I walk out that door again.

Come on, let me through
I got so many things I gotta do
I got no business being here with you this way.

Whoa-oh-aah, whoa-oh-aah
I got a whole lot of things to tell her
When I get home.

I got a whole lot of things to tell her
When I get home.

Abbie Hoffman on John Lennon

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• New York Branch Of Rock & Roll Hall Of Fame To Close In January (AHN)
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"Cry Baby Cry"

"Cry Baby Cry" is a song by The Beatles from their self titled album, more commonly known as The White Album. "Cry Baby Cry" is the final song on the album featuring the group's instrumental presence. Inspirations for the song included an advertisement and an old nursery rhyme that John Lennon remembered from his youth, "Sing A Song Of Sixpence."

The song features a brief segment, written by Paul McCartney often referred to as "Can You Take Me Back."

History

When asked about "Cry Baby Cry" in 1980, Lennon replied, "Not mine. A piece of rubbish." The "Not mine" part is either a mistake in Lennon's memory, an error in the transcription of the interviewer's audio tape of the interview, or Lennon sarcastically disowning the song. Paul McCartney said, "'Cry Baby Cry' was another of John's songs from India," although demos of the song indicate it was written in late 1967, before the Beatles went to India.

The original lyrics were "Cry baby cry, make your mother buy." Lennon describes to Hunter Davies how he got the words from an advertisement. The "Duchess of Kirkcaldy" mentioned in the song was a creation of Lennon's, possibly inspired by the Beatles' gig in the town of the same name in 1963.

George Martin plays harmonium on this track (introduced after the first statement of "make your mother sigh." This was the same harmonium Lennon used on "We Can Work It Out" and that Martin had previously used on "The Word."

This was the song the Beatles were working on when engineer Geoff Emerick quit, though his departure was precipitated by Lennon and McCartney's obsessions over the recordings of "Revolution" and "Ob-La-Di Ob-La-Da," respectively, and the overall tensions of the White Album sessions.

Can You Take Me Back

"Cry Baby Cry" includes a very short unrelated song performed by McCartney, whose most prominent line is "Can you take me back?" appearing directly before "Revolution 9." This separate song does not appear in the lyrics included with the album. For many years, the origins of the fragment were unknown, but Mark Lewisohn uncovered the truth for his book, The Beatles Recording Sessions. Lewisohn revealed that "Can You Take Me Back" is actually part of "take 19" of Paul's song, "I Will," recorded on September 16, 1968. According to Lewisohn, the full take lasted 2:21, and just a fragment was included on the LP. Immediately following this track, a short and barely audible conversation takes place between producer George Martin and Alistair Taylor, Brian Epstein’s personal assistant. Taylor is apologizing to Martin, apparently for neglecting to bring a bottle of wine for him to the session. At the end of "Come Together" on the Love soundtrack, the song segues into "Can You Take Me Back," backed by the "Eleanor Rigby" strings.

The entire version of the song is featured on several bootlegs.

Personnel

* John Lennon – vocals, acoustic guitar, piano, organ
* Paul McCartney – bass
* George Harrison – lead guitar
* Ringo Starr – drums, tambourine
* George Martin – harmonium

"Can You Take Me Back"

* Paul McCartney – vocals, acoustic guitar

Cultural references

* The song is referenced in a line from the Firefly episode "Serenity."

Cover versions

* Ramsey Lewis recorded an instrumental version of this song on his 1968 album Mother Nature's Son.
* Fools Garden covered this song on their first album Once in a Blue Moon in 1993.
* Samiam covered this song on their 1997 album, You Are Freaking Me Out.
* Tom Freund recorded a version on his 1998 album North American Long Weekend.
* Live covers by Phish are available on the Hampton Comes Alive box set and Live Phish Volume 13.
* Richard Barone has a live version of this song on his album Cool Blue Halo.
* Bardo Pond covered this song on their album Ticket Crystals.
* Throwing Muses include a version of this song on the Not Too Soon EP, having already recorded their own song, with the same title, on the Chains Changed EP.
* Katie Melua included a version of this song on her single "Spider's Web."

