Back in May 2025, two hardcore Beatle historians haling from down under came on the show for an analysis of the conventional wisdom regarding Beatles instrumental credits and how, in certain instances, it was found to be lacking. They're back again, and this time we examine: 
"Long Tall Sally"

"I Don't Want To Spoil The Party" 
"Michelle"

"We Can Work It Out"
"Paperback Writer"/"Rain"

"Sgt. Pepper (reprise)"

"Piggies"

"Don't Pass Me By" 

"Not Guilty" 

Marcus Phelan and Andrew Shakespeare have been studying the recordings for decades, as fans and as musicians themselves. The sources critiqued included: 
Ian McDonald's Revolution in the Head

Mark Lewisohn's The Beatles Recording Sessions

Kevin Howlett's liner notes to The Beatles special deluxe editions

The public pronouncements of Giles Martin 

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311: Dear Beatle People with Sara Schmidt and Allison Bumsted 
Most Beatles fans are generally familiar with the story of their UK fan club, managed by Freda Kelly and depicted throughout the 2013 documentary, Good Ol' Freda. But the story of their North American fan clubs is, if anything, even more fascinating: their set-up was treated nearly as an afterthought upon the group's 1964 arrival here, and as they fumbled their way forward, hundreds of unofficial Beatles fan clubs sprang up, many of them doing a far better job of creating community and supporting the band than the official one did. (And then there were the sub-groups set up to police the other fans and protect The Beatles from their out-of-control fervor.)
Beatles historian Sara Schmidt has chronicled this heretofore untold history in her book, Dear Beatle People: The Story of The Beatles North American Fan Club. Rich with tons of ephemera, photos and correspondence, Sara brings to life the immediacy of '60s American fandom and the unsuspected drama that went along with it. She spoke with hundreds of 1st-gen fans, collecting and preserving their stories of encounters with The Beatles, as well as the stories around the regional clubs around the country that weren't just limited to "Beatles." (There were, for instance, associated clubs for Beatle wives, actor Victor Spinetti, and a Beatle sister.) 
Beatles fandom is an area of study only recently starting to get its due as an illuminating aspect of the phenomena. Joining Sara and I for the talk is rock scholar Allison Bumsted (TeenSet, Teen Fan Magazines and Rock Journalism) as we discuss the history of American Beatles fans in their efforts to put their devotion to purpose.
Be sure to also check out Sara's Beatle photo blog, https://www.meetthebeatlesforreal.com/  

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Why are we still talking about these guys? Does a band that stopped recording together over half a century ago have any relevance in the 21st century? Have we reached the bottom of the barrel yet in terms of exploring every aspect of their story?

If you answered yes and no respectively to the last two questions, press on, because in this conversation with author Sean Murphy, we dive into the continued appeal and inspiration that The Beatles gave us, as potent in 2025 as it was in the '60s.

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We are now sixty years on from the crest of The Beatles' touring years, if you figure the August 15, 1965 Shea Stadium show that kicked off their second North American tour as "the top of the mountain," as John Lennon once did. 
Therefore, who better to talk about those three intense years and shows than Chuck Gunderson, author of Some Fun Tonight: The Backstage Story of How The Beatles Rocked America? It was published in 2014 in two slipcased volumes, richly illustrated with many never-before-seen photos of The Fabs onstage, as well as behind the scenes and of period ephemera. Chuck is the expert on those shows, and in this conversation - taped live in front of an audience at the 2025 Rosemont Fest For Beatles Fans - we convened to discuss Shea, Margies Candies, the Chicago mob, segregation, and how Brian handled the demands of sailing into uncharted waters. 
Check out the book here: https://www.somefuntonight.com/ 

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This special episode is, in effect, a part two of episode 308 (The Politics of Beatles), again with Candy Leonard, as an examination of the decision made by Universal Music Group (with the tacit approval - if not agreement - of the Lennon estate) to reissue the 1972 John and Yoko album, Some Time In New York City, as a background component of the Power To The People set, showcasing the pair of One To One concerts and removing the lead off track, "Woman is the Nigger of the World" from both the parent album AND the concerts.

We discuss the possible reasoning behind this call and whether this is one statue that needed to be torn down or not.

