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The continuation of my conversation with musician/singer/songwriter/producer Luther Russell – whom you may recall (SATB 192) as one half of Those Pretty Wrongs, a duo with Jody Stephens (ex-Big Star). As a devout fan from birth and a drummer himself, Luther possesses considerable insight into what made Ringo the essential Beatle: how a combination of unique skills, background and chemistry with the others made him the band’s most valuable player in a very real sense. This sprawling conversation addresses Ringo’s singular gifts that not only served his band so well over the course of their live and studio career but also how he built the vocabulary that countless others followed in his wake. Luther’s thesis here Heard in this show: “Everything You Do” by Luther Russell from the album The Invisible Audience 

My guest today is musician/singer/songwriter/producer Luther Russell – you may recall him (SATB 192) as one half of Those Pretty Wrongs, a duo with Jody Stephens (ex-Big Star). As a devout fan from birth and a drummer himself, Luther possesses considerable insight into what made Ringo the essential Beatle: how a combination of unique skills, background and chemistry with the others made him the band’s most valuable player in a very real sense. This sprawling conversation addresses Ringo’s singular gifts that not only served his band so well over the course of their live and studio career but also how he built the vocabulary that countless others followed in his wake. Luther’s thesis here Heard in this show: Luther on drums with Liam Hayes on “Eat In Sin”

  You may know her as the muse who inspired Donovan’s “Jennifer Juniper”; maybe you know her as Pattie Boyd’s sister who went to Rishikesh with The Beatles. She may be known to some as the one-time flat-mate of Magic Alex or the two-time wife of Mick Fleetwood, but above all, she was a perceptive observer with a ringside seat at some of the most momentous events in 60s youth culture; wise beyond her years but in tune with the zeitgeist as it shifted around her. Meet (Dr.) Jenny Boyd, author of the newly-published Jennifer Juniper: A Journey Beyond The Muse. She also authored Musicians In Tune, republished and expanded as It’s Not Only Rock ‘n’ Roll: Iconic Musicians Reveal The Source of Their Creativity; a fascinating exploration into the creative process with some of her best friends. In this conversation, we discuss her life and times, along with a lots of familiar personas in her circle, as well as the nature of creativity. Check out all things Jenny Boyd here: http://www.thejennyboyd.com/ Instagram Facebook

The January 1969 sessions at Twickenham and Apple Studio are The Beatles gift that keeps on giving. Thoroughly taped and filmed, it is a rich vein of material to analyze, especially as it has been chronicled in such a bad light by the group themselves, at odds with much of the evidence that has surfaced. SATB has examined the subject numerous times, notably with the two part Winter of Discontent episodes but also two additional episodes featuring Doug Sulpy (author of the seminal Drugs, Divorce and a Slipping Image ) and journalist / blogger Dan Rivkin ( They May Be Parted ) . SATB 158 and SATB 151 respectively      But with the pending autumn release of the new and revised cut of Let It Be  on its way, we thought it would be a good time to both summarize and re-examine what there is to work with, considering that Peter Jackson’s work is bound to stand as THE final word for a long time on the subject. Further, it is in the interest of offering a corrective to any public perception that what is to come will be a “whitewash” (the quotes in circulation discuss the group’s friendship – as you will hear here, there is ample support for this, counter to the narrative they themselves have put out through the years). Dan Rivkin and I discuss (in a three-hour conversation split over two parts) what we feel are the important and key documented moments that * should * make the cut of Jackson’s work. Part Two includes: ~ “Commonwealth” ~ George’s walk out and Billy Preston ~ Oldies ~ The Rooftop ~ Afterward

The January 1969 sessions at Twickenham and Apple Studios are The Beatles gift that keeps on giving. Thoroughly taped and filmed, it is a rich vein of material to analyze, especially as it has been chronicled in such a bad light by the group themselves, at odds with much of the evidence that has surfaced. SATB has examined the subject numerous times, notably with the two part Winter of Discontent episodes but also two additional episodes featuring Doug Sulpy (author of the seminal Drugs, Divorce and a Slipping Image) and journalist/blogger Dan Rivkin (They May Be Parted), heard on  SATB 158 and SATB 151 respectively But with the pending autumn release of the new and revised cut of Let It Be on its way, we thought it would be a good time to both summarize and re-examine what there is to work with, considering that Peter Jackson’s work is bound to stand as THE final word for a long time on the subject. Further, it is in the interest of offering a corrective to any public perception that what is to come will be a “whitewash” (the quotes in circulation discuss the group’s friendship – as you will hear here, there is ample support for this, counter to the narrative they themselves have put out through the years). Dan Rivkin and I discuss (in a three-hour conversation split over two parts) what we feel are the important and key documented moments that *should* make the cut of Jackson’s work. Part one includes: ~Discussions on what their goals should be ~The prospect of “divorce” ~ The roots of Abbey Road ~”All Things Must Pass” ~”White Power”