Album: The Beatles
Released: 22 November 1968
Recorded: Abbey Road Studios, 16 July 1968
Genre: Rock
Length: 3:03
Label: Apple Records
Writer: Lennon/McCartney
Producer: George Martin

Wikipedia

Testimony of Harry Nilsson, Executive Committee Members, National Coalition to Ban Handguns

Testimony of Harry Nilsson
Executive Committee Member
National Coalition to Ban Handguns
Before the Subcommittee on Crime
Committee on the Judiciary
United States House of Representatives

February 24, 1988

Mr. HUGHES. Mr. Nilsson.

Mr. NILSSON. Thank you very much, Mr. Chairman.

I would first like to say I am very honored to be here. I would like to compliment Mrs. Brady for her courage and also her responsibility in taking care of her duties as a citizen. I am here for the same purpose.

I am Harry Nilsson and am speaking today on behalf of the National Coalition to Ban Handguns as a member of its executive board.

Although I primarily speak for the 33 religious, professional and civic organizations which make up the coalition, I have a personal commitment to ending handgun violence in America. I was always concerned about the issue, but became deeply involved with the coalition 7 years ago when my dear friend, John Lennon, became yet another victim.

Today you are hearing testimony on a bill that would be a first important step toward reducing handgun violence in this country. I urge you to support the strictest possible legislation mandating a waiting period and background check.

There are two House bills that deal with waiting periods. Although today's focus may be on H.R. 975, I urge you not to overlook too quickly the merits of H.R. 155, which calls for a 15-day waiting period and mandatory background check.

In California, where I live, there is a 15-day waiting period before the purchase of every handgun, which makes California's laws among the strictest in the country. Any Federal law that is passed should be at least as strict as the strictest State law already in effect. As California is the most populated State in the country, representing 11 percent of the entire U.S. population, the State's strict waiting period law should serve as a model of the minimum acceptable Federal standard.

This standard will vastly improve laws of many States that have lesser or no waiting periods, such as Mrs. Brady pointed out. In fact, there are several States with waiting periods already in effect that are more strict than H.R. 975 proposes. In total, more than 68 million people, or 28 percent of the U.S. population, already live in States or cities that have stricter laws than what is proposed in the 7-day waiting period bill.

A 15-day waiting period allows law enforcement time to complete a more thorough background check. Law enforcement officials in States with 7-day waiting periods have let us know that this time frame affords only sufficient time to complete a computer check for felony convictions. It is wholly insufficient to permit a check of whether the applicant is a member of another prohibited class, for instance, whether the applicant has ever been adjudicated mentally incompetent. Most importantly, a 15-day waiting period is but a minor inconvenience to lawful purchasers.

On this point, you have undoubtedly heard from the gun lobbyist that law-abiding citizens will be left without protection, vulnerable to criminal attack for the duration of any waiting period. The reality is a handgun is not a useful self-defense weapon. FBI figures show that only 193 people used a handgun to kill an assailant in self-defense in 1986. In stark contrast 22,000 Americans lost their lives to handgun violence in 1986.

I do not wish to convey the impression that the California law has been the solution to the problem of handgun violence in our State. California still has a significant problem with handgun violence with the freeway shootings and recent gang violence, but the 15-day waiting period has stopped thousands of prohibited persons from purchasing handguns, and it also serves as a "cooling-off" period for those who might buy a handgun in the heat of anger and use it impulsively.

The national legislation you are considering today is important in several respects. It will serve to reinforce State laws by setting a national, uniform minimum waiting period. Some of the problems with handgun violence experienced by States with meaningful waiting periods are caused by less stringent regulation in nearby States, as also was pointed out earlier, Virginia and DC, as examples. It is easy to see why we need a national standard. It is not asking a lot when you consider some of the statistics--54,000 persons lost their lives in 1963 to 1973 in Vietnam while 84,000 Americans lost their lives here with handguns. We barely blinked.

