Something About the Beatles

Today is her 80th birthday, and given the attention being brought by the auction of some personal items through Christie's (see https://onlineonly.christies.com/s/pattie-boyd-collection/lots/3508 ), the time was right for a conversation. We made the most of the hour, given the demand for interviews right about now, but among the things discussed were:  Meeting George on the set of A Hard Day's Night Her views on how fans see her The Fool  Apple boutique   Rishikesh  Get Back Philip Norman The happiest time and more...

Listeners: you may recall my conversation with Robert Rosen (245), detailing the blocking of a pair of books by reputable authors that detailed the "househusband" years of John's life; it evolved out of an essay Robert wrote. Well, one of those writers is here to tell his story himself.  Michael Meideros was hired in 1977 to work on the indoor gardening at the Lennon's Dakota apartments. But as he performed his assigned tasks, his role grew to ad hoc personal assistant and eventually, archivist. His memoir, Barefoot in Nutopia, remains unpublished - yet. But Michael wanted to share some stories and insights and we're happy to have him, in what we project to be the first of at least two conversations. Subjects include day-to-day life, Yoko, Bermuda, Fred Seaman, and the night the unspeakable occurred, and its aftermath.

Picking up where we left off (259: Sgt. Pepper Olympiad ), lecturer/professor Gary Wenstrup and I resume the Olympiad series with a pair of releases featuring film score music, the 1967 Magical Mystery Tour EP/album and 1969's Yellow Submarine release. Owing to the unique issues, with the latter representing only four new Beatle songs and the former being a six-song double 7" set, we got creative with the tracks reviewed.  Previous installments can be found here. Gary Wenstrup's site is here.

There's no joy to be had in this subject, but it is an important topic for an open discussion. We have been fed a narrative for 43 years regarding the murder of John, yet there were aspects that either lacked detail or, upon closer inspection, made little sense. At least a couple of of authors have published books on the case, but documentary-maker David Whelan has approached the subject with fresh eyes, resulting in three years of research and interviews that he presents in Mind Games: The Assassination of John Lennon. He makes the case that virtually nothing we were ever told about what happened is supported by evidence and much is substantially contradicted. We managed to touch on only part of his research in this conversation, but you can learn more through the book, David's Substack site, and his YouTube channel.

The author of Shout: The Beatles In Their Time has brought out his third Beatles individual biography, forty plus years after the publication of his group one. George Harrison: The Reluctant Beatle was put together tapping Norman's body of old interviews (with witnesses now beyond reach) as well as fresh research and new conversations (including his star witness, Pattie Boyd). The complexity of the subject matter is matched by the complexity of the narrator, who through series of unforced errors has led many a Beatle fan to view him with scorn. But SATB has always been about opening doors rather than shutting them, and if one is prepared to listen without prejudice, one can make up one's own mind on the value of what he has to say about George in this book.

We have discussed the insights of 1st gen fans who, frankly, were screamers in the presence of The Beatles (Debbie Gendler, author of this upcoming memoir and Carol Tyler, author of this one); see thisfor a detailed discussion.     Then there's Sibbie O'Sullivan - a high schooler when Deb and Carol were middle-schoolers. She too was swept up in the wave of mania in her native Maryland; like Deb, she witnessed an in-person Ed Sullivan Show taping, but unlike many girls, she did not scream. Her book, My Private Lennon: Explorations From A Fan Who Never Screamed, offers a series of essays, rich with insight and perceptive observations about her very personal fandom and what The Beatles meant to her, then and now. Leading the discussion is Dr. Allison Bumsted, who is cultivating a specialty in examinations of Beatles fandom.      An essay by Sibbie here.    Allison's review of Sibbie's book here.

This British journalist/author/screenwriter/playwright is a SATB fave and was heard most recently among the 21 guests in the "Now and Then" discussion. But here he is alone in the spotlight, recounting his fabulous life as a chronicler of creators and a creator himself. Check out his website for a full accounting of his works - https://www.rayconnolly.co.uk/ - and this show for a discussion of his 2023 memoir.  Ray was friends with The Beatles and the screenwriter of THat'll Be The Day (1973), Ringo's finest film project. He discusses all and much more here.

The release of a new Beatle recording in our lifetime warrants a special approach. To that end, I assembled a group of some of your favorite podcast guests, plus a few new ones to discuss, critique, and analyze the new Beatle record. Folks representing a number of geographical and generational perspectives weigh in with their insights and observations. In alphabetical order, they are: Nancy Lee Andrews (Photographer and Author, A Dose of Rock 'n' Roll)  Dr. Allison Bumsted  Ray Connolly (British journalist and Beatles insider, author of Born At The Right Time and Being John Lennon, etc.) Richard Courtney (Beatles radio host and author, From Me To You) Dennis Diken (The Smithereens) Dr. Duncan Driver (University of Canberra) Dr. Christine Feldman-Barrett (Author, A Women's History of The Beatles)  Debbie Gendler (Author, I Saw Them Standing There) Glenn Greenberg (Author of Beatles bookazines) Cameron Greider (Musician and musicologist, RPM-School.com ) Jerry Hammack  Chip Madinger Skylar Moody Dr. Sibbie O'Sullivan Dan Rivkin Luther Russell Arion Salazar Pat Sansone Carol Tyler Erin Weber Gary Wenstrup

The first half hour+ was taped live at The Fest in August 2023, as you can doubtless tell. The rest was done in the usual way, and you'll note we didn't necessarily cover everything we listed in great detail, but that's showbiz.  Here's Erin's list:   1. A Hard Day's Night film 2 and 3. The Internet. Two slots because I see it impacting the historiography in two major ways: First, it has vastly increased accessibility to primary sources and research materials that in previous decades were extremely difficult to find. Second, its fundamentally changed the fandom experience thru podcasts, discussion boards, etc.  4. Hunter Davies: The Beatles - An Authorized Biography 5. Lennon Remembers/Rolling Stone 6. Mark Lewisohn: The Complete Beatles Recording Sessions 7. Philip Norman: Shout! 8. The Beatles Anthology (mainly the documentary, but the book, too).  9. Barry Miles: Many Years From Now 10. Christine Feldman Barrett's A Women's History of the Beatles   Here's mine:        Influential Red and Blue albums The Beatles: An Illustrated Record by Roy Carr and Tony Tyler Shout! Lennon Remembers Here, There and Everywhere by Geoff Emerick   Important The Beatles and The Historians by Erin Torkelson Weber Lewisohn Chronicles/Tune In Love Me Do by Michael Braun The Beatles: An Authorized Biography A Women's History of The Beatles   What's your list look like?

Between 1970 and 1979, George issued six studio albums (plus one triple-live one), followed by a second draft of his 1980 album the following year. Rock scribe Eoghan Lyng and I re-examine these works with fresh ears - we hope you will too.  Eoghan's book: https://www.amazon.com/George-Harrison-70s-Eoghan-Lyng/dp/1789521742

The Beatles were the end result of an array of confluences, circumstances and influences. On the short list near the very top (if not THE top) was American rocker Buddy Holly. In his short career, he wielded his influence on the budding Liverpool rockers in an array of ways, which returning guest Luther Russell and I discuss here. Though his time on earth was brief, the impact he made casts a long shadow, as he provided an unwitting blueprint on what a successful rock artist looked like, sounded like and could aspire to.

The author of Nowhere Man (2000) returns for a conversation prompted by the book's recent re-publication, augmented with an array of new material and appendices. Robert will also be making a rare personal appearance in St Louis on October 4th in St. Louis - details here.    Among the subjects we talked about this time round were:  May Pang Fred Seaman Early 1970s US politics and its coverage in Observation Post His upcoming book, tentatively titled No Future John's opinion of Double Fantasy Jack Douglas  John's murder The Manchurian Candidate Theory  Robert's purported role in John Lennon's murder   Robert's website and blog can be found here.

Returning guest and renowned producer John Leckie is back on SATB and this time he brought his friends; colleagues from EMI with impressive credentials of their own, who also worked with The Beatles: Nick Webb and Roger Ferris.  It was a real delight to be a fly-on-the-wall as three guys who've known each other for decades spun stories about working at the most famous recording facility on earth, and the clients they supported. Among the topics that came up:  What well-known event coincided with the day John Leckie interviewed for a position at EMI Quick takes on George Martin - Norman Smith - Geoff Emerick - Ken Scott - Ken Townsend - Alan Parsons - Peter Bown and other EMI staffers Stealing from Mick Jagger Their takes on Get Back The 1971 Wings Launch Party Phil Spector Sessions for "All You Need is Love" and "You Know My Name" Seventeen Watts by the late Mo Foster In the studio with Paul and Wings IRA bomb scares of the 70s John and Yoko's curry plus loads more...