My guest today is best known in Beatles world for having published Nowhere Man (originally in 2000 but since revised in 2015), a book in part drawn from Rosen’s exclusive access to John Lennon’s diaries. He is also the author of the newly-published memoir, Bobby in Naziland, a telling of his coming of age in Flatbush during the late 50s and early 60s. Rosen’s work captures the essence of time and place, with an eye for detail and an ear for the rhythm; true for both of the aforementioned titles. Nowhere Man is a fascinating synthesis, based on interviews and original research as well as a reconstruction of the Lennon diaries. Rosen fleshes out a unique perspective on who John was during his last five years, drawn from John’s own privately expressed words. You won’t want to miss this illuminating discussion. Check out Robert’s works and events here: http://www.robertrosennyc.com/blog

In a follow-up to 171 (An Accidental Studio), I revisit the story of George Harrison: Filmmaker with Gary Wenstrup. Coming off the heels of the recent losses of both Neil Innes and Terry Jones, there was certainly more to discuss about George’s relationship with the Pythons, encompassing Life of Brian as well as The Rutles and side issues like Denis O’Brien (and his archetype, Allan Klein). Erin Weber’s dialogue with Karen Hooper RE personality types – a must read.

My (returning) guest is Andrew Grant Jackson, author of the newly-published 1973: Rock at the Crossroads.

In which SATB listener favorite Jeff Martin returns, and where we honor you, the listener, by running down nearly three hours’ worth of your suggested events to revisit (as winged insects). 

My guests Alex Cain and Terry McCusker are back, presenting a discussion of their newest work, Ringo’s White Album. Building on their previous work, Ringo Starr and The Beatles’ Beat, this work examines in great detail what Ringo brought to these tumultuous 1968 sessions (which he did walk out of at one point), pushing the boundaries of his art with stylistic innovation as well as advanced studio technique. We also talked a bit about Ringo’s work on Abbey Road, which will be the subject of their next deep dive. Alex and Terry are both drummers themselves; tune in to find out which one of them saw The Beatles in Liverpool at The Cavern (with Ringo’s predecessor).

2019’s Danny Boyle rom-cam featuring a Beatles subtext has inspired a lot of discussion among fans this year, given the pretext of a struggling English musician apparently being the only person on Earth who can remember existence of the group. Most of the chatter was about the film itself, but I thought there were even richer discussions to be had, using the film’s core idea as a springboard. The idea for this show was prompted by an article by my guest, Noah Berlatsky (I would encourage listeners to check it out). He forwarded the notion that buying into the film’s premise required universal agreement that 1) The Beatles were the greatest rock band ever and 2) that their music was so great that its inherent genius would be universally recognized no matter who was performing it, and when. We shall see…. There has never been a musically more diverse episode of SATB than this one: in addition to The Fabs, you will be hearing from artists ranging from Chuck Berry and Moon Mullican to R.D. Burman and Rhianna; Dee Dee Sharp and Elvis to Mobley and Nick Drake. Yet it all fits together: what it means to be a successful artist and what are the factors that result in our bestowing the term “genius” upon them.

Special guests don’t come much more special: today, a man who needs no introduction. His 1974 album, McGear, was produced with a little help from his big brother (“Our Kid” to you). It features contributions from members of a then-contemporary band, including Linda McCartney, Denny Laine and Jimmy McCulloch, and has often been spoken of as a “missing” Wings album. But Mike’s artistry is all his own, making McGear, in a way, the album Paul never did make. This extended conversation covers not only the brand new re-issue from Cherry Red Records (including a bonus disc of unreleased material + DVD and poster, as well as a deluxe vinyl edition) but Mike’s work with The Scaffold – the 1968 McGough and McGear album produced by Paul – and an array of other artists: Paul Robeson – Tina Turner – Pete Wingfield – Paddy Maloney, and Jimi Hendrix. (Try finding that discussion anywhere else.) Also, The Quarry Men. Check out the reissue series here. Find The Weirdos here. Special thanks to Deb Supnik and Matt Ingham of Cherry Red for making it all happen.