A meaningful waiting period and mandatory background check is only the first step in acting to reduce the shameful level of handgun violence afflicting our Nation today. The only real solution to the problem is a complete ban on the private possession of handguns with exceptions for law enforcement, trained security personnel, target shooters who keep their guns at a controlled target range and collectors who disable their weapons.

Only then will America begin to be free of the disease that has claimed the lives of 500,000 Americans since 1968. Only then will we not have to suffer the violent and senseless loss of our friends and families. I don't think I'm overstepping the bounds of friendship when I paraphrase John Lennon: "Imagine there's no handguns. It isn't hard to do."

After listening today, I wonder. It is hard to do. Imagine the 15-day waiting period. That isn't so hard to do. Fifteen days isn't asking too much. Seven may be asking not enough. I thank you very much.

Mr. HUGHES. Thank you very much, Mr. Nilsson.

[...]

Mr. LAWRENCE SMITH. Thank you, Mr. Chairman.

Mrs. Brady and Mr. Nilsson, I sat through a lot of testimony today and you sat through it before, and you have heard it before. I hope it doesn't strike you as any more difficult to swallow than it was previously, in previous times or previous years, especially the testimony of the people who were on the last panel.

I find it odd that they continue to use statistics the way they want. You give us statistics referencing all the people that have been killed and they give us statistics that don't bear any relation to that at all, and it is amazing how one can juggle all the statistics and somehow in the capability to juggle, lose all these dead bodies.

That is what they are. They are just dead bodies and those over half million since 1968 represent not only dead people, but broken families, broken lives, economic loss of an incredible nature. I find it difficult to hear constantly that argument--"Well, maybe we don't have enough assets."

I haven't the faintest idea, couldn't even postulate on how much more it cost the U.S. Government and the taxpayers for these half million deaths and lost earnings capacity, welfare, which may have had to have been paid afterwards, social security benefits and the likes of the people killed than it would have cost to check all these background forms that might have to be filled out if there was a waiting period and some kind of background check.

I am going to congratulate you for your courage. Mrs. Brady, you have been here before. I am sure that you are frustrated. I am sure that you feel that there are a lot of good people in this country whose will is being thwarted by a small but significant minority.

I feel the same way. Mr. Nilsson, you have lost a friend. I have lost friends. Many of us have been touched with this crime. And I don't know, I really don't know what to do about it anymore. I am almost at a loss. Unless this Congress can throw off the yoke of the NRA, which most of Americans don't subscribe to anyway, over 96 percent of Americans don't, then I don't know how we are ever going to pass this legislation, and I am curious how you think we are going to generate the kind of support we need.

Are we going to be able to get good people out there once and for all to wake up and write letters or do they have to wait around until one of their family members gets maimed or killed. I don't know. I am as frustrated as you are.

Mr. NILSSON. Certainly. I am---

Mr. LAWRENCE SMITH. Anybody that can make an album called "Nilsson Schmilsson," has got to be one of the better people. I have it, too.

Mr. NILSSON. I like the name, "Mr. Smith Goes to Washington." I am as frustrated as anyone when I hear the talk about what does it cost. Yes, it will cost something, but what is a human life worth? Twenty-two thousand a year is--it can't cost that much if you pro rate or amortize that cost in terms of saving those lives and the broken families.

I also had a family member commit suicide with a handgun and two of my other friends also died because of handguns. Accessibility of handguns is the problem. Organizations for banning them, not confiscating them, banning the future manufacturers, interstate transportation, importation of guns and their parts, specifically plastic guns we talked about earlier, Glock 17's, which have no purpose on earth than to take human life.

How are we going to get it done? We do write letters and talk to each other. I think the best way is to expose the four people here before us and the rest of the country and see what they see when they listen to that lecture.

