Search results for p. six let me know lyrics
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2009-01-13 09:07:23 Description: http://www.myspace.com/vick2hotdareala
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GUCCI MANE SOULJA BOY TELL EM BOWWOW BRITNEY SPEARS
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GUCCI MANE SOULJA BOY TELL EM BOWWOW BRITNEY SPEARS
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VICK2HOT ft. TY - My Shawty (NEW SONG 2009)
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620, 03:32, 2008-12-07 21:03:41 Description: Download: http://rapidshare.com/files/171210832/_GP_Publicv1.2.RAR
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514, 06:51, 2007-08-04 12:13:11 Description: The Smokers Band ~ Tampa FL
Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals,
Genre: Blues-rock, Blues, Jamm Instrumentalm Rock
(More) The Smokers Band ~ Tampa FL
Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals,
Genre: Blues-rock, Blues, Jamm Instrumentalm Rock
Years active 1991 - present
The Smokers was formed in Tampa, Florida on March 26, 1991 and remain a popular cover band today. Tampa~St. Pete were home before expanding statewide Florida in 2005. Their unique arrangements and fresh rock and roll licks drew a loyal following spanning the state.
Formerly: The Affordables
Booking agent: Joe: 813.681.1330
Sampling Six includes
(1) Rock Me Baby - Written by B B King
(2) Born on the Bayou - Written By Creedence Clearwater Revival
(3) Hard To Handle - By Otis Redding
(-) Introductions to the band - The Smokers
(4) Darlin You Know I Love You - By B.B. King
(5) Long Train Running Lyrics - By The Doobie Brothers
(6) Will It Go Round In Circles - By Billy Preston
(bonus cut) Funky Broadway - By Wilson Pickett -
~~~
Lyrics
Rock Me Baby
B.B. King
Rock me baby, rock me all night long
Rock me baby, honey, rock me all night long
I want you to rock me baby,
like my back ain't got no bone
Roll me baby, like you roll a wagon wheel
I want you to roll me baby,
like you roll a wagon wheel
Want you to roll me baby,
you don't know how it makes me feel
Rock me baby, honey, rock me slow
Yeah, rock me pretty baby, baby rock me slow
Want you to rock me baby, till I want no more
~~~
Born on the Bayou
Creedence Clearwater Revival
Now, when I was just a little boy,
Standin' to my Daddy's knee,
My poppa said, "Son, don't let the man get you
Do what he done to me."
'Cause he'll get you,
'Cause he'll get you now, now.
And I can remember the fourth of July,
Runnin' through the backwood, bare.
And I can still hear my old hound dog barkin',
Chasin' down a hoodoo there.
Chasin' down a hoodoo there.
CHORUS:
Born On The Bayou;
Born On The Bayou;
Born On The Bayou.
Wish I was back on the Bayou.
Rollin' with some Cajun Queen.
Wishin' I were a fast freight train,
Just a chooglin' on down to New Orleans.
CHORUS
Do it, do it, do it, do it. Oh, Lord.
Oh get back boy.
I can remember the fourth of July,
Runnin' through the backwood bare.
And I can still hear my old hound dog barkin',
Chasin' down a hoodoo there.
Chasin' down a hoodoo there.
CHORUS
All right! Do, do, do, do.
Mmmmmmm, oh.
~~~
Hard To Handle - By Otis Redding
Hey
Here I am
I'm the man on the scene
I can give you what you want
But you got to come home with me
I forgot some good old lovin'
And I got some more in store
When I get to throw it on you
You got to come back for more
Toys and things that come by the dozen
That ain't nothin' but drug store lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Action speaks louder than words
And I'm a man of great experience
I know you got another man
But I can love you better than him
Take my hand, don't be afraid
I'm gonna prove every word I say
I'm advertisin' love for free
So, you can place your ad with me
Once it come along a dime by the dozen
That ain't nothin' but ten cent lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Yeah, hard to handle, now
Oh, baby
Baby, here I am
The man on your scene
I can give you what you want
But you got to come home with me I forgot some good old lovin'
And I got some in store When I get to throw it on you
You got to come runnin' back for more
Once it come along a dime by the dozen
That ain't nothin' but drug store lovin'
Hey little thing, let me light your candle'
Cause mama I'm sure hard to handle, now,
Get around Hard, hard to handle, now
Oh yeah, yeah, yeah Yeah
Once it come along a dime by the dozen
That ain't nothin' but ten cent lovin'
Hey little baby, let me light your candle'
Cause mama I'm sure hard to handle, now, gets around
Yeah, so hard to handle, now
Oh yeah Baby, good lovin'
Baby, baby, owww, good lovin'
I need good lovin'
I got to have, oh yeah, yeah, yeah
Yeah So hard to handle, now, yeah Um-um-um
~~~
Darlin You Know I Love You
By B.B. King
Darlin', darlin' you know I love you,
I love you, for myself
But you're gone, gone and left me for someone else
I think of you, think of you every morning
I dream of you, every night, and with love,
love to be with you always
When night began to fall,
I cry, cry alone
And I wish, maybe I can hold you in my arms tonight
Oh, darlin', darlin' you know I love you,
I love you, for myself
But you're gone, gone and left me for someone else
~~~
Long Train Running Lyrics
By The Doobie Brothers
Down around the corner half a mile from here
see them both feet run and you watch them dissapear
without love where would you be now
without love
though i saw miss lucy down along the track
she lost her home and her family and she won t be coming back
without love where would you be now
without love
with the feeling always central and the southern central freight
you got to keep on pushing mamma you know there running late
without love where would you be now
without love
when the pistons keep on turning and go round and round
and the steel reels are cold and hard and the moutain ain t no down
without love where would you be now
without love
~~~
Will It Go Round In Circles - By Billy Preston
Will it go round in circles
Will it fly high like a bird up in the sky
Will it go round in circles
Will it fly high like a bird up in the sky ...
