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PLAYLIST June 29th 2014

Special Guests George’s big sister Louis Harrison & Laurence Juber

9AM

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The Beatles - Norwegian Wood (This Bird Has Flown) - Rubber

Soul (Lennon-McCartney)

Lead vocal: John Originally recorded on October 12, 1965, The Beatles decided to scrap this version and re-record the song nine days later, on October 21. George Harrison provides the sitar, the first appearance of the instrument on a Beatles recording, though the sitar can be

heard in the instrumental introduction on the American version of “Help!” Written mainly by John with some lyrical assistance from Paul. John: “I was trying to write about an

affair without letting me wife know… so it was very gobbledegook. I was sort of writing from my experiences, girls’ flats.” Paul has said that the ending lyrics, “so I lit a fire,” refer to the house being burned down in an act of revenge by the spurned lover. Bob Dylan did a slight parody of the song on his 1966 album, Blonde on Blonde. Check out

the song “4th Time Around.” On U.S. album:

Rubber Soul - Capitol LP

No sitar!

The Beatles - In My Life - Rubber Soul (Lennon-McCartney)

Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real

major piece of work.” Of all the Lennon-McCartney collaborations only two songs have

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really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron. The gorgeous

piano solo is provided by George Martin. To give his solo a harpsichord sound the producer played the piano at half speed and an octave lower so that when played at

regular speed it would be in the correct key for the song. On U.S. album:

Rubber Soul - Capitol LP

Different keyboard solo

The Beatles - Run For Your Life - Rubber Soul (Lennon-McCartney)

Lead vocal: John The first song completed when sessions for “Rubber Soul” began on October 12, 1965. John Lennon lifted the opening line (“I’d rather see you dead little girl than to be with

another man”) from “Baby Let’s Play House,” popularized by Elvis Presley. On U.S. album:

Rubber Soul - Capitol LP

Different MIX Different vox

The Beatles - I’m So Tired - The Beatles

(Lennon-McCartney)

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Lead vocal: John John Lennon’s “I’m So Tired” was started and finished in 14 takes on October 8, 1968.

No overdubs were added. The session was a marathon 16-hour session which started at 4 p.m. on the 8th and finished at 8 a.m. on October 9 (John’s 28th birthday), and saw the completion of two Lennon compositions (“I’m So Tired” and “The Continuing Story Of Bungalow Bill”) and work on George Harrison’s “Long Long Long.” Written in India while the Beatles were studying Transcendental Meditation under Maharishi Mahesh

Yogi, the all-day regime in Rishikesh, India, prevented John from sleeping at night, so he decided to write a song about it. At the end of the song John can be heard muttering

a phrase that when played backwards offered “Paul is dead” conspiracy theorists another major clue: “Paul is a dead man, miss him, miss him.”

Some added lead guitar from John

Some instruments missing…some added in the opening set

w/ John Lennon and his Beatles

9.10 BREAK

Louise Harrison ...LJ still to come.

The Beatles - Martha My Dear - The Beatles

(Lennon-McCartney) Lead vocal: Paul

Recorded in one take on October 4, 1968, at Trident Studios. With the exception of the strings and horns section orchestrated by George Martin that was overdubbed onto take

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1, the piano-driven ballad “Martha My Dear” was another Paul McCartney solo performance on the “White Album.” Although it takes its name from Paul’s sheep dog,

Martha, the song is a love song about a woman. In addition to his lead vocal, Paul plays piano and drums. Once the outside musicians left, Paul re-recorded his lead vocal part,

adding handclaps at the same time. After “Martha My Dear” was finished McCartney turned his attention to “Honey Pie,” adding the line “now she’s hit the big time!”

Paul McCartney – Maybe I’m Amazed – One Hand Clapping ‘74

Written in London, on piano. A promotional movie of the song was created featuring Linda’s photography in a slide show.

