Something About the Beatles

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/ 

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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/ 

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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.  

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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.   

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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... 

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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).   

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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.  

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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.

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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...)  

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