As a follow-on to my last conversation with author Glenn Greenberg, we sat down to explore the Harrison-Lennon dynamic. A couple of things referenced in the show can be found below:    Here's John's 1974 note to George.    Here's John's 1976 Q&A.    Glenn Greenberg's Making of the White Album bookazine can be found here.     "I Know It's True" (end song) by Iamaphoney can be found here.

Journalist Steve Matteo has a new book out - Act Naturally: The Beatles on Film.  It's an all-encompassing volume detailing and contextualizing the making of every one of their cinematic projects, including a few that didn't actually get filmed.  For this first discussion, we focused on their first two, both directed for United Artists by Richard Lester and produced by Walter Shenson.

My guest today has recently completed the first volume of an exhaustive study of Paul's body of work in Paul McCartney: Music is Ideas 1970 - 1989. Luca Perasi is a Beatles historian who specializes in the group's bassist, post-split. He was a consultant hired by MPL for the recent 7" single box set, as well as the Italian translator for Paul's The Lyrics book.  For our first discussion, we focused on the broad parameters of Paul's art, pre-Beatles through the first Wings album. Luca's book discusses every McCartney session and the music it yielded, whether released at the time or not, for a greater context into Paul's musical development. You can find out more at Luca's site, and I encourage you to follow him on Twitter (@LucaPerasi ) for daily postings featuring amazing rare photos of Paul at work.

Hired as a tape op by EMI in February 1970, Leckie quickly found himself among rock royalty when his career began with work on Ringo's Sentimental Journey, followed quickly after with McCartney. But his major immersion with the cream of rock's musicians soon came with the All Things Must Pass project, placing him at the service of George Harrison and Phil Spector and with a team that included Ringo, Klaus Voormann, Eric Clapton, The Dominoes, Gary Brooker, Peter Frampton, Phil Collins, Gary Wright, Billy Preston and Badfinger, among others.  This conversation focuses on that landmark album. Joining as co-host is author/producer Jerry Hammack (The Beatles Recording Reference Manual series), with a cameo from Luther Russell. Jerry's latest book has just been published: Home Studio Recording - The Complete Guide.  John was a previous guest discussing the making of John and Yoko's respective Plastic Ono Band albums, as well as alongside his previous collaborators Derek Forbes (Simple Minds) and Ian McNabb (Icicle Works) for a conversation on Peter Jackson's Get Back film. His excellent recall of events he witnessed as well as insights as someone with some amazing career achievements (Roy Harper, Be Bop Deluxe, Pink Floyd, Wings, Radiohead, XTC, Stone Roses, and so on) to his credit make this conversation something special.

The series with professor/lecturer Gary Wenstrup continues as we rate tracks on each Beatles album in Olympic style: Gold - Silver - Bronze. This episode introduces a modification, adding in for consideration the singles that bookended the 1967 release: "Strawberry Fields Forever"/"Penny Lane" and "All You Need Is Love"/"Baby You're A Rich Man."  Check out Gary's upcoming lectures at garywenstrup.com

"The Lost Weekend" was the handle John implemented (picked up by subsequent narrators) to describe the period of his separation from Yoko, during which time a romantic relationship began with his 22 year-old personal assistant, May Pang. Once the couple reconciled, May's impact on his life was swept under the rug in all sanctioned tellings, in the service of a narrative propping up the John and Yoko love story as the ultimate double fantasy: literally describing themselves as Robert and Elizabeth Barrett Browning incarnate.  Others beg to differ and among them is May herself. Her story was told twice in book form (Loving John and Instamatic Karma) but now a new documentary film chronicles their time together on the big screen, supported by other witnesses and loads of photos, footage and writings. The Lost Weekend: A Love Story is coming to theaters, while an exhibit of May's photos has already hit the road across the US.    Here's where to track the latest on May's photo exhibit and the film: https://www.maypang.com/

I asked for your questions last summer and you responded, so here you go! Aided by Gary Wenstrup (SATB regular of Olympiad series fame), we tackle the following subjects:  The "aaahs" on "A Day in the Life" The end of touring Beatles '76 Live Aid A psychological exam of John and Paul's relationship Mimi Smith's parenting The "Come Together" lawsuit George on Sgt. Pepper Where were you December 8, 1980?  Myths that won't die Check out Gary Wenstrup's lectures here: http://www.garywenstrup.com Gary's December 1980 review of Double Fantasy here.   Send further questions to: satb2010@gmail.com

Fifty years on, Ringo's third solo album (or first, as he counted it in 1977) remains a stunning achievement, not just for the near-Beatles reunion but also on its own musical merits. With Richard Perry in the producer's chair, an array of talent was rallied in support of the beloved ex-Beatle, resulting in something greater than the sum of its parts. At Perry's side was engineer Bill Schnee, who'd worked with him on hits by artists like Streisand, Nilsson, Carly, Leo Sayer and many others. Schnee has penned a memoir, Chairman at the Board, detailing a career that began with Three Dog Night and encompassed artists ranging from Steely Dan and Neil Diamond to Michael Jackson and Whitney Houston. Schnee has been a mixer/remixer, engineer and producer in support of the rich soundtrack of life for anyone enjoying music during the 70s and 80s and beyond.  Bill was there at the right place and the right time to take full advantage of his gifts and creativity. His book is rich with stories, and in this conversation, we discuss his work with all four ex-Beatles, mostly but not entirely in support of Ringo.  Check out his website - https://www.billschnee.com/    This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off your first month of treatment.

No one on the planet knows more about the contents of The Beatles' Nagra reels than Beatle scholars Doug Sulpy (Drugs, Divorce and A Slipping Image) and Dan Rivkin (They May Be Parted blog). We convened to review the Get Back film and discuss how well it depicted the events revealed by the extant audio.    Doug's works can be found at www.dougsulpy.com   Dan's blog is here: https://theymaybeparted.com/

Returning guest Glenn Greenberg (216 Dear Friend; 223 The Beatles 1971 - 1973; 235 Paul McCartney and Brian Wilson at 80) is back for another discussion, this one examining the complex relations between George and Paul - the longest running friendship in the band.    This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off your first month of treatment.

This show was taped a month ago, in conversation with Yardbirds/Renaissance/Illusion founding member Jim McCarty, in an effort to widen the lens exploring the world of 60s British rock that The Beatles operated in. Sadly we find ourselves now memorializing his friend and bandmate, Jeff Beck - a giant of guitar whose boundless brilliance we were privileged to witness. So it is in the spirit of celebrating the legacy of Jeff and The Yardbirds as well as McCarty's creativity that this show is presented. If you are already a fan, I know you will enjoy it; if you are new to this band, I hope the music and story presented will set you off on your own discoveries.  Jim McCarty was far more than The Yardbirds' drummer - he sang and co-wrote, as well as collaborated with singer Keith Relf beyond the band's lifetime. They recorded together and formed Renaissance, as well as Illusion. McCarty also was part of the latter-day Yardbirds iteration, Box of Frogs, featuring contributions from Beck and Page. Jim has also recorded prodigiously, as a soloist as well as a collaborator on numerous projects.     He has also written a pair of books: 2018's Nobody Told Me (featuring a foreword by Jimmy Page) about his life in music, as well as the more esoteric She Walks In Beauty (2021), presenting his exploration into the world beyond this world and the answers he found when seeking communication with his late wife, Lizzie. Jim is a canny, insightful storyteller, and both books include much on what he's learned in and out of music. You can find all his info at http://www.jamesmccarty.com/    This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off your first month of treatment.

Author Susan Shumsky first appeared on SATB in 2019, upon the publication of her memoir, The Maharishi and Me, which detailed her twenty years living at his ashram (including six years working directly for his organization). We discussed her knowledge of The Beatles' Rishikesh sabbatical then, but with her new book, The Inner Light, she goes deep with an exploration of how their interactions with Indian culture and the TM movement impacted their lives and their art. In the course of over 500 pages, she gives chapter and verse on the manifestations of these interactions, sometimes hiding in plain sight, that appeared in their music.