The Beatles - When I’m Sixty-Four - Sgt. Pepper’s Lonely Hearts

Club Band (Lennon-McCartney)

Lead vocal: Paul One of the oldest songs in the Beatles catalog, it was written by Paul McCartney when

he was 15 or 16 and the Beatles had performed a variation of it in their pre-fame Cavern Club days whenever the amplifiers broke down. It was the second song recorded for the “Sgt. Pepper” LP (following “Strawberry Fields Forever”), but when “Strawberry Fields Forever” was pulled for release as a single, Paul’s “When I’m Sixty-Four” became the

first song recorded for the album that ended up on the album. The initial rhythm track

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was finished in two takes on December 6, 1966, and consisted of Paul on guide vocal, bass and piano, John on guitar, and Ringo on drums with brushes. On December 8, Paul

recorded his lead vocal, on December 20, John, Paul and George recorded backing vocals and Ringo played bells. Although John helped with a few lyrics for the official

recording of Paul’s childhood song, he was later quoted as saying, “I would never even dream of writing a song like that.”

HAPPY BIRTHDAY MARY…ARRANGED BY YER HUSBAND FRED!

The Beatles - What You’re Doing - Beatles For Sale

(Lennon-McCartney) Lead vocal: Paul

Recorded in seven takes on October 26, 1964. The most problematic song in the sessions for ”Beatles For Sale.” The Beatles tried different arrangements over three days

and finally hit upon one they liked on the last day of recording for the album. Written primarily by Paul between August 31 and September 1, 1964 in Atlantic City during days

off on the Beatles’ North American Tour. Paul provides the double-tracked lead vocal. On U.S. album:

Beatles VI - Capitol LP

The Beatles - Bad Boy - A Collection Of Oldies (Williams)

Lead vocal: John Recorded specifically for the American market at the urgent request of Capitol Records

executives, who needed two songs to fill out their upcoming “Beatles VI” album. Of course, Capitol had four songs in its possession it could have included (“From Me To

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You,” “Misery,” “There’s A Place” and the German-language version of “She Loves You,” had all yet to appear on an LP in America), but they went to the Beatles and asked for

something new ASAP. With no new material ready to go the band pulled two Larry Williams’ songs from their pre-fame club repertoire, “Bad Boy” and “Dizzy Miss Lizzy,” that could be recorded in one day and then the tapes would be air-freighted to Capitol

Records in Los Angeles.

“Bad Boy” would go unreleased in the UK for another year and a half until it turned up on the hits compilation “A Collection of Beatles Oldies” in December 1966. Recorded on

May 10, 1965. On U.S. album:

Beatles VI - Capitol LP

On UK album: A Collection of Beatles Oldies - Parlophone LP (1966)

The Beatles - Maxwell’s Silver Hammer - Abbey Road

(Lennon-McCartney) Lead vocal: Paul

Paul began work on “Maxwell’s Silver Hammer” in October 1968, which was too late for the song to be considered for the “White Album.” He introduced the still unfinished song to the band during the “Get Back” sessions, on January 3, 1969, and the band is seen

running through it in the film “Let It Be.” The first proper recording took place at Abbey Road Studios on July 9, 1969. The backing track features Paul on piano, George on Fender Bass VI (a six-string bass guitar) and Ringo on drums. Sixteen takes were

recorded. Overdubs included John on his Gibson J-160E acoustic guitar and George on Telecaster. On July 10, Paul added his lead vocal, George Martin played Hammond

organ and Paul, George and Ringo provided backing vocals. A proper blacksmith’s anvil, rented from a theatrical agency, was brought in for Ringo to hit with a hammer. More guitar and a new vocal were added on July 11, and the song was left until August 6,

when Paul overdubbed a Moog synthesizer part.

9.40 BREAK

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Play INTRO HERE

Welcome Louise Harrison THESE SONGS & QUIZ WILL BE PLAYED DURING THIS SEGEMENT

The Beatles - From Me To You - A Collection of Beatles Oldies `66

(McCartney-Lennon) Lead vocal: John and Paul

The Beatles’ third single release for EMI’s Parlophone label. The Beatles’ debut album was set to hit stores in the UK on March 22, 1963. On March 5 the band members returned to Abbey Road Studios to record two songs for a single that would be released a few weeks after the album. Three Lennon-McCartney originals were recorded this day: “From Me To You,” “Thank You Girl,” and “One After 909.” A fourth

song, “What Goes On,” was rehearsed but not recorded. This record would top the charts not long after it was issued on April 11. It is considered by many to be The

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Beatles’ first true number one single, as their previous single had reached number one on two of the three charts at the time, but peaked at number two on Record Retailer's chart, generally considered to be the most authoritative for the time. "From Me to You"

would be the first of eleven consecutive British number one singles by The Beatles.