Glyn Johns on the Let It Be Sessions

"The Let It Be project was originally to be a television show. The idea was that the Beatles would meet at Twickenham Film Studios and rehearse the material for the show. They would actually shoot them rehearsing the songs and I was there to record them. The songs were all new, and there was to be a live album of the show released. A documentary film was to be made of the making of the show, and that ended up being the movie called Let It Be that was shown in the cinema. It was an abortion of a film if I ever saw one. Anyway, that's neither here nor there. There was a very lengthy rehearsal period during which George Martin had very little reason to be there. He'd phone in and say hello every now and then. I was left entirely to my own devices and, in fact, was used by the band as the producer in George's absence. I found it quite embarrassing, because as far as I was concerned, George Martin was their producer. He was extremely charming about the whole thing and seemed to understand, so there was no friction between us whatsoever.

"We eventually realized the TV show wasn't going to happen. Basically the Beatles changed their minds about the TV show. So we got two-thirds of a documentary film made with no finish to it. Meanwhile the Beatles were in the process of building a recording studio at their new offices on Savile Row, and it was decided we would move over there. It had never been used and was literally just a room in which the carpet was laid the day before we went in.

"We borrowed some equipment from EMI - their spare remote equipment - stuck it in the control room, and moved there from the Twickenham sound stage. The idea was that the Beatles would continue to rehearse, which was exactly what they did. The rehearsals in Savile Row were the first time I actually had any equipment. All the vocals were live, and I recorded most of what went on. I was incredibly impressed with what happened during those rehearsals. Apart from anything else, there was a lot of rather negative publicity about the band at that time. However, they were in extremely good spirits and extremely amusing. I don't think they were aware of it themselves.

"Anyway, I sat in my control room and was blown away by what was going on, particularly after their paranoia about their ability to actually play live was displayed to me on several occasions. One night I took a couple of reels of the eight-tracks away with me to Olympic Studios and mixed two days of rehearsals with a lot of chat and humor and so on. I thought it would make the most incredible Beatles album ever, because it was so real. If you cast your mind back to 1969, they were totally untouchable. They were on pedestals 90 feet high and they were superhuman. So here they were being perfectly ordinary, very amusing, and quite capable of just sitting down and playing normally. So I put it together and gave a copy to each Beatle the following day and said, 'This is just an idea, so take this away and listen to it and see what you think.' And it was very rough indeed. I had just put bits and pieces together. The next morning they all came back and said, 'No, it's a terrible idea. Forget about it.' Each of them individually. So I thought no more about it. We finished the sessions and I went off to America to work with Steve Miller or somebody.

"Then I returned to England. Several weeks went by and I got a call from Paul, asking me to meet him and John at EMI, which I duly did. I walked into the room and they said, 'Remember that idea that you had?' I said yes. There was a big pile of tapes in the corner of the room, so they said, 'Well, there are the tapes. Put them in your car. Take them away and do the album as you want to do it.' So I said, 'What are you saying? That you want me to make the album entirely on my own, without you lot even being there?' They said yes. That's quite extraordinary when you think about it.

"Now, I have to tell you, I don't know that they did that because of their confidence in me. I think possibly it was because they were pretty disinterested in the project. Anyway, I took the tapes away, very excited, as you can imagine. I was thrilled about it. I made the album and I'm extremely proud of it. Always have been. Everybody thought the album was wonderful. I presented it to them in the same manner that I'd done the first idea, and it went down very well. I asked each member of the band if I could have a production credit on the record, since clearly I had produced it, and they all agreed to that. As far as we were concerned, it was going to be released immediately. It wasn't, because Allen Klein wanted to hold the album until the film had been finished, and the film took something like a year to straighten out.

"By this time we had actually started work on Abbey Road. Then the Beatles broke up, Allen Klein got involved, and it was all extremely unsavory. McCartney and Lennon fell out. Everybody went their separate ways, including me, of course."