Musicologist Walter Everett joins professional musicians Cameron Greider and Jack Petruzzelli in a return visit to discuss the latest Beatles reissue set. Revolver is analyzed through the prism of its poetry as well as its musical maturity and what the new set reveals in terms of The Beatles' major artistic advance.     Check out the upcoming Revolver class here: http://www.rpm-school.com    This podcast is sponsored by BetterHelp. Visit http://www.betterhelp.com/satb for 10% off of your first month of treatment.

Between 1963 and 1969, The Beatles issued ephemeral holiday greetings to members of their fan club on flexidiscs. These were collected onto an LP in 1970, but for the most part, escaped a proper issue for the masses (excepting the 2017 limited edition set).  In this holiday edition of SATB, Gary Wenstrup (Beatles Olympiad shows) and I take a deep dive into the history of these recordings, providing context and analysis. In their way, the seven messages serve as a microcosm of the group's career, reflecting the state of the band each year.  You can hear the entire collection here: https://tinyurl.com/23v8vuwe   "Beatles Christmas Supermash" by Tom Teeley.  This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for10% off your first month of treatment.

Returning SATB guest favorite Ray Connolly (journalist, Beatles insider, screenwriter) penned what remains the finest Lennon bio in print, Being John Lennon: A Restless Life. On this, his 82nd birthday, we celebrate John's life and Ray's as well as we discuss a wide array of topics with someone who knew John well: a journalist friend and confidant. In this far-reaching conversation, we touch on topics including the Get Back film - drug use - Michael X and James Hanratty - the abominable behavior of Phil Spector's entourage - skiffle - Mimi and Yoko - the "Working Class Hero"project - the Lennon-McCartney creative partnership - Ray's interactions with the Lennons during the last hours of John's life - and more.    Ray's works can be found on his website here.    Ray's miraculous COVID story here.

An entire book dedicated to a single song may strike some as bewildering, but not if the song in question is both The Beatles' longest single (in length) as well as one of their most successful (quadruple platinum): 1968's "Hey Jude." Deceptively simple and universally appealing, the Apple Records debut marked an astonishing launch to their label while serving as an anthem of healing during a tumultuous year - in the world as well as within the band.  Author James Campion (Take A Sad Song: The Emotional Currency of Hey Jude) discussed the song with returning guest Jeff Martin and I for nearly two hours. You too will discover what James did - that uncovering the magic and pull of this recording is something that will take you farther than you can imagine.  This podcast is sponsored by BetterHelp. Go to www.betterhelp.com/satb for 10% off your first month.

In which the worlds of three returning guests collide to discuss 1) is there (or should there be) a common starting point for all critiques of art and 2) the world of rock criticism generally - what's the purpose and where does it go wrong?  Dr. Allison Bumsted is a popular music scholar, specializing in teen magazines (Teen Set in particular) and has written extensively on rock criticism on the 60s and 70s. She appeared on SATB here and here.    Kyle Driscoll is a writer for Medium.com and this article is where the conversation began:  https://medium.com/@kpdriscoll33/the-art-of-quantifying-art-663729c02c89    He was on SATB here.  Bill Wyman has been writing and reviewing art and music for 30 years for outlets ranging from the Chicago Reader to NPR, EW, WSJ and currently with New York and Vulture.com His ranking of The Beatles list can be found here.  His SATB appearances include this and this.  Check out the Beatles Song Sorter here.

Are you Get Back-ed out yet? No? Good, because there are still plenty of avenues to explore within the scope of January 1969. Featured today is something from the vaults: the conversation reuniting three witnesses to the events on Savile Row on 30 January, 1969: Apple press office deputy Chris O'Dell, Beatles equipment manager Kevin Harrington, and EMI tape operator Alan Parsons; yes, the eventual producer and recording artist himself.  This was taped live at the Fab4ConJam event in February 2021 and therefore before Peter Jackson's film had been screened. Therefore, their recollections come purer: what they remembered and how they remembered it, unaffected by any more recent info coming their way. They all experienced the day from different perspectives, but over 5 decades on cannot help but be moved by what the were a part of, all these years later. Co-hosting is Beatles author and podcaster Anthony Robustelli.  This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off your first month of treatment.

Returning guest Robert Rosen (Nowhere Man) penned an essay last year discussing a phenomenon called "catch-and-kill," wherein the powerful who wish to keep unflattering stories from reaching the public exert pressure and influence to keep media companies from publishing them. In the instances he wrote about, a pair of book projects detailing life at the Dakota during John Lennon's final five years were suppressed, for no apparent reason beyond the estate wishing to keep any variance from the narrative they have been controlling for decades to be challenged in any way. This led to a discussion on the why and the how these stories are being kept hidden, despite the legitimacy of the narrators.     Here's to link to Robert's article in the Village Voice: https://www.villagevoice.com/2021/12/07/mike-tree-in-john-lennons-nutopia/    This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off of your first month of treatment.

Luther Russell and I roll into the next hour of discussion and analysis of the intent behind Double Fantasy; about Yoko's standing in the rock world, and how The Beatles might better have dealt with her entry into their world. The album is ripe for a fresh listen, and no matter how you may rank it in the canon, is certainly worthy of an extended discussion as a release so heavy with meaning.    Enrollment open now for Why The Beatles? - an online 3-session course beginning in October:  https://ce.harpercollege.edu/search/publicCourseSearchDetails.do?method=load&courseId=9470614&selectedProgramAreaId=27039&selectedProgramStreamId=508576   This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb for 10% off of your first month of treatment.

Given the unique circumstance of Double Fantasy - John Lennon's first work in five years and his slaying within a few short weeks of its release - it is hard to assess the final work issued during his lifetime; a joint effort with his wife, Yoko Ono. Its initial tepid reception gave way to it serving as a place for mourners worldwide to project their grief, and has, for some, grown to status as perhaps his finest work. For others, it pointed to evidence of his irrelevancy in a world that had changed during his time away; for still others, it was a showcase for Yoko being in far more tune with the times than the former Beatle.  Singer-songwriter/performer Luther Russell (solo artist, Those Pretty Wrongs) returns to the show to make the case for the album representing peak Lennon-Ono collaboration - the culmination of their years together. He argues that it is ripe for reassessment, just as Ram was. See what you think during the first hour of our discussion.    My "Why The Beatles?" course is here:  https://tinyurl.com/3xe56k86    A sample of Sarabeth Tucek's work: https://youtu.be/CTFfoc4aeYg   Luther Russell's YouTube channel: https://www.youtube.com/channel/UCmDA0CTEdPNeCuZ_I4nAJZA   This podcast is sponsored by BetterHelp. Go to betterhelp.com/satb and receive 10% off your first month of treatment.

In which Gary Wenstrup and I continue the discussion of Revolver, followed by a thorough analysis of the group's OTHER 1966 UK release, A Collection of Beatles Oldies (But Goldies!).  This podcast is sponsored by Betterhelp. Go to betterhelp.com/SATB for 10% off your first month of treatment.

Taking a detour from some of the heavier SATB topics of late for end-of-summer light entertainment, Gary Wenstrup and I return to the series of gold, silver and bronze rankings of Beatle cuts through their catalog. We're at the halfway point now as The Beatles turned the page from a touring to a studio band, but not before a final blast of nostalgia by years' end.

Returning guest Terry Zobeck (234: Paul McCartney Lyrics ) spent his career studying drug addiction and its effects. With a PhD in anthropology besides, this Beatles scholar is uniquely qualified to discuss the Joe Goodenn's book, Riding So High: The Beatles and Drugs. (Here's Erin Weber's review.)    Our conversation covers a lot of ground, but mostly concerns itself with an informed perspective on how particular drugs affect the brain and behavior of users.  This podcast is sponsored by Better Help. Please go to betterhelp.com/satb to get 10% off your first month.

In the time since publishing his memoir, The Redhead on the Roof and first appearing on SATB (160), Beatles equipment manager Kevin Harrington has now become known to millions of fans by his ubiquitous presence captured on film and presented in the eight hours of Peter Jackson's Get Back. It therefore was time to bring him back to get his reaction to the film and drill down deeper on his experiences working with The Beatles.