The Beatles - She Loves You - A Collection Of Oldies `66 (Lennon-McCartney)

Lead vocal: John and Paul The Beatles’ fourth single release for EMI’s Parlophone label.

With a July 1, 1963 recording date looming The Beatles knew their latest composition would be their next a-side: a song then entitled “Get You In the End,” shortened to “I’ll Get You” by the time it was released. But things changed on June 26, 1963. In a hotel room a few hours prior to a show in Newcastle-upon-Tyne, John and Paul sat facing

each other on twin beds and proceeded to write from Paul’s suggestion. The song they created was “She Loves You.” The next day, with The Beatles having a rare day off from

touring, John met up with Paul in the dining room of the McCartney’s Forthlin Road home to finish up the song.

U.S.

Non-album single (Swan)

On U.S. album: The Beatles’ Second Album - Capitol LP

UK: Non-album single (a-side)

Quiz #1 HERE When George jammed at the VFW Club in ELDORADO ILLINOIS Sept 1963 what was the bands name that

he played with ? 800-955-KLOS

George bought a record he later recorded while visiting….

George Harrison – Got My Mind Set On You (written by Rudy Clark)

A Jim Keltner drum pattern inspired the recording of George’s biggest hit in a decade and a half. This Rudy Clark composition, which had been released 25

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years earlier (there is a picture of George in his first US visit to the US with The Beatles, holding a Rudy Clark LP) – was danceable, catchy tune.

This single also had a very memorable video, which was shown extensively on

MTV and VH1.

NEWS HERE

10.12 BREAK

The Beatles –Three Cool Cats - Decca sessions

George sang a lot in the early days of 1961 -63

Plug here LIVERPOOL LEGENDS JULY 4TH ROSE BOWL

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George Harrison – Cheer Down - Best Of Dark Horse 1976-

1989 Originally submitted to Eric Clapton for his album, Journeyman – Eric instead talked George into recording his own official version for the Lethal Weapon 2

film, which closed out the final scene (Eric had been the film’s composer). This is a terrific track that is often overlooked, and although released as a single that

didn’t crack the charts – its one of George’s best later-in-his-career songs.

10.40 BREAK Bumper /

Wings – Let It Be (live) Glasgow 1979

Guitar w/ Wings

Welcome back to BWTB Laurence Juber Amazon .com >>1st thing you is this glowing review of yer book.

May I read it?

"A superb pictorial account of LJ's musical journey from first meeting Paul McCartney in a Wembley men's room to becoming a member of this fan's

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favorite line-up of Wings. Master Juber's well-written words and never-before-seen photos nearly match his

unbelievable talents as one of the world's most respected and gifted guitar players. A wonderful

read." – Chris Carter; Host "Breakfast with The Beatles" KLOS-FM

Los Angeles, California

LJ GRAMMY MUSEUM July 14th

Fest For Beatles Fans Oct. 10-12

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The Beatles - And Your Bird Can Sing - Revolver

(Lennon-McCartney) Lead vocal: John

John Lennon called this fan favorite “another of my throwaways...fancy paper around an

empty box.” On another occasion he simply referred to it as “another horror.” The song,

written primarily by John, is notable mainly for the twin guitar riffs -- played live without

overdubs by George Harrison and Paul McCartney -- that drive the song, and Paul’s

distinctive bass notes at the end of the song. Lennon played the rhythm guitar in the D

major position with the capo on the second fret to account for the song being in the key

of E. John used the second fret capo several times ("Nowhere Man," "Julia," "Norwegian

Wood," to name a few). Initial recording of the song commenced on April 20, 1966, with

two takes being completed

Now the book is out…but we have one for a lucky listener

DO QUIZ HERE

To get the book and pair of Grammy tickets! Major JL package!

