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Magnhild Mongolo
I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology.
Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology.
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It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying.
As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead.
The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work:
The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song:
The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved.
Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved.
The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them:
The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style:
And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions:
As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background.
Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years.
Indeed, when the family moved back to the US after the war, moving to Scarsdale, New York, they left Yoko in Japan to finish her schooling. But eventually she followed them to the US and enrolled at Sarah Lawrence, an expensive private liberal-arts college which at that time was women only. Yoko was equally interested in the visual arts and in music, and she particularly loved the work of composers like Webern:
While she was at Sarah Lawrence, she was introduced to Toshi Ichiyanagi, who would later become one of the most acclaimed Japanese composers of the latter half of the twentieth century, and the two soon married, and decided to take up life as Bohemian artists. They started hosting concerts in their loft, co-curated with La Monte Young, the composer we talked about in the episode on the Velvet Underground:
Later, she would forgive this behaviour, reasoning that he could hardly take her out in public given that he was one of the most famous men in the world at the time and was still married, but for the moment, she decided that she was going to get some distance from Lennon, who she found herself falling for.
Yoko started up their correspondence again, and her postcards started arriving in Rishikesh. These letters would be sent to Tony Bramwell, an Apple staffer, in Delhi, and Bramwell would forward them on to Rishikesh in brown wrappers, so that Lennon could hide them from Cynthia.
Even so, Lennon soon decided that he and Cynthia were going to sleep in separate cabins, on the pretext that he was going to spend more time meditating. He still had in his mind at least the partial desire to fix their marriage, but that was becoming less and less of a priority for him as he realised his affection for Ono might be reciprocated.
The version of the song that was included on the eventual album, take eighteen, lasted ten and a half minutes in the original recording, most of which was an extended jam, over which Lennon would scream and moan:
Under those circumstances, it was perhaps more understandable that people wanted more radical change than electoral politics offered, and those people were bitterly disappointed to hear Lennon, with his image as the most radical Beatle, arguing for moderation and equivocation rather than revolution.
And of course, there may be elements of both of these things in the finished song, and it may well be that McCartney started out thinking reproachfully of his partner but then also ending up wishing him well. People are complicated, relationships are complicated, love is complicated.
Clapton was the most highly-regarded British guitarist of the time, and Harrison thought that if he brought Clapton in for a session, the other Beatles would be on their best behaviour, *and* Clapton could record a better solo than Harrison:
That track was notable for a couple of other reasons as well. The Beatles had finally discovered the eight-track machines that had been hidden in Abbey Road and got them set up, and were recording in eight-track on their home turf for the first time. And it was recorded without a producer.
George Martin had got as sick as anyone of the toxic attitude in the sessions, and was unaware of the change that was about to happen. The sessions had also stretched far, far, longer than any previous Beatles album, and a lot of the time had been spent on material he felt was substandard. He was sick of endless timewasting and arguments, and some have suggested he was also trying for a bit of a power-play to show the Beatles how much they needed him, as they were increasingly being disrespectful to him.
During that trip to the US, Harrison took some time out to visit Bob Dylan and the Band in Woodstock. While there, he also collaborated with Dylan on a song that would later turn up on one of his solo albums:
And that coherence is because of the effort that Lennon, McCartney, Martin, and Ken Scott put in, in a sequencing and mixing session, which included crossfading all the songs on each side so that each would be a continuous side of music. That session took twenty-four hours straight, the longest session the Beatles ever did, and it included things like putting three of the four songs with animal names in the title in a row, putting all the hard rock songs on one side, and making sure there was one George song on each side and one Ringo vocal on each disc.
According to Cynthia Walking into court beside my lawyer was terrifying. The place was packed with the press and I had to swear in front of them under oath that my marriage had broken down irretrievably, that my husband had publicly admitted adultery and that Yoko was pregnant by him.
I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica.
The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro.
While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record.
Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson.
He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it.
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