As part of the Fab4ConJam online fan event, I convened these two Beatles insiders to take questions and reminisce. Chris O'Dell came from Tucson, AZ (yes! home of Jo Jo AND Linda) and was pulled into the Apple Press Office by Derek Taylor. She was a rooftop attendee as well as a one-time resident of Friar Park, witnessing the daily drama of the group as it ended, along with George and Pattie's marriage. She recalled her experiences in 2009's Miss O'Dell: My Hard Days and Long Nights with The Beatles, the Stones, Bob Dylan, Eric Clapton and the Women They Loved.   Nancy Lee Andrews was a model, actress and briefly, in the music biz as well as a photographer. More importantly, she was Ringo's romantic partner from 1974 through 1980, and likewise a witness to much of the inside relations between the former Beatles. (She also attended the Concert for Bangladesh as a guest of her then-boyfriend, bassist and future Domino, Carl Radle.) Nancy's book of spectacular photos was published as A Dose of Rock 'n' Roll in 2008.  These women have maintained a close friendship since the 70s and it was our treat to hear them recall those days during this terrific conversation.

He's known to millions, in the words of Arthur C. Clarke, as “The most famous unknown actor in the world.” Richter was a mime (and a poet) during the 1960s, but also gained cinematic immortality as "Moonwatcher" in the iconic "Dawn of Man" sequence in Stanley Kubrick's 2001: A Space Odyssey. This in itself would be enough to stir our interest, but Dan was also intimately involved with John and Yoko as a personal assistant for five years, during which time he helped manage their film and recording projects while kicking his heroin habit. He tells his story in compelling detail in his book, The Dream is Over: London in the 60's, Heroin and John and Yoko.  Joining the conversation is guest co-host Ian McNabb (see SATB 234). The conversation covers Dan's time with the Lennons, as well as work on 2001 with Stanley Kubrick.

One of the things that's kept Beatles fans captivated was their refusal to stay still and how each album felt like a progression into new territory. That said, as you delve deeper into the structures and configurations of the band's music across their discography, there are certain tools, tricks, and ideas that they used and repurposed to great effect. In today's episode, returning guests Jack Petruzzelli (Fab Faux) and Cameron Greider (Sean Lennon) sit down to discuss some of the most notable and how the band helped rock 'n roll to expand, becoming richer in the process. (Rock, not The Beatles, though there's that too...) We discuss Paul's links to Bach, John's connection to the blues and more static melodies, and how all the strands of musical history came together to create the vocabulary that we can observe and appreciate in their music.   Jack and Cameron operate the RPM School (Rock Pop Music) and their next session is just days away: details can be found here: https://www.rpm-school.com/

Two master craftsmen of pop/rock, born two days apart; both possessing a good number of commonalities as well as some major diverging paths. My returning guest, journalist Glenn Greenberg (Paul McCartney at 80) and I discuss their friendship and rivalry, as well as what each learned from the other.    Here's the 1967 CBS TV special, Inside Pop: The Rock Revolution: https://youtu.be/vyiGFRj5b-k    The Brian Wilson/"Surf's Up" sequence appears 50 minutes in, but the earlier "debate" between Graham Nash and Peter Noone is worth the price of admission alone.

In the latest effort in a line of works presenting his side of his own history (which include Many Years From Now, Wingspan, the McCartney 3 2 1 docuseries as well as Anthology), Paul McCartney published The Lyrics: 1956 to the Present in 2021. It was in collaboration with Irish poet Paul Muldoon, an as-told-to project where he got deep into his recollections about a selection of his works, pre, during and post-Beatles. But the book is deeper than that: his observations detailing his entire life from boyhood in Liverpool onward were sparked by the 25 hours of conversations he and Muldoon had.  My guest is Terry Zobeck: a first-generation Beatles fan and collector who reviewed the book for Doug Sulpy's 910 newsletter. The most recent issues also feature the first two parts of his three-part critique of The Beatles Get Back docuseries. All of Doug's writings, including the indispensable Drugs, Divorce and a Slipping Image (revised edition) can be found at www.dougsulpy.com

After shows post-Get Back with guests representing American musicians, multi-generation female fans, and the film's maker (Peter Jackson), conspicuously missing from the SATB conversation to this point has been the POV of British fans/musicians. No longer: today's guests are drawn from the UK music scene and ALL have a deep fandom for The Fabs - some have even worked with one or more.  Producer John Leckie first came to SATB in late 2020 to discuss his experiences working on John and Yoko's 1970 Plastic Ono Band albums; thereafter, he appeared at Fab4ConJam to recall working on All Things Must Pass. Afterward, his career during the '80s and beyond included working as producer for some top UK talent, including, Stone Roses, XTC, Radiohead...and Simple Minds. By sheer happenstance, John has worked with BOTH of his co-guests, who are new to SATB: bassist Derek Forbes worked with a number of Scottish acts, including The Subs, Simple Minds, Big Country, etc, while Ian McNabb fronted The Icicle Works: "Birds Fly (Whisper to a Scream)." ALL are hardcore Beatle fans going back a ways, and each fully immersed themselves in the 8 hours of Get Back. But the conversation ran far broader, covering their fandom during the 70s, working with an ex-Beatle, the Liverpool scene post-Beatles, Stiff records, musical influences, Dan Richter, Mickie Most, Wings, and a lot more. It's a freewheeling conversation and you haven't heard the last of these guys on the Something About The Beatles podcast.

Long on the list of my coveted guests has been singer-songwriter Sam Brown. The daughter of Joe Brown - an early UK rock legend - and Vicki Brown - an astonishingly gifted singer herself - Sam's career as an artist kicked off in 1988 with Stop!, the first of seven albums. (The first letter of the titles spell out her name - the 8th installment, titled Number 8 is due out this year.) Sam is also known for singing with Pink Floyd and David Gilmour, as well as on television and on tour with Jools Holland. It was with Jools that Sam took center stage at the 2002 Concert for George, stealing the show with her reading of George's last recorded composition, "Horse To The Water."  She has remained active as a performer and a recording artist, despite tragically losing her ability to sing in 2007, following surgery. The mysterious condition forced a re-think of her career and led to her establishing a decade-long running school empowering folks to take up ukulele. In this conversation, we discuss her career and the struggles of being an artist - her friendship with the Harrisons and working with George - the concert - and how she's managed the challenging events that followed.  Sam is resourceful and an artist whose rich catalog is worth exploring. You can check out her work here:  https://open.spotify.com/playlist/37i9dQZF1DZ06evO1Tns40    Vicki Brown's farewell to fans: https://youtu.be/b0SCoEu_9oM   Joe Brown sharing a 1964 stage with The Beatles: https://youtu.be/GjNB-2Bq6ag   Sam at Concert for George: https://tinyurl.com/34un27f6    "Stop!" live: https://youtu.be/WROOE-0IfjE   "Valentine Moon" - fixed: https://tinyurl.com/548b7ssb

The conclusion of the discussion Gary Wenstrup and I had in rating individual tracks on the albums named here, as well as the 1966 Capitol release, "Yesterday"...and Today.  I think, is so overlooked, both message-wise and musical construction-wise. It's one of those songs, first of all, musically, based on piano. Not a lot of guitar, except those little stabbing, which was a 1965 sound in other people's records that year. Nice block harmonies. Then John breaking out his own for the verses, starting this implicitly spiritual song, the first words out of his mouth of the verse in the beginning. Nice touch. That's beautiful. It's this precursor to certainly, All You Need is Love and Give Peace A Chance. It's him. It's messianic John for the first time, really wanting to use his platform to promote something good. They'd said that they're all potheads at this point. I mean, they'd taken acid a couple of times at this point, but not the full immersion by the time of Revolver.   That has to be what's informing his wanting to evangelize on behalf of love at this point. It's interesting that they didn't use this one for Yellow Submarine, because that whole love thing at the end in pepper land, in the face of the mayonnaise, it seems like it would be enmeshed right in there. I guess, they had All You Need Is Love. That was what they went with. I think, it's a great message, a great performance, nice arrangement. I love that organ. Then there's that whole musical, we're going to build a song around one note and it's got that drone throughout it, so you've got that musical experimentation going on at the same time.   Not a song that got a lot of airplay. I don't know if anybody ever covered it. One, they never seemed to look back at it, but it's an early clue to the new direction. It's just this forerunner of lots of things that would come and they just pull it off. They don't sound like you're being preached to. It works as a pop ditty, but also, it's like, wow, it's got a really good message to it, that's bigger than boy-girl relationships.