"What You're Doing" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1964)

Look ((look)) what you're doing
I'm ((I'm)) feeling blue and lonely
Would it be too much to ask of you
What you're doing to me?

You ((you)) got me running
And ((and)) there's no fun in it
Why should it be so much to ask of you
What you're doing to me?

I've been waiting here for you
Wondering what you're gonna do
'n' should you need a love that's true, it's me.

Please ((please)) stop your lying
You've ((you've)) got me crying, girl
Why should it be so much to ask of you
What you're doing to me?

I've been waiting here for you
Wondering what you're gonna do
'n' should you need a love that's true, it's me.

Please ((please)) stop your lying
You've ((you've)) got me crying, girl
Why should it be so much to ask of you
What you're doing to me?
What you're doing to me?
What you're doing to me?

Pictures of Pattie Boyd

Beatles News

• Rock Band don't come easy even if you're a Beatle (BeatlesNews.com)
• Beatle news briefs: Ringo All-Starr Band tour; Macca booed; 'Nowhere Boy' wins (Examiner.com)
• Rock Hall of Fame to Close New York Annex (Aversion)
• What if the Beatles never broke up? (guardian.co.uk)
• 'Breakfast With the Beatles' show information for Dec. 6 (Updated) (Examiner.com)
• Yesterday Beatles Tribute Show Band Is An Atlantic City Favorite, Bringing The Crowds Back Again and Again (Top40-Charts.com)
• 'Nowhere Boy' a 'multi-faceted' portrait of John Lennon - a review by Richard Porter (Examiner.com)
• The Beatles: Rock Band (MyADSL)

John Lennon on "I Feel Fine"

"I wrote this at a recording session. It was tied together around the guitar riff that opens it."

"What Goes On" Lyrics

by John Lennon, Paul McCartney and Richard Starkey

As Released by the Beatles (1965)

What goes on in your heart? (wuh)
What goes on in your mind?
You are tearing me apart
When you treat me so unkind.
What goes on in your mind?

The other day I saw you as I walked along the road
But when I saw him with you I could feel my future fold.
It's so easy for a girl like you to lie.
Tell me why.

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind.
What goes on in your mind?

I met you in the morning waiting for the tides of time
But now the tide is turning I can see that I was blind.
It's so easy for a girl like you to lie.
Tell me why (tell me why).

What goes on in your heart?
(Wuh)
(What goes on in your mind?)

I used to think of no-one else but you were just the same
You didn't even think of me as someone with a name.
Did you mean to break my heart and watch me die?
Tell me why.

What goes on in your heart?
What goes on in your mind?
You are tearing me apart
When you treat me so unkind.
What goes on in your mind?
In your mind.
In your mind.

"Come Together"

"Come Together" is a song by The Beatles written primarily by John Lennon and credited to Lennon/McCartney. The song is the lead-off track on The Beatles' September 1969 album Abbey Road. One month later it also appeared as one of the sides of the group's twenty-first single (it was a double A-side, the other side being George Harrison's "Something") in the United Kingdom, their twenty-sixth in the United States. The song reached the top of the charts in the U.S., while becoming a Top 10 hit in the UK.

Origin

The song's history began with Lennon writing a song for Timothy Leary's failed gubernatorial campaign in California against Ronald Reagan, one which promptly ended when Leary was sent to prison for possession of marijuana.

Lawsuit

"Come Together" was the subject of a lawsuit brought against Lennon by Chuck Berry's music publisher, Morris Levy, because one line in "Come Together" closely resembles a line of Berry's "You Can't Catch Me": (i.e., The Beatles' "Here come ol' flattop, he come groovin' up slowly" vs. Berry's "Here come up flattop, he was groovin' up with me"). After settling out of court, Lennon promised to record three other songs owned by Levy. "You Can't Catch Me" and "Ya Ya" were released on Lennon's 1975 album Rock 'n' Roll, but the third, "Angel Baby," remained unreleased until after Lennon's death. Levy again sued Lennon for breach of contract, and was eventually awarded $6,795.

