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Many of you have by now seen the new doc, re-presenting the February 1964 footage of The Beatles’ two-week jaunt in NYC, Washington and Miami, shot by Albert and David Maysles. As you know, producer Martin Scorsese has a history of music documentaries (including Living on the Material World) but this one is directed by his associate, David Tedeschi and produced by Margaret Bodde, who have worked together many times on on many music films. I got a chance to talk with them about the making of this one and the intent behind it.  

The Olympiad series picks up again, with music scholar Gary Wenstrup on board, picking up where we left off at episode 276, the Filmtrack Olympiad. Be sure to add your name to the [email protected] Newsletter list to enter the giveaway of the vinyl Beatles ’64 Mono Capitol albums. About “(Wild) Honey Pie”

Viewed at one level, Paul’s 1980’s career was bookended by the album triumphs of Tug of War and Flowers In The Dirt. But that would be to overlook the January 1980 Tokyo drug bust, the dissolution of Wings, John’s murder, and then a period that may best be described as uneven: duets (of varying quality), the diminishing returns of Pipes of Peace, the lambasting that Give My Regards To Broad Street earned him, the “Frog Chorus,” Press To Play, the abandoned Phil Ramone sessions, and the public discord over the Rock and Roll Hall of Fame Beatles induction. Plus litigation aplenty.   It was a time that saw his reputation eclipsed by his martyred bandmate and hit records harder to come by, all before he found his feet with a new collaborator (Elvis Costello) that seemed to rejuvenate him, setting the table for a return to world touring. All of this is discussed in my latest conversation with author Glenn Greenberg, where we examine the good and the bad during challenging times. 

An essential component of The Beatles’ appeal was their sense of humour, showcased not only in their two feature films (A Hard Day’s Night, Help!) but also their TV appearances, interviews and even their music. TV comedy writer Jeff Martin (Late Night with David Letterman, The Simpsons) returns to the show to discuss how this facet of their talents was not only exceptionally developed, but also an element that set them apart from their peers, as well as key to their enduring legacy. For further reading, check out The Beatles and Humour: Mockers, Funny Paper and Other Play.

n the 44 years since John Lennon’s death, the trauma of that night is still as raw, so much so that, for most people, the facts of what went down are far too painful still to examine closely. But when one does, as returning guest David Whelan has, they depict sometihng far more disturbing and sinister than the story we thought we knew. Whelan’s research was presented in his book, Mind Games: The Assassination of John Lennon. Our earlier discussion this year (275) barely scratched the surface on what his research uncovered. Today’s discussion goes deeper, and is in part a response to the recent show with Robert Rosen (Nowhere Man).  Check out David’s YouTube channel here: http://www.youtube.com/@AssassinationOfLennon and his SubStack writings here: https://davidwhelan.substack.com/

In 2023, I hosted writer James Campion with Jeff Martin for a discussion of The Beatles’ 1968 mega-hit and Apple Records debut. This time, we’re drilling down deep for an analysis of the song’s composition (as well as possible sources of inspiration) with the musicologists of RPM School: Walter Everett (author of volumes one and two of The Beatles As Musicians) plus working musicians and recording artists Jack Petruzzelli and Cameron Greider. This is where we get deep into the weeds with musical theory and a breakdown of the song’s lyrical construction, as well as elements from other pieces of music that may have influenced the principal author, Paul McCartney. RPM’s new semester (on Let It Be) begins soon – see their site for details: https://www.rpm-school.com/