In which Gary Wenstrup and I return where we left off in offering our picks in ranking Bronze, Silver and Gold tracks off of The Beatles' 1965 releases, as well as a little beyond. This show represents the first hour of our conversation - part two coming next.    Loyal SATB fans: we are asking for you to take a minute to fill in this survey   https://tinyurl.com/y2y3crxm    First 50 respondents get a SATB bumper magnet (US only) but all are encouraged to help us get sponsors on board - thank you!   We commence Beatles Olympiad 2, where we left off, which was starting with their fifth album released in the summer of 1965, Help! Got two albums out of them that year, one being a soundtrack, more or less. It certainly was in the States and Capitol. Then the year ended with a bang, with Rubber Soul; two versions of that. Then in the next year, we got only one new album of material out of them, Revolver. In the States, it being the States, we got another one of those Capitol-only issues, which I think we will talk about today. Because I don't know if we're going to talk about Oldies, which came out on Parlophone, the end of ’66, while they were working on Strawberry Fields, but we'll see what we feel like. For the show, I think we can talk about the UK Help!, both Rubber Souls and Yesterday and Today.

Given Beatles author and historian Erin Weber's recently announced sabbatical from Beatling these days, I wanted to share with SATB listeners the Q&A we held last year for Fab4ConJam, where she fielded questions on the Beatles' literary canon.    Authors covered included:  Lewisohn (of course) Michael Braun Peter McCabe Barry Miles Mark Hertsgaard And much more... Also revealed: her favorite Beatles music - favorite Beatle - and why she detests "Jet."    Erin's website: https://beatlebioreview.wordpress.com/    Erin's podcast: https://anchor.fm/karen-hooper/episodes/All-Together-Now-A-different-approach-to-Beatle-Podcasting-e14v3rc

"Every aspect of what they put out there just became so attractive to people who encountered it, whether it was in the 60s, (when) it was all new, or later generations interfacing with that material, and still being dazzled by all the aspects of it. Not just the music, but the evolving style that they had. Again, as Brian Epstein said so beautifully, he was overwhelmed by their personal charm. Everybody is overwhelmed by The Beatles’ personal charm. Everybody."   The concluding hour of my conversation of Dr. Christine Feldman-Barrett (A Woman's History of The Beatles) covers The role of women in setting examples for The Beatles when they were young. The effects that The Beatles had on the women who enjoyed watching them. Perspectives on screaming at concerts and what it expressed. How The Beatles held themselves played a role in changing cultural norms for women. How The Beatles have helped people to see the beauty in everyday life.

A new phase SATB episode: audio with full video accompaniment! My guests are returning musician Jack Petruzzelli (Fab Faux, Joan Osborne, Patti Smith), joined by Cameron Greider (Freedy Johnston, Sean Lennon, Rufus Wainwright), who in the past year developed a series of online Beatles classes. For the latest, The Beatles and You, they are joined by musicologist Walter Everett (The Beatles As Musicians: The Quarry Men to Rubber Soul and The Beatles As Musicians: Revolver to Anthology). RPM School is presenting a holistic approach to getting inside Beatles music, combining lecture and discussion, music instruction and recording and performance sessions, geared to your individual level. Their approach is unique and individualized, as shown with the demonstration here on George's "Something." Learn the influences that informed its construction (and where else they were used), as well as the technique utilized to capture the song as we know it.  As this is an interactive presentation, you can see ALL of the conversation here.    Check out Walter's lecture here.  (password: SATB )   His slides here.   Sign up for The Beatles And You here.   RPM School site   Also discussed: their take on Peter Jackson's Get Back

My guest today is Dr. Christine Feldman-Barrett, author of A Women's History of The Beatles - an essential new work exploring the group's story through the lens of the women they interacted with and influenced, as well as how they were received and experienced by female fandom. Christine was also once a musician herself, and listen as she describes both her journey as well as what was experienced by young women and girls during the group's lifetime.     Christine's site:  https://experts.griffith.edu.au/7865-christine-barrett

In this continuation of the conversation with Debbie Gendler (1st US Beatles fan) and cartoonist/author Carol Tyler (Fab 4 Mania), Dr. Allison Bumsted and I explore the 1st generation fan's perspectives on: Supporting players in Get Back Mal Evans and Billy Preston How Get Back may influence future generations The life-changing force of The Beatles Carol's missing original albums  www.debbiegendler.com https://www.fantagraphics.com/collections/carol-tyler  www.allisonbumsted.com

In the latest of the SATB series examining Peter Jackson's Get Back, we bring on returning guests Debbie Gendler (first in heard in 121: New York Stories); the first US Beatles fan, plus cartoonist/author Carol Tyler (first heard in 146: Fab 4 Mania). In so doing, we present a first generation fan perspective and reaction to the documentary.    My special guest co-host: Dr. Allison Bumsted, who herself previously guested in 2019 in 176A and 176B: Critiquing The Critics: A Case Study with Wings

In this concluding hour of the conversation with Dennis Diken (The Smithereens), Pat Sansone (Wilco), Arion Salazar (ex-Third Eye Blind) and Luther Russell (Those Pretty Wrongs), we discuss: The Get Back film as therapy for fans (and the world)  Billy Preston Ringo and Paul observations Jamming with Heather

Our panel of Pat, Arion, Luther and Dennis continues their conversation on Peter Jackson's Get Back documentary.    Among the topics:  The rooftop performance The "Flowerpot conversation" Bass stuff The road to Abbey Road Let It Be - the film   Partial transcript of the "Flowerpot Conversation" here.

Any analysis of the Get Back documentary would be remiss in not factoring in insights gleaned from those who've followed in The Beatles' professional footsteps: working musicians. To that end, I assembled a panel of some illustrious pros who also happen to be hardcore fans. Three are returning guests; one is new to SATB:  Luther Russell: (Those Pretty Wrongs) - multi-instrumentalist Currently performing as one half of the duo Those Pretty Wrongs alongside ex-Big Star Jody Stephens, Luther has become a semi-regular on the podcast. As a singer-songwriter and multi-instrumentalist/producer, he has discussed The Beatles' recording techniques, work as a collaborative, and the magic of Ringo's drumming.   The first two albums from Those Pretty Wrongs are being reissued as a double album set, while a third is due out this year. He will also have a new solo set out as well.    Arion Salazar: (ex-Third Eye Blind) - bass In his first appearance on SATB, he discussed Paul McCartney as an innovator, impacting generations beyond the 1960s. It was Arion who offered up the back cover design of Third Eye Blind's multi-platinum 1997 debut ("Semi-Charmed Life") which evoked the back cover of The Beatles' 1966 Revolver album. In early 2021, the bassist put together ensembles of musicians from bands including Smash Mouth, Smashing Pumpkins, Stevie Wonder and Testament, among others, to perform heartfelt covers of Beatle-related material for the first Fab4ConJam. He recently recorded with Flipsyde in Muscle Shoals for a pending release this year.   Pat Sansone: (Wilco) - multi-instrumentalist He waxed eloquently for over two hours on the Sgt. Pepper album on a 2021 episode of SATB.   Pat's radio show: Baroque Down Palace - a 2 hour show every month that centers on Rock, Pop, Soul, Folk music of the 1960s and 1970s that feature symphonic embellishments, or influence in some way from the classical music world:https://wyxr.org/baroque-down-palace/   Pat has released a 7" vinyl single ; a book of his photography, 100 Polaroids, was recently reissued.    New to the show (but not The Beatles): drummer Dennis Diken, founding member of The Smithereens. In addition to their work over the course of several gold and platinum releases, he and his band recorded a pair of studio albums and one live one honoring The Beatles. They currently continue to perform live, alternately fronted by Gin Blossoms vocalist Robin Wilson and recording artist Marshall Crenshaw (also a previous SATB guest), in place of the late Pat DiNizio.     He also records with Bell Sound, whose critically acclaimed album Late Music was released in 2009. Look for new material from both bands in '22.     Dennis's radio show: Denny's Den airs weekly on Wednesday at 2-4pm Eastern Standard Time.  Go to wfmu.org and hover over "LISTEN" then go down to "ROCK 'n' SOUL RADIO", slide to the right and click on "ROCK 'n' SOUL RADIO HOMEPAGE" to access archives and the weekly broadcast.

In which returning guest Gary Wenstrup and I continue our ranking conversation of faves, discussing A Hard Day's Night and Beatles For Sale.  Along the way, we analyze their vocals and blendings, as well as what personal experiences may inform the writing.

In which we pull away from the Get Back film for a while and converse about something completely different. Returning guest Gary Wenstrup and I conduct a conversation going through the first four Beatles albums, selecting our picks for Gold, Silver and Bronze status. Along the way we examine our criteria for what constitutes "favorite" songs, and how the criteria is fluid and evolving.