In what will be an occasional theme of SATBs going forward, I welcome to the show Gary Wenstrup. In addition to being a regular listener, Gary is a college-level teacher and lecturer, whose expertise encompasses an array of 1960s music acts. He saw an opportunity for following up shows to dig deeper, in ways that might not have been possible given time constraints. This episode uses as the starting off point my interview with Susan Shumsky, detailing The Beatles’ 1968 visit to Rishikesh; but it also encompasses the White Album, Lennon Remembers, and other ancillary subjects.

It’s the return of our favorite Fab historian. In this lengthy dialogue, we discuss an array of literature from the Beatles historical canon: among the works

Fifty years on and the “Paul is dead” hoax has lost none of its power to fascinate on so many levels. Perhaps the most compelling angle for examination is how did something so clearly nonsensical in the light of day get disseminated so widely and not just dismissed out of hand? It seems that a perfect storm of circumstance gave it traction and resonance, with both what was happening within The Beatles and within the community most receptive to believing that truth was not what authority figures told us. Helping unpack all of this is sociologist Candy Leonard, author of Beatleness. Her book covers the subject in some detail. Opening song: “Saint Paul” by Terry Knight Closing song: “So Long, Paul” by Werbley Finster, AKA Jose Feliciano

What happens when the surviving member of a legendary American power pop band and a Los Angeles musician whose lineage includes two giants of the Great American Songbook, both steeped in Beatles, get together to make music? The result is now two albums deep in a band called Those Pretty Wrongs. Jody Stephens, formerly of Big Star and Golden Smog is a singer/songwriter/drummer and Luther Russell is a singer/songwriter/multi-instrumentalist/producer, formerly of The Freewheelers. Their latest release as Those Pretty Wrongs, Zed For Zulu, has just been released. Their insights into making music and what they gleaned from The Beatles makes for a fascinating discussion. Check out their work (and current tour dates) here: http://www.thoseprettywrongs.com/ https://lutherrussell.com/ https://www.ardentstudios.com/

The host of the longest-running Beatles program on US radio, Carter’s passion for The Beatles has taken many forms through the years:

Anybody hear anything about a “newly-revealed” taped Apple meeting from September 1969 that’s been public knowledge since the 1970s? You will now, with the return of journalist/writer Ray Connolly. Ray was tight in The Beatles’ orbit during their final years; with John and Paul especially. He was the only one outside their inner circle to learn that John had “quit” the group – his bio of John, Being John Lennon: A Restless Life, is now out in paperback, as is his indispensable collection, The Ray Connolly Beatles Archive. Last: his novella, ‘Sorry, Boys, You Failed The Audition’ is newly-published. It’s a work of “alternative history” and has been presented as a BBC radio play. Ray and I discuss the end of The Beatles and their relationships going forward, as well as his ‘Sorry Boys’ project. https://www.rayconnolly.co.uk/

Part Two: McCartney and Wings This show represents a deep (3 hour) dive into examining the evolving language of rock criticism: the ideology employed – the fluid definitions of “rock” and “pop” – the application of “authenticity” as a value to an artist’s work, in this specific case, Paul McCartney and Wings. The 1970s was a time when rock critics achieved nearly the status of rock icons themselves: everyone from John Mendelssohn and Jon Landau to Simon Frith and Lester Bangs. Paul’s post-Beatle career stands as an example of an artist that reviewers struggled to get a handle on, resulting in sometimes unfair assessments.  Leading this exploration is PhD candidate (with an M.A. in Beatles, Popular Music, and Society) Allison Bumsted, currently studying in England at Liverpool Hope University. For ease of listening, the conversation has been split into two 90 minute parts.     

