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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 group of clubs 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 a resourceful and resilient 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 Terri Hemmert’s Breakfast with The Beatles on Sunday at 8am CDT: https://www.audacy.com/wxrt/beatles

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

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 Women’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.

My guest today is Dr. Christine Feldman-Barrett, author of A Women’s History of The Beatles 

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   Check out this excerpt from the I Was A Teenage Screamer panel at the first Fab4ConJam www.debbiegendler.com https://www.fantagraphics.com/collections/carol-tyler www.allisonbumsted.com

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

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

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.

In 1969, Bill Rotari was Regional Managing Director with Capitol Records in Quebec when he received word that John and Yoko were coming.

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

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.

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.