In the third and final hour, Dan Rivkin (They May be Parted blog) and I explore more of the Get Back project with its director. Among the subjects discussed:    ~ Coordination between the Get Back book, the Let It Be album reissue and this film (hint: none)   ~ Directives from the Beatle heirs and Apple (hint: none)   ~ Michael Lindsay-Hogg’s original draft of Let It Be   ~ The missing Nagra audio   ~ An extended cut?   Be sure to check out party one and two, as well as the write up in Forbes.

Dan Rivkin (They May Be Parted blog) and I continue our conversation with director Peter Jackson about the innovation used to create the film -  some technique used to advance the story - and a number of other observations gleaned from viewing so many hours of footage, both in and outside of the final cut. The history of the Get Back project is at last coming into focus, challenging a number of previously held assumptions.

Well, it's finally here. Worth the wait? Oh, we think so! But before we get into discussions on SATB about what we thought about it, we thought it would be worthwhile to discuss the making of it - the intent behind it; the goals; the challenges; the nuts-and-bolts - with someone who worked on it. To that end, a listener in New Zealand offered himself up as a guest who could offer an insight or two.    My co-host for this one is Dan Rivkin (They May Be Parted), who of course is one of the leading scholars on this material, presented on his blog. Normally, Dr. Duncan Driver would be part of the discussion too, but he had beg off on short notice. (We'll have him back next time...)  Meanwhile, we hope that this - presented in the grand tradition of Peter Jackson - in three parts - will suffice.

We have all made compilations of Beatles solo material, but within this large group, a smaller group has imagined taking some of this material and arranging it as The Beatles might have, had they recorded this material and issued it as "Beatles," the collective. There's actor Ethan Hawke's famous Black Album; Spencer Leigh's Finishing School, as well as any number of other efforts out there.    Then, there are the ones created by myself and my guest, Glenn Greenberg. You can find his list here, or else listen to the show and hear our choices and justifications, which are every bit as good as anything you listeners can come up with. See what you think - we can talk about this stuff endlessly!

SATB has touched on the Sgt. Pepper album in the past, but never like this. My guests, Pat Sansone (of Wilco and The Autumn Defense) and Luther Russell (Those Pretty Wrongs) are each accomplished singer-songwriter/multi-instrumentalists/performers/producers/engineers AND hardcore Beatle geeks. This album became a touchstone for both of them during their formative years, and it is with decades of insight that we discussed the magic and mystique of the landmark release.   Luther has been working on the third album by Those Pretty Wrongs with Jody Stephens this year, while Pat has a book of his photography coming out soon: https://www.flickr.com/photos/michaelraso/galleries/72157624760590414/  Wilco has just began a string of live dates around the US but extending into Mexico, the UK and Spain next year.  See https://wilcoworld.net/ for details.

In 1969, Bill Rotari was Regional Managing Director with Capitol Records in Quebec when he received word that John and Yoko were coming. As label rep, it was his job to see to it that John's needs were met; ultimately this included securing recording gear for tracking the first Plastic Ono Band record, "Give Peace A Chance."       Bill has led an interesting life; as record company executive, recording artist...and minor league pitching prospect for the Atlanta Braves. His group, The Favorites, recorded for London during the 1950s, and later, as Managing Director of CBS/Sony Records in Montreal, he was directly responsible for signing Celine Dion and getting her first English language recordings produced.   Bill tells all about the Montreal Bed-In, as well as his life and career in music (encompassing Paul and George, the Rolling Stones, Petula Clark, Pink Floyd, Leonard Cohen, Tony Bennett and others).

In June and again in July, the director of the upcoming The Beatles: Get Back series gave interviews - in Vanity Fair and in GQ - holding forth on what to expect from his re-tooling of the Beatles Let It Be project. Though there was a certain amount of rehashing what had already been said, there were also things that provided much to discuss and analyze as we approach the countdown to broadcast.  I therefore reconvened Dr Duncan Driver and Dan Rivkin (They May Be Parted blog) for a discussion on the latest and how what Peter Jackson had to say - and didn't say - suggests where the project is going and what to expect.

In late summer 2020, my guest Kyle Driscoll penned this wonderful analysis of the three 1970 releases by three artists whose paths had intertwined and who, as it happened, all found themselves at similar crossroads at the time. You can read it here (which I strongly urge you do) and then listen to the deeper discussion we had on these artists and their impact on each other's work.

You may recall my returning guest from his first appearance in late 2020: Mike Pachelli is an accomplished jazz guitarist and recording/performing artist, as well as a major Beatles fan. His series of popular Youtube videos deconstruct Beatle songs and show each guitar and vocal component. He's back now with a new release: 16 Beatles songs performed instrumentally, Beatles on Guitar.  In this conversation, he details his insights into the challenges of selecting and presenting their music and doing it justice without vocals.

Back in 2018, I had a conversation with Dr. Robert Hieronimus  and Laura Cortner, authors of Inside the Yellow Submarine: The Making of the Beatles' Animated Classic - the definitive history of the 1968 film. But they are back with a sequel, delving deeper into the story: profiling others who made the vision a reality as well as exploring the greater context of the times and the deeper meanings to be gleaned from the film in It's All In The Mind: Inside The Beatles' Yellow Submarine. This newly-published follow-up is richly illustrated in full color and presents new stories from the creative minds who made the project a reality, despite considerable odds. It also illustrates how what shouldn't have worked did, and what meanings can be found, drawing upon classic myth.

There's been loads of speculation as to the exact nature of the friendship between John Lennon and Paul McCartney; during and after The Beatles. And when I say "loads," it runs the gamut from former bandmates who recalled each other fondly from a distance to something encompassing a physical nature. What does seem clear is that between the two of them, while Paul's descriptions of their relationship stayed pretty constant, John's went from demonizing Paul in print and song to describing him as his best (male) friend. Somewhere in there lies a truth, and to help unearth it, my guest today is journalist and author Glenn Greenberg, who recently penned an 80th birthday magabook on John.

In this discussion, Dr. Duncan Driver (SATB 205, Fab4ConJam, One Sweet Dream podcast) springboard off of the title Paul McCartney quote, in which he asserted that each Beatle was as important as another to the group's success. We explore the shifting power dynamics within the group and the question of leadership; we also discuss Duncan's thesis of the four distinctive elements of the Beatles collective identity: live performers - singles makers - album makers - songwriters.

In this episode, we examine the process of a song becoming a record, as heard through the ears of those in the producer's chair. Luther Russell, previous SATB guest and Fab4ConJam star, has operated as a composer, performer, collaborator, engineer and producer and is therefore more than qualified to offer his insights as a musical idea gets transformed into a production and how creative decisions are made along the way.

My guest Tim English (Sounds Like Teen Spirit, Popology) discuss his newest book, examining the artists that John was listening to in the last few years of his life and how certain artists and records influenced the recordings he (and Yoko) made during the summer of 1980. Some of the acts we've known about for awhile (B-52s, Lene Lovich, etc) but many others were less obvious (The Selecter, Christopher Cross, The Doobie Brothers).  John Lennon: 1980 Playlist is out now.

Back in SATB 205, Dr. Duncan Driver (showcased 2+xs at Fab4ConJam) and discussed his article on the timeline to The Beatles break-up.  In this episode, returning guest Gary Wenstrup and I dissect the subject further: when exactly did The Beatles - or individual members within - decide they were quits exactly? The answer - like so much else in Fab history - is not as straightforward as you might think.

It was in 1968 that a young Canadian filmmaker, seeking solace in TM for a broken heart, was befriended by The Beatles in Rishikesh during their immersive study with Maharishi Mahesh Yogi. In 2000, Paul Saltzman published his wonderfully immediate photos in a book (The Beatles in Rishikesh), later augmented and re-published as The Beatles in India in 2018. 2020 saw the release of his documentary, Meeting The Beatles in India - a film that brings together others who were there (Pattie and Jenny Boyd) as well as the real "Bungalow Bill," Beatles historian Mark Lewisohn and filmmaker David Lynch, a major booster of TM.  You can check out Paul's website here, and see the film as well as participate in a Q&A with Paul at the first Fab4ConJam on February 21, 2021.  Details: fab4conjam.com

Big things take much time to execute: both this episode and the long-awaited event I've been teasing for the last few months.... First: the new show. SATB 210 features n guests and no host; instead, it depicts in rigid but scaled down time, the unfolding of their career from the October 5, 1962 issue of "Love Me Do" to the May 1970 issue of "The Long and Winding Road" as a final US single. What lies between is the sounds of their hectic pace, with interviews, shows, projects, radio, film and TV populating their days. There is no greater way to get the context of their hard work and success than experiencing it in context.    (Want to hear a version, Beatles only? Click here . ) Next: the really big show - welcome to the first Fab4ConJam, coming February 20-21, 2021. It's two days of global community, featuring speakers, panels and music celebrating the world's greatest unifying force.  Check out the site now for details as they unfold.