Caller # 5 with correct answer get’s the books and tickets and callers 6,7,8,9 with the correct answer get

the pair tix to the Grammy Museum. Laurence began playing guitar in the week which

Beatles single was released (in England)? 800-955-KLOS

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11.12 BREAK

WINNER HERE

Were gonna play that song followed by a set of music put together by LJ himself…some the music somebody selects

tells a lot about a person.

The Beatles -I Want To Hold Your Hand – Past Masters Recorded 17th October 1963

Parlophone and Capitol single Capitol LP Meet the Beatles!

Parlophone EP The Beatles’ Million Sellers Parlophone LP A Collection Of Beatles Oldies

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The Beatles - You Won’t See Me - Rubber Soul

(Lennon-McCartney) Lead vocal: Paul

Written entirely by Paul. Recorded in two takes on November 11, 1965, at the final recording session for the “Rubber Soul” album. The song is notable for Paul’s melodic

bass line, something new to rock and roll. Paul: “It was very Motown-flavored. It's got a James Jamerson feel. He was the Motown bass player, he was fabulous, the guy who

did all those great melodic bass lines. It was him, me and Brian Wilson who were doing melodic bass lines at that time.” Beatles roadie Mal Evans is credited on the album’s

back cover with playing Hammond organ on this track, but it is inaudible in the final mix. On U.S. album:

Rubber Soul - Capitol LP

The Beatles - Fixing A Hole - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney)

Lead vocal: Paul On February 9, 1967, the Beatles recorded “Fixing A Hole” at Regent Sound Studio on

Tottenham Court Road in London. The session was booked at Regent by George Martin because Abbey Road was unavailable. It marks the first time the Beatles recorded a British EMI session at a studio other than Abbey Road. No longer on the EMI staff,

Martin was free to travel with the Beatles wherever they were recording. But engineer Geoff Emerick and the usual crew of tape operators at Abbey Road were all EMI

employees so they couldn’t go along.

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The Beatles - Here Comes The Sun - Abbey Road

(Harrison) Lead vocal: George

The second of two CLASSIC songs George Harrison delivered for the “Abbey Road” album. “Here Comes The Sun” and “Something” was a phenomenal one-two punch that

had to have Lennon and McCartney wondering what else Harrison had up his sleeve. George wrote the song while walking around the sunny back garden of Eric Clapton’s

home, strumming o0ne of Eric’s acoustic guitars. Harrison had skipped out of one of the many Apple business meetings that day. Recording in 13 takes on July 7, 1969, Ringo’s 29th birthday, with George on his Gibson J-200 acoustic guitar, Paul on his Rickenbacker bass guitar and Ringo on drums. John was sidelined for the week due to be hospitalized

following a car accident in Scotland. The next day George overdubbed his lead vocal, and Paul and George recorded their backing vocals twice, rather than simply double-

tracking. Additions continued on July 16 (handclaps and harmonium), and August 6 and 11 (George’s acoustic guitar). George Martin’s orchestral score was recorded on August

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George Harrison – Blow Away - George Harrison ‘79 This was the first song George composed after his hiatus, as it was written to make sure he

hadn’t “dried up.” This became George’s biggest hit in the last five years, but he was almost

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embarrassed by it being “too catchy

Wings – Spin It On

Recorded in one day, the band was unsure of this composition, as “it sounded really daft on one guitar.” But as the band came together, the recording went

smoothly and the song was the better for it.

11.42 BREAK

Sgt. Pepper Reprise (long version)

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FYI…Page 161 of Way Beyond Compare (The Beatles' Recorded Legacy vol1) by John Winn: "...the film producer, Walter Shenson, eventually verified the music was actually performed by the Beatles, presumably during the sessions for the soundtrack the week prior to the start of the filming (EMI, 25 February-1 March 1964 (?)). It's an entirely instrumental fragment, performed in E major with John playing a Chuck Berry-like boogie pattern and George wailing away on lead guitar..." Although, no trace of this "title" has been found in EMI's records, this seems

to make sense.