Part One: Background Theory and The Beatles This show represents a deep (3 hour) dive into examining the evolving language of rock criticism: the ideology employed – the fluid definitions of “rock” and “pop” – the application of “authenticity” as a value to an artist’s work, in this specific case, Paul McCartney and Wings. The 1970s was a time when rock critics achieved nearly the status of rock icons themselves: everyone from John Mendelssohn and Jon Landau to Simon Frith and Lester Bangs. Paul’s post-Beatle career stands as an example of an artist that reviewers struggled to get a handle on, resulting in sometimes unfair assessments.  Leading this exploration is PhD candidate (with an M.A. in Beatles, Popular Music, and Society) Allison Bumsted, currently studying in England at Liverpool Hope University. For ease of listening, the conversation has been split into two 90 minute parts.     

An area heretofore unexplored on SATB is jazz: specifically, which artists took raw material from The Beatles and took it in a new direction. It is our good fortune to have within reach a true legend of the idiom: Ramsey Lewis, a multi-Grammy-winning keyboardist whose work spans decades and genres. In late 1968 – mere weeks after The Beatles’ “White Album” was released – Ramsey issued a 10-song collection drawing from the Beatles’ fresh work. Mother Nature’s Son was hailed as a classic, with bold re-imaginings of songs familiar to us fans – but not like this. His reading of “Julia” became a standard in his repertoire, alongside his well-known hit take on “The ‘In’ Crowd.” Ramsey hosted a jazz show for years on radio, so he is well-familiar with the sonic landscape. But joining us to shed further light is a friend to both me and to Ramsey, going back years: Radio Hall of Fame deejay Terri Hemmert. In addition to spinning records on WXRT since the 1970s until announcing her retirement this year, she also hosted a jazz program for many years (and many of you know her as the MC in Chicago at The Fest for Beatles Fans). Together, listen to these two explore the intersection between Beatles and jazz. Artists heard in this show: The Beatles – Ramsey Lewis Trio – Ella Fitzgerald – Count Basie – Duke Ellington – Louis Armstrong – Wes Montgomery – Ramsey Lewis – Esther Phillips – Vince Guaraldi Trio – George Benson – Earth, Wind and Fire – Paul McCartney – Rahsaan Roland Kirk – Fats Domino – John Scofield – Danger Mouse

1969 was a tremendous year, in the world generally and with The Beatles as well. We find ourselves commemorating (if not celebrating) a number of 50th anniversaries this year, among them the infamous Tate-LaBianca murders; tangentially tied to the “White Album” by Charles Manson’s (mis)reading of certain lyrics. That he was able to incite a bunch of confused misfits into sociopathy remains a fascinating area of study, and SATB has previously explored the purported ties between Charlie’s “gospel” and what the rest of the world heard as simply great music. But reporter and Beatles confidant Ivor Davis is back, with a new book summarizing his investigation into the case, which dates back to day one. Manson Exposed: A Reporter’s 50-Year Journey into Madness and Murder has just been published, and he’s here to present a timely summation of the case, just as public interest has been again raised with director Quentin Tarantino’s latest, Once Upon A Time…in Hollywood. Not only is Ivor uniquely placed to discuss the film, but also to talk about a couple of Beatles events he’d personally witnessed while accompanying them on tour: their 1964 meeting with Bob Dylan, as well as their 1965 visit with Elvis. Check out all his works at ivordavisbooks.com

Few professional scribes received access to The Beatles like Ray Connolly. As a journalist with the Evening Standard, he found himself in the right place at the right time to cover the group during their final years. (It was to him that John confided that he’d quit the group; it was to Ray that Paul divulged: “I didn’t leave the Beatles – The Beatles left the Beatles.”) He later scripted the films That’ll Be The Day and Stardust; he also wrote radio plays and biographies.  In 2018, he published Being John Lennon: A Restless Life. His e-book, The Ray Connolly Beatles Archive is essential. We discuss John as he knew him, abetted by Lennon biographer Jude Kessler. Ray’s site: https://www.rayconnolly.co.uk/ “In My Life” performed by Mary Ruane (Talent scouted by Lisa Kasco)

Back in 2017, SATB first explored of Beatles collectors. This year, a terrific addition to Beatle literature arrived with the publication of Terry Crain’s new book, NEMS and the Business of Selling Beatles Merchandise in the U.S. 1964-1966. Terry didn’t merely catalog the merchandise of the period: instead, he methodically researched the history of the items marketed stateside, each of which tells a story itself. There’s a ton of history to be gleaned from these ephemeral footnotes of the era – each one a memory trigger – as well as from Terry’s book. Terry’s site