In which Luther Russell and myself detail our picks for the things in the vault known to exist, group and solo, that we one day hope for Apple to release, in well-presented packages. This episode was the live round-the-world broadcast we did from Chicago back in September 2020, powered by in.live (thanks David Simon!) and that is why you get to hear a bit of the city in the background, along with loads of rare audio detailing what we're talking about.  Happy Holidays to all and onward and upward in 2021!

If you aren't already aware of this veteran jazz/blues guitarist's Youtube channel with loads of deconstructions of their music, by all means, check it out. Mike has been performing and recording for decades (18 solo albums), as well as with artists ranging from Phil Keaggy to Micky Dolenz. Like so many others, his life was changed on the evening of February 9th, 1964. Much of the what he absorbed beginning then became the basis for his career, which he now shares in the form of informative videos.  In this discussion, he offers his insights into what The Beatles' primary guitar players were up to and the basis of their brilliance.  Check out MikePachelli.com, and his most recent project - High Standards - which features Tony Levin and Danny Gottleib.

This episode features a conversation between Luther Russell and I with producer John Leckie - if you aren't familiar with his name, you may be with the acts he's worked with (working backwards chronologically): My Morning Jacket - New Order - Radiohead - Robyn Hitchcock and The Egyptians - The Posies - Stone Roses - XTC - Dukes of Stratosphear -  Human League - Simple Minds - Magazine - Be Bop Deluxe - Wizzard - Mott The Hoople - Barclay James Harvest - Syd Barrett - Pink Floyd - Roy Harper - Paul McCartney and Wings.  For the purposes of our discussion, we focus on three key albums he worked on at the onset of his career: the pair of Plastic Ono Band releases by John and Yoko, and All Things Must Pass. It's those first two that we examine in detail, fifty years on (well, a little Pink Floyd too). John has the stories and the insights - it was our honor to host him (and keep him from his dinner).

Returning guest Jack Petruzzelli of The Fab Faux has been playing Beatles music onstage all over the world since 1998. In this conversation, he goes into detail about what goes into the effort to replicate heavily-produced music not necessarily intended for live performance, by a core of five members. Given the current conditions, the band is on hold, but Jack can be seen performing online on his Facebook page ("Thursday night service"November 19th 8pm ET), as well as his interactive Beatle class: https://www.gowanusmusicclub.com/beatles-101   Thanks to Joe Chinnici for recording the Fab Faux in New York for the Sirius XM Beatles Channel.

I got something to say that won't cause you pain... Contact

With so many conflicting accounts and blame laid for the series of events that led to The Beatles' split, it's hard to detect a coherent narrative that, fifty years on, makes any sense as to exactly what went down and how. But Dr. Duncan Driver, in an article published earlier this year in Beatlefan magazine, has laid out a timeline detailing the sequence of events, from which some measure of patterns emerge. You can (and should) read the full-length piece here.  We discuss the direction that things were moving in during the last years of the group (and past that point, too), toward a greater understanding of how events played out, maybe not exactly as we'd been led to believe.

Back in May 2020, my guest Gary Wenstrup and I presented the first half of our conversation, where we offered up our respective lists of what people in Beatle world we would like to be able to sit down and interview: insiders who knew The Beatles well - worked with and for them - and essentially operated as part of the infrastructure; people who haven't been tapped out as interview subjects.  Here are more names we came up with of folks still among the living that may end up on the show yet - time will tell.  Gary is a lecturer and adjunct professor at College of DuPage, specializing in Beatles and classic rock.     PS: Guess who's on an upcoming episode of the Fans on the Run podcast?  Ethan Alexanian and I just had a lengthy sit down.   Also, remember Luther Russell evoking the Yesterday and Today podcast? He and I both contributed to their upcoming 100th episode.

As you may recall: back in July, SATB featured the first part of a conversation covering The Beatles in the studio in 1968, during the White Album sessions and just before. Here's the continuation, featuring SATB semi-regular Luther Russell (singer-songwriter/producer/performing artist). As always, the talk goes where it goes, covering a lot of Beatle ground.  Jerry's volume 5 of The Beatles Recording Reference Manual series will be out later this year; it covers all of the 1969 recordings, including the Let It Be sessions, the Yellow Submarine soundtrack and Abbey Road.    Luther's music here: https://lutherrussell.bandcamp.com/

Coming on what would've been the 80th anniversary of his birth, this collection of Lennon material - Beatles and solo - is being presented by a number of artists associated with Beatles music, among them The Weeklings and The Gripweeds. Consider this one a "new phase" SATB show - the first to feature a guest host: Tom Frangione. You may know him from his writings in Beatlefan magazine - his role twice annually at The Fest for Beatles Fans, or as one of the three hosts heard on the Sirius XM Beatles channel program, Fab Fourum. His guests on this episode are JEM Records' president Marty Scott; veteran musician Glen Burtnik (Beatlemania, Styx, The Orchestra) of The Weeklings, and Kurt Reil (The Gripweeds). They discuss the process of putting this collection together, including song selection as well as the process of arranging such familiar material into something fresh.    http://www.jemrecordings.com/

You may know her as the award-winning veteran rock journalist (Creem, Kerrang!, Mojo, and so forth) who also penned the best-selling biography of Leonard Cohen: I'm Your Man: The Life of Leonard Cohen (2011), as well as Debbie Harry's memoir, Face It (2019). But as a music-stricken child growing up in London during the 1960s, she became what she'd describe later as "Beatle damaged" at an early age.  Here, Sylvie recounts that backdrop when music was absolutely everything; so much so that, starting in 2014 and after a successful career as one of rock's most thoughtful scribes, she became a recording artist: first with Sylvie and now - six years later - Blue on Blue. Her musical endeavors have won her further praise, but on this show, she offers up her perspective and insights on the Beatles as a group and solo, through the eyes (and ears) of a journalist and fan.    Her books, archive and interviews can be found here: http://sylviesimmons.com/

In which this returning SATB fave (The Beatles and The Historians) and I expand from previous discussions focusing on books to cover the media specifically around the time of the break-up, and how the nonsensical "John vs Paul - who was the greater genius?" discussion got fueled and put forth into the world. The role of Allen Klein in their break-up is also discussed, in this two-hour conversation that drills deep into the dynamic between these two and hour the world viewed it.

For SATB's 200th episode (more or less), we're doing something special: returning with guest photographer/writer Ethan Russell, one of this most storied individuals in rock history through his iconic visual documentation of The Beatles, the Rolling Stones and The Who, to name three (scores more as well). Ethan was the official rock photographer of the Rock 'n' Roll Circus, the Let It Be sessions, the final Beatles group photo shoot, as well as behind tons of other classic images, most of which have been gathered up and published in his latest book, Photographs - a singular monograph of superlative visuals presented in stunning quality. It's available only at his website: www.ethanrussell.com  I spoke with Ethan last year and this follow on covers more details of his work with the Fabs: his impressions of them individually - of Yoko - of the Let It Be project and Michael Lindsay-Hogg, as well as of Peter Jackson (of whose upcoming work Ethan got a peek). Ethan came of age in San Francisco and went to London in 1967 - within a year he was in the orbit of the top British acts of the day. As a chronicler of the times, his work and observations are impeccable.

In which my returning guest and I discuss this: what if The Beatles' songwriting credits were more accurately apportioned to reflect actual significant contributions from not-credited bandmates? Their recording career began with a singular "McCartney-Harrison" credit for "In Spite of All The Danger" - one can make the case (and we do) that their career was book-ended by "I Me Mine," which might have rightfully have bore the same credit.  Anyway, as always, it leads down many rabbit holes...

