Podcasting

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?

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).

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.

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.

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.

So an idea came up: who would SATB like to talk to in Beatle world and sit down for an interview? Qualifications: first, they have to be among the living (as of this taping); Second, they have to be completely honest and not fall back on deflection or “professional Beatle fan” chatter: stories they’ve entertained with for years that may or may not be factually accurate. Last, they have to be people on the inside who have either not told their stories at all or not told them to death. Though mortality hangs over us all, there are still folks out there who, to the best of my knowledge, range to speaking on record only sparingly or not at all; have written books, but if we discussed them here, it’s because their books didn’t go deep enough or raised more questions.) Joining in the conversation is a returning guest (182 and 188), retired academic Gary Wenstrup. He came up with his list, I came up with mine, and together we covered as much ground as we could in this, the first of a two-parter (at least).

Rock historian and radio interviewer Spencer Leigh has been chronicling the music scene generally and The Beatles specifically from his native Merseyside for decades. He has penned well over two dozen books, half of them on Beatles-specific subjects. In this conversation, we discuss an array of topics, including writing and researching The Beatles; Bob Wooler; Liverpool bands; Bob Dylan, and Ken Dodd, among other topics. Check out Spencer’s work here.

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