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Ribbons of Rust: The Beatles' Recording History in Context is this first installment of a multi-volume series, building out the history of everything The Beatles did in the recording studio to reveal the influences around them and the world they created in. I (Robert Rodriguez)  am the author of or contributor to over half a dozen Beatles books, while Jerry Hammack is the creator of the five-volume Beatles Recording Reference Manual series. Both of us are award-winners as well. 
The book comes in standard mono(chrome) edition, richly illustrated in black and white, as well as the deluxe full colour edition. Both volumes are filed with QR codes, linking readers fo British Pathe newsreels, music and other sights and sounds of the era. The Beatles' times are brought to life thusly for a fully immersive experience. 
To give a proper assessment of this first joint project, we convened: 

This all boiled down to three people: 
producer John Leckie (Radiohead - XTC - Stone Roses - Simple Minds - Dukes of Stratosphear - many more) 

Sibbie O'Sullivan (author of My Private Lennon: Explorations for a fan Who Never Screamed)

Richard Mills (author of The Beatles and Fandom and the just-published The Beatles and Black Music) We also included some "civilians" who'd read the book as well. 

Here's what they had to say. For more info (including a "look inside" and book trailer), visit http://www.ribbonsfrust.net 

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In 2014, sociologist Candy Leonard published Beatleness: How the Beatles and Their Fans Remade The World. It was a groundbreaking work, representing a serious exploration into the phenomenon of fandom and the reciprocal relationship between artist and audience, and the impact that all of it had on lives - and the world - that reverberates ever onward even today, sixty years on. 

Candy has twice been a guest on the show (155: 1968 and 180: "...I buried Paul...") but for this conversation, we focused on the politics of Beatles: not their personal convictions per se but what they meant fresh out of the gate - what they represented and how they were received by fans and the establishment alike.   In this talk, we covered hair (as a statement) - drugs - evolution - One to One - Beatles '64 - feminism - Taylor Swift.  

Check out Candy's site for her essays and more (https://www.candyleonard.com/beatleness ). 

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Director Alan G. Parker's newest film is a personal expression of gratitude toward John Lennon for being a figure that helped him through some difficult years when he was growing up. Borrowed Time: Lennon's Last Decade includes interviews with dozens of figures who knew him; everyone from Aunt Mimi (archival footage) to journalists like Ray Connolly, Chris Charlesworth, and Anthony DeCurtis, plus writers like Philip Norman and Ken Womack and other figures of influence, like Tariq Ali.

The result is an impressionistic portrait of John's post-Beatles years, created through the creativity that comes from working without official sanction. Parker's other work includes 2017's It Was Fifty Years Ago Today on Sgt. Pepper, plus other films and books covering punk acts including The Clash and the Sex Pistols.    

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In late May 1969, producer Glyn Johns turned in a draft album, culled from hours of tape recorded in January 1969 during the Get Back/Let It Be sessions. His work reflected the original concept: catching The Beatles as they really were in the studio, with off-the-cuff performances of oldies, warm-ups, false starts and blown takes. It would have made for a fine tie-in with the original cut of the Let It be film, but ultimately, the group rejected the idea, instead moving back to their established productions values, with Abbey Road being the result.

The tapes, handed off to Phil Spector, emerged in May 1970 with a new tie-in: the group's break-up. Let It Be, the album, drew the worst reviews of their career, being a neither fish-nor-fowl collection of tunes bearing Spector's worst impulses (choirs and lush orchestration) alongside vestiges of the original concept (studio chat and tossed off improvisations).

In this episode, Robert and Olympiad partner Gary Wenstrup re-imagine the group's history - what if Get Back HAD been accepted and released in spring 1969, the missing link between the White Album and Abbey Road?

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In recent years, the quality of Beatles scholarship has risen considerably, and the old days of accepting and repeating any old data (even coming from sources that should be credible) - without examining it deeper to see if it really stands up - are long gone. With The Beatles, music is always at the heart of their story, and in particular, what they did in the studio. Examining how their recordings were produced tells us a ton about how the group operated, and therefore getting it right is pretty important to understanding what we're hearing. My two guests - Marcus Phelan and Andrew Shakespeare - are 2nd-gen fans, hailing from Australia. Both are musicians who've been playing for decades and have been studying The Beatles' music for just about as long. We selected a group of songs that have been disputed as to who is playing what and how the recordings were constructed for this first installment of Contentious Credits. 

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