Presented as forerunner of the inevitable show revisiting John Lennon/Plastic Ono Band to come later this year as part of the 50th anniversary, returning guest Chip Madinger (Eight Arms To Hold You, Lennonology) and I discuss some of the assorted odds and sods produced (or proposed) by John Lennon under the Plastic Ono Band brand circa 1969/1970. The POB debut year gave us the singles "Give Peace A Chance" and "Cold Turkey," but what about the other announced releases? ("Laughing"/"Whispers"; "You Know My Name"/"What's The New Mary Jane," and the mysterious instrumental, "Rock Peace").  Chip knows the work and chronology better than anyone when it comes to the solo Beatles and John Lennon in particular. He presents some astonishing information about what was originally planned for 1970 (and about the original form of "How Do You Sleep"). This one's a treasure trove for Lennononistas... Check out his work at https://www.lennonology.com/ (including the current special).

Previous guest Russ Lease returns with stories from the world of top end collecting: vehicles (including the Magical Mystery Tour bus), attire (shoes, boots, jackets), paper (a Brian Epstein contract) and vinyl. Russ was the founder of Beatles Suits, the go-to resource for Fab tailoring; he was also the auctions columnist for Beatleology magazine. Lastly: he is a partner in Fab Four Exhibitions, the traveling Beatles museum of artifacts.   Russ has a lot to say about the back story on a lot of familiar Beatle items that have come up for auction.

In his return to the show, we discuss 1968 and the making of the "White Album" (mostly), as explored in his most recent work, The Beatles' Recording Reference Manual Volume 4. Joining us is another returning guest, recording artist/performer/producer Luther Russell (Those Pretty Wrongs, The Freewheelers, solo). Because we covered so much ground, I am presenting the conversation spread over two parts (the conclusion to follow later....)   Check out Jerry's work here.

It seems particularly fitting at the time we find ourselves in to be discussing the art and career of rock pioneer Little Richard, who passed recently at 87. He represented a marginalized group in society, and his breakthrough, as unlikely as it was, carried with it resonance relevant to the present day. Add to that his absolutely key role in the development of The Beatles - going back to The Quarry Men days, really - and you can see why he is a subject worthy of a deep discussion.  But the springboard for this show is the article published online at Vulture just after Richard's passing; it was written by returning guest, journalist Bill Wyman and really is essential reading:  https://www.vulture.com/2020/05/little-richard-put-wild-sex-into-the-top-40-for- good.html  The salacious aspects of Little Richard's life must be discussed in any thorough conversation about his life, but there's much more to the story. And as this is SATB, you can count on any number of other topics coming up, including Motown - touring - Elton John - David Bowie - the record industry - even The Replacements and The Ramones. (We also sneak in a word or two about The Beatles...)

So an idea came up: who would SATB like to talk to in Beatle world and sit down for an interview? Qualifications: first, they have to be among the living (as of this taping); Second, they have to be completely honest and not fall back on deflection or "professional Beatle fan" chatter: stories they've entertained with for years that may or may not be factually accurate. Last, they have to be people on the inside who have either not told their stories at all or not told them to death. Though mortality hangs over us all, there are still folks out there who, to the best of my knowledge, range to speaking on record only sparingly or not at all; have written books, but if we discussed them here, it's because their books didn't go deep enough or raised more questions.) Joining in the conversation is a returning guest (182 and 188), retired academic Gary Wenstrup. He came up with his list, I came up with mine, and together we covered as much ground as we could in this, the first of a two-parter (at least).

Rock historian and radio interviewer Spencer Leigh has been chronicling the music scene generally and The Beatles specifically from his native Merseyside for decades. He has penned well over two dozen books, half of them on Beatles-specific subjects. In this conversation, we discuss an array of topics, including writing and researching The Beatles; Bob Wooler; Liverpool bands; Bob Dylan, and Ken Dodd, among other topics.     Check out Spencer's work here.

The continuation of my conversation with musician/singer/songwriter/producer Luther Russell - whom you may recall (SATB 192) as one half of Those Pretty Wrongs, a duo with Jody Stephens (ex-Big Star). As a devout fan from birth and a drummer himself, Luther possesses considerable insight into what made Ringo the essential Beatle: how a combination of unique skills, background and chemistry with the others made him the band's most valuable player in a very real sense. This sprawling conversation addresses Ringo's singular gifts that not only served his band so well over the course of their live and studio career but also how he built the vocabulary that countless others followed in his wake.  Luther's thesis here Heard in this show: "Everything You Do" by Luther Russell from the album The Invisible Audience

My guest today is musician/singer/songwriter/producer Luther Russell - you may recall him (SATB 192) as one half of Those Pretty Wrongs, a duo with Jody Stephens (ex-Big Star). As a devout fan from birth and a drummer himself, Luther possesses considerable insight into what made Ringo the essential Beatle: how a combination of unique skills, background and chemistry with the others made him the band's most valuable player in a very real sense. This sprawling conversation addresses Ringo's singular gifts that not only served his band so well over the course of their live and studio career but also how he built the vocabulary that countless others followed in his wake.  Luther's thesis here Heard in this show: Luther on drums with Liam Hayes on "Eat In Sin"

You may know her as the muse who inspired Donovan's "Jennifer Juniper"; maybe you know her as Pattie Boyd's sister who went to Rishikesh with The Beatles. She may be known to some as the one-time flat-mate of Magic Alex or the two-time wife of Mick Fleetwood, but above all, she was a perceptive observer with a ringside seat at some of the most momentous events in 60s youth culture; wise beyond her years but in tune with the zeitgeist as it shifted around her. Meet (Dr.) Jenny Boyd, author of the newly-published Jennifer Juniper: A Journey Beyond The Muse. She also authored Musicians In Tune, republished and expanded as It's Not Only Rock 'n' Roll: Iconic Musicians Reveal The Source of Their Creativity; a fascinating exploration into the creative process with some of her best friends. In this conversation, we discuss her life and times, along with a lots of familiar personas in her circle.  Check out all things Jenny Boyd here: http://www.thejennyboyd.com/

The January 1969 sessions at Twickenham and Apple Studio are The Beatles gift that keeps on giving. Thoroughly taped and filmed, it is a rich vein of material to analyze, especially as it has been chronicled in such a bad light by the group themselves, at odds with much of the evidence that has surfaced. SATB has examined the subject numerous times, notably with the two part Winter of Discontent episodes but also two additional episodes featuring Doug Sulpy (author of the seminal Drugs, Divorce and a Slipping Image ) and journalist / blogger Dan Rivkin ( They May Be Parted ) . SATB 158 and SATB 151 respectively         But with the pending autumn release of the new and revised cut of Let It Be  on its way, we thought it would be a good time to both summarize and re-examine what there is to work with, considering that Peter Jackson's work is bound to stand as THE final word for a long time on the subject. Further, it is in the interest of offering a corrective to any public perception that what is to come will be a "whitewash" (the quotes in circulation discuss the group's friendship - as you will hear here, there is ample support for this, counter to the narrative they themselves have put out through the years). Dan Rivkin and I discuss (in a three-hour conversation split over two parts) what we feel are the important and key documented moments that * should * make the cut of Jackson's work.   Part Two includes:  ~ "Commonwealth" ~ Billy Preston ~ Oldies  ~ The Rooftop ~ Afterward

The January 1969 sessions at Twickenham and Apple Studio are The Beatles gift that keeps on giving. Thoroughly taped and filmed, it is a rich vein of material to analyze, especially as it has been chronicled in such a bad light by the group themselves, at odds with much of the evidence that has surfaced. SATB has examined the subject numerous times, notably with the two part Winter of Discontent episodes but also two additional episodes featuring Doug Sulpy (author of the seminal Drugs, Divorce and a Slipping Image) and journalist/blogger Dan Rivkin (They May Be Parted). SATB 158 and SATB 151 respectively But with the pending autumn release of the new and revised cut of Let It Be on its way, we thought it would be a good time to both summarize and re-examine what there is to work with, considering that Peter Jackson's work is bound to stand as THE final word for a long time on the subject. Further, it is in the interest of offering a corrective to any public perception that what is to come will be a "whitewash" (the quotes in circulation discuss the group's friendship - as you will hear here, there is ample support for this, counter to the narrative they themselves have put out through the years). Dan Rivkin and I discuss (in a three-hour conversation split over two parts) what we feel are the important and key documented moments that *should* make the cut of Jackson's work.  Part one includes:  ~Discussions on what their goals should be ~The prospect of "divorce" ~ The roots of Abbey Road ~"All Things Must Pass" ~"White Power"