Recording

Lennon played rhythm guitar in addition to singing the vocal. It was produced by George Martin and recorded at the end of July 1969 at Abbey Road Studios. Lennon says "shoot me" while Paul McCartney covers it up with a bass riff. The famous Beatles "walrus" from "I Am the Walrus" and "Glass Onion" returns in the line "he got walrus gumboot," followed by "he got Ono sideboard." Bluesman Muddy Waters is also mentioned in the song.

Release and acclaim

"Come Together" was released as a double A-side with "Something" and as the opening track of Abbey Road.

For a time, the song was banned by the BBC, as they believed the song's reference to "shoot[ing] Coca-Cola" could be construed as either a cocaine reference or an advertisement.

Rolling Stone ranked "Come Together" at #202 on their list of the 500 Greatest Songs of All Time.

On the compilation album Love, "Come Together" is the 19th track. Sections of "Dear Prudence" and "Cry Baby Cry" fade in at the end of the track.

The song is used in the film A Bronx Tale during the fight scene at Sonny´s bar. It also serves as a recurring motif in the Nora Roberts' novel Public Secrets, a story about a 1960s rock band (not unlike The Beatles) and their rollercoaster journey through 3 decades of rock music as told through the eyes of the lead singer's daughter.

Personnel

* John Lennon: lead and backing vocals; rhythm guitar; electric piano; hand-claps and tambourine.
* Paul McCartney: bass.
* George Harrison: lead guitar.
* Ringo Starr: drums and maracas.

Covers

American hard rock band Aerosmith performed one of the first and most successful cover versions of "Come Together." It was recorded in 1978 and appeared in the movie and on the soundtrack to the film Sgt. Pepper's Lonely Hearts Club Band, which the band also appeared in. The single was an immediate success, reaching #23 on the Billboard Hot 100, following on the heels of a string of Top 40 hits for the band in the mid-1970s. However it would be the last Top 40 hit for the band for nearly a decade.

A rare live demo of the song was also released months later on Aerosmith's live album Live! Bootleg. The song was also featured on Aerosmith's Greatest Hits, the band's single-disc compilation released in 1980. The song has also surfaced on a number of Aerosmith compilations and live albums since then, as well as on the soundtrack for the film Armageddon.

The Aerosmith version is still frequently heard on mainstream and album rock radio stations. Aerosmith still occasionally performs "Come Together" in concert.

Since 2006, New Zealand telecommunications company Telecom used a cover of this song for its "Come Together" campaign.

The song has since become one of the most covered songs of all time:

* Eurythmics covered the song in 1987, but it was not released until 2005 as a Bonus Track on the digitally remastered version of Savage.
* Mystic Siva,an American psychedelic rock band covered the song on their album "Under The Influence" (1969-70)
* Labyrinth covered the song on their album "6 Days to Nowhere" released 2007
* Tina Turner covered the song for the 1976 ephemeral musical documentary All This and World War II. Prior to that,her cover was featured on her and then husband's Ike's album of the same name. This version peaked at #57 on the U.S. Hot 100 and #21 on the R&B charts in 1970.
* Do As Infinity performed a live cover of a metal version of the song in Japan during a Beatles celebration event.
* Michael Jackson, who owns the rights to the song, also covered "Come Together" for the concert film Michael Jackson: Moonwalker. A different recording (essentially the same version in a different key) appears on Jackson's studio album, HIStory.
* Axl Rose and Bruce Springsteen later played "Come Together" before John Lennon's induction into the Rock n' Roll Hall of Fame in 1994.
* Soundgarden covered the song on the "Hands All Over" single, giving it a very grunge sound. The band's cover also appeared on its Loudest Love EP.
* Robin Williams and Bobby McFerrin recorded a unique version for the Beatles tribute album In My Life in which McFerrin performs the characteristic bass and guitar intro with his voice, and Williams sings
* Noel Gallagher and Paul Weller played with Paul McCartney on a version of the song for the 1995 HELP charity record, under the name The Smokin' Mojo Filters. This version made #19 on the British chart in December. In 2005 Weller recorded a new version of the song as part of a double-a side single.
* The Lynne Arriale Trio recorded a jazz version of the song, which was the title track of their album Come Together
* Sugababes covered the song as a B-Side for their single, "Ugly".
* There is also an instrumental version by Marcus Miller on his album Tales.
* Elton John covered the song as a tribute to Lennon during his "One Night Only: The Greatest Hits" concert.
* Victoria Beckham and Damon Dash sampled the song as an intro to one of Dash's mixtapes.
* Enrique Bunbury made a cover of the song and published it in his 1997 single "Planeta Sur".
* Craig David, performed a live version on Top of The Pops 2 in 2003.
* The Supremes (post-Diana Ross) covered the song on their 1970 album, New Ways But Love Stays.
* Chairmen of the Board covered the song and is on one of their first LPs.
* Toxic Audio covered the song on their album Captive Audience.
* Diana Ross covered the song on her 1970 album Everything Is Everything.
* The Punkles did a Punk cover version on their fourth album "For Sale".
* Tom Jones released a live version of "Come Together" on his album Reload, albeit with a new, faster arrangement.
* The Brothers Johnson released a cover of the song on their 1976 album Look Out For #1, altering the bass-line in their mid-tempo funk rendition that also includes a harmonica/guitar solo.
* Hip hop group The Roots sampled this song on their 2006 Best of The Roots mixtape produced by J. Period. The chorus of the song is repeated clips of Lennon singing "one thing I can tell you is you've got to be free," and "come together, over me."
* The band Gotthard recorded "Come Together' on their 1994 album Dial Hard.
* Marilyn Manson performed a cover of "Come Together" at the release party for Portrait of an American Family.
* The jazz-funk band Defunkt covered "Come Together" on the 1992 album Downtown Does the Beatles Live at the Knitting Factory.
* The rock band Zero Nerve Response frequently covers this song live using "Drop D" guitar/bass tuning, giving the song a unique low rumble.
* Zakk Wylde's band Pride and Glory covered this song on their album "Pride & Glory".
* The John Butler Trio also covered the song while touring, never released.
* The Cool Calm Collective regularly play 'Come Together' in live performances.
* A segment of this song was used to close several commercials for Nortel Networks. One version of the commercial featured a businessman reciting the song, omitting the lines "He one holy roller" and "He shoot Coca-Cola."
* "Come Closer Together," an unauthorized mashup of Nine Inch Nails's "Closer" with "Come Together" is widely available on YouTube and other Internet sites.
* The Plague recorded the song in the late 1970s. It remained unreleased until their compilation album "The X Tapes" was released in 2005.
* Christos Dantis remixed and covered the song on his 1994 album 4.
* Joe Cocker covers the song on the 2007 soundtrack to the film Across the Universe.
* Barbara Feldon performed a version of the song while rolling around on a water-bed in an episode of The Marty Feldman Comedy Machine in 1971.
* Pop-Rock singer, Carly Smithson, performed "Come Together" on American Idol season 7 top 12 contestants as her selection for the first Beatles-themed week.
* Michael Hedges released his version on the 1987 album, Live on the Double Planet.
* Shalamar covered the song in a distinctly 90s R&B style on their 1990 album "Wake Up".
* Milwaukee alt-rock band The Gufs like to play the song towards the end of live performances.
* Boris Grebenshchikov & Joanna Stingray released their version and its video in the 90s.
* Bob Weir and Ratdog have also covered the song while touring.
* Mookie Morris from Canadian Idol Season 6 performed this song on "Beatles/Judges Choice" Night. He was eliminated the next night and after performing the song again, he smashed his favourite guitar on the stage.
* Jon McLaughlin covered the song on the New York City stop of his Salute to 2009 Tour.
* Kris Allen performed "Come Together" on American Idol season 8, top 4, as his selection for Rock Week.