~~~
Funky Broadway - By Wilson Pickett -
Every town I go in
There's a street, uh, huh
Name of the street, uh, huh
Funky funky Broadway
Down on Broadway, huh
There's a nightclub, now, now
Name of the nightclub, now baby
Funky Funky Broadway
Down on Broadway
There's a crowd, now, huh
Name of the crowd, baby
Broadway crowd
Down on Broadway, yeah
There's a dancestep, huh
Name of the dance,
Funky Funky Broadway, hey! huh
Wiggle your legs now, baby
Shake your head, ooh, huh
Do the shing-a-ling now baby, now
Shake, shake, shake now
You don't know, huh, baby, now
You don't know, now woman, owww!
Doin' the funky Broadway, hey!
Lord have mercy
Oh, you got me feelin' alright
Dirty filthy Broadway
Don't I like the Broadway, huh
That Broadway, lookit here
Down on Broadway
There's a woman
Name of the woman, huh
Broadway woman, hey!
Down on Broadway, yeah
There's a man, huh
Name of the man (fade)
~~~
Origins of rock and roll
Rock and roll began to emerge as a musical style in United States of America during the late 1940s as a combination of the rhythms of the blues, R&B, African American culture, and from America's country and western music, as well as gospel. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined the above elements with jazz, influences from traditional Appalachian folk music, and Gospel music. Going back even further, rock and roll can trace one lineage to the old Five Points, Manhattan district of mid-19th century New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances with melody-driven European genres, particularly the Irish jig.
Rocking was a term first used by black gospel singers in the American South to mean something akin to spiritual rapture. By the 1940s, however, the term was used as a double entendre, ostensibly referring to dancing, but with the subtextual meaning of sex, as in Roy Brown's "Good Rocking Tonight." This type of song was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences.
During the 1920s and 1930s, many white Americans enjoyed African-American jazz and blues performed by white musicians. They often objected to the music as performed by the original black artists, but found it acceptable when performed by whites. A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success. While rock and roll musicians increasingly wrote their own material, many of the earliest white rock and roll hits were covers of earlier rhythm and blues or blues songs. Blues would continue to inspire rock performers for decades. Delta blues artists such as Robert Johnson and Skip James also proved to be important inspirations for British blues-rockers such as The Yardbirds, Cream, and Led Zeppelin.
In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this type of music for a multi-racial audience. Freed is credited with coining the phrase "rock and roll" to describe the rollicking R&B music. While working as a disc jockey at radio station WJW in Cleveland, he also organized the first rock and roll concert, called "The Moondog Coronation Ball" on March 21, 1952. The event, attended mainly by African Americans, proved a huge drawing card — the first event had to be ended early due to overcrowding. Thereafter, Freed organized many rock and roll shows attended by both whites and blacks, further helping to introduce African-American musical styles to a wider audience.
There is much debate as to what should be considered the first rock & roll record. Sister Rosetta Tharpe was recording shouting, stomping music in the 1930s and 1940s that in some ways contained major elements of mid-1950s rock and roll. She scored hits on the pop charts as far back as 1938 with her gospel songs, such as "This Train" and "Rock Me", and in the 1940s with "Strange Things Happenin Every Day", "Up Above My Head", and "Down By The Riverside." Another artist who was singing hard-rocking blues/gospel to a boogie piano was Big Joe Turner, whose 1939 recording, "Roll 'em Pete," is almost indistinguishable from '50s rock and roll. Other significant records of the 1940s and early 1950s included Roy Brown ("Good Rocking Tonight", 1947), more Big Joe Turner ("Honey, Hush", 1953, and "Shake, Rattle and Roll", 1954), Paul Bascomb ("Rock and Roll", 1947), Fats Domino ("The Fat Man," 1949) and Les Paul and Mary Ford ("How High the Moon", 1951).
Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record[2]. Bo Diddley's 1955 hit "Bo Diddley" backed with "I'm A Man" introduced a new, pounding beat, and unique guitar playing that inspired many artists.
Bill Haley's "Rock Around the Clock" (1954) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and the door was opened for this new wave of popular culture. Other artists with early rock 'n' roll hits were Chuck Berry and Little Richard, as well as many vocal doo-wop groups. Within the decade crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.
Both rock and roll and boogie woogie have four beats (usually broken down into eight eighth-notes/quavers) to a bar, and are twelve-bar blues. Rock and roll however has a greater emphasis on the backbeat than boogie woogie. Little Richard combined boogie-woogie piano with a heavy backbeat and over-the-top, shouted, gospel-influenced vocals that the Rock and Roll Hall of Fame says "blew the lid off the '50s." However, others before Little Richard were combining these elements, including Esquerita, Cecil Gant, Amos Milburn, Piano Red, and Harry Gibson. Little Richard's wild style, with shouts and "wooo wooos," had itself been used by female gospel singers, including the 1940s' Marion Williams. Roy Brown did a Little Richard style "yaaaaaaww" long before Richard in "Ain't No Rockin no More."
Early North American Rock and Roll (1953-1963)
Rock and roll appeared at a time when racial tensions in the United States were coming to the surface. African Americans were protesting segregation of schools and public facilities. The "separate but equal" doctrine was nominally overturned by the Supreme Court in 1954, and the difficult task of enforcing this new doctrine lay ahead. This new musical form combining elements of white and black music inevitably provoked strong reactions. From the early 60s, Ike & Tina Turner were big Rock & Roll stars.
On March 21, 1952 in Cleveland, Alan Freed (also known as Moondog) organized an early rock and roll concert, titled "The Moondog Coronation Ball". The audience and the performers were mixed in race. The evening ended after one song in a near-riot as thousands of fans tried to get into the sold-out venue. The record industry soon understood that there was a white market for black music that was beyond the stylistic boundaries of rhythm and blues. Even the considerable prejudice and racial barriers could do nothing against market forces. Rock and roll was an overnight success in the U.S., making ripples across the Atlantic, and perhaps culminating in 1964 with the British Invasion.
From this early-1950s inception through the early 1960s, rock and roll music also spawned a new dance craze. Teenagers found the irregular rhythm of the backbeat especially suited to reviving the jitterbug dancing of the big-band era. "Sock-hops," gym dances, and home basement dance parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest dance and fashion styles. From the mid-1960s on, as "rock and roll" yielded gradually to "rock," later dance genres followed, starting with the Twist, and leading up to Funk, disco, house and techno.
Rockabilly
In 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun studios in Memphis. Elvis played a rock and country & western fusion called rockabilly, which was characterized by hiccupping vocals, slapping bass and a spastic guitar style. He became the first superstar rock musician.
Elvis Presley in 1957's Jailhouse RockThe following year's "Rock Around the Clock" by Bill Haley & His Comets really set the rock and roll boom in motion. The song was one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. The song's inclusion in the film Blackboard Jungle marked the beginning of a mutually beneficial marriage of the genre to film. It had been recorded in 1954 with limited sales, but exploded in 1955 after the release of the movie, which used it in the opening sequence.
If everything that came before laid the groundwork, "Clock" certainly set the mold for everything else that came after. With its combined rockabilly and R & B influences, "Clock" topped the U.S. charts for several weeks, and became wildly popular with teenagers in places like Britain, Australia and Germany. The single, released by independent label Festival Records in Australia, was the biggest-selling recording in the country at the time. In 1957, Jerry Lee Lewis and Buddy Holly became the first rock musicians to tour Australia, marking the expansion of the genre into a worldwide phenomenon. That same year, Haley toured Europe, bringing rock 'n' roll to that continent for the first time.
Covers
Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit. Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets. However, savvy artists and producers quickly recognized the potential of rock, and raced to cash in with white versions of this black music. White musicians also fell in love with the music and played it everywhere they could. Many of Presley's early hits were covers, like "That's All Right", "Baby, Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog".
Covering was customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law (still in effect [4]). One of the first successful rock and roll covers was Wynonie Harris's transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a showy rocker. The most notable trend, however, was white pop covers of black R&B numbers. Exceptions to this rule included Wynonie Harris covering the Louis Prima rocker "Oh Babe" in 1950, and