A-side: "Something"
Released: 31 October 1969 (UK)
Format: 7"
Recorded: Abbey Road Studios, 21 July 1969
Genre: Blues rock
Length: 4:18
Label: Apple Records
Writer(s): Lennon/McCartney
Producer: George Martin

Wikipedia

Beatles News

• Best English group since The Beatles (The Sun)
• Ringo Starr on Rock Band: 'I've never played it' (Los Angeles Times)
• Arkham Asylum, Band Hero, Beatles: Rock Band, now only $30 (Blast)
• The Beatles Complete on Ukulele Festival (The L Magazine)
• Not quite the Beatles (Pocono Record)
• McCartney lashes out at Madonna (Hindustan Times)

George Martin on "How Do You Do It"

"I was convinced I had a hit group on my hands if only I could get the right song. They'd played me all their stuff and I didn't think anything was any good. So I went around Tin Pan Alley looking for songs and my old friend Dick James came up with one called 'How Do You Do It' that had been written by Mitch Murray.

"I listened to 'How Do You Do It' and said, 'Yep, that's a good song. That's a good commercial song. Give it to the Beatles and I'll have a number-one hit.' So I sent it to the Beatles and said, 'This is what you're going to record.'"

"We Can Work It Out" Lyrics

by John Lennon and Paul McCartney

As Released by the Beatles (1965)

Try to see it my way
Do I have to keep on talking till I can't go on?
While you see it your way
Run the risk of knowing that our love may soon be gone.
We can work it out, we can work it out.

Think of what you're saying
You can get it wrong and still you think that it's alright.
Think of what I'm saying
We can work it out and get it straight or say good night.
We can work it out, we can work it out.

Life is very short and there's no time
For fussing and fighting my friend.
I have always thought that it's a crime
So I will ask you once again.

Try to see it my way
Only time will tell if I am right or I am wrong.
While you see it your way
There's a chance that we might fall apart before too long.
We can work it out, we can work it out.

Life is very short and there's no time
For fussing and fighting my friend.
I have always thought that it's a crime
So I will ask you once again.

Try to see it my way
Only time will tell if I am right or I am wrong.
While you see it your way
There's a chance that we might fall apart before too long.
We can work it out, we can work it out.

John Lennon on Leaving the Beatles

"Well, I said to Paul, 'I'm leaving.' We were in Apple, and . . . I knew before we went to Toronto. I told Allen [Klein] I was leaving, I told Eric Clapton and Klaus [Voormann] that I was leaving and that I'd like to probably use them as a group. I hadn't decided how to do it -- to have a permanent new group or what, then later on I thought, fuck, I'm not going to get stuck with another set of people around me on the way to Toronto a few days before. And on the plane, Allen came to me, and I told Allen it's over. When I got back there were a few meetings and Allen had said, 'Well, cool it, cool it,' 'cause there was a lot to do business-wise, you know, and it would not have been suitable at the time.

"And then we were discussing something in the office with Paul and Paul said something or other like we ought to do something and I kept saying no, no, no to everything he said, you see. So it came to a point I had to say something, of course, and Paul said, 'What do you mean?' I said, 'I mean the group is over. I'm leaving.'

"Allen was saying don't tell. He didn't want me to tell Paul even. Well, I couldn't help it, so I said it out, I couldn't stop it, it came out. Paul and Allen said they were glad that I wasn't going to announce it. Like I was going to make an event out of it. But Paul and Allen both . . . I don't know whether Paul said don't tell anybody but he was damn pleased that I wasn't, you know. He said, 'Oh, well, that means nothing really happened if you're not going to say anything.'

"So, like anybody when you say divorce, you know, their face goes all sorts of colours. It's like he knew, really, that this was the final thing. And then six months later he comes out with whatever. A lot of people knew I left. I was a fool not to do it, not to do what Paul did, which was use it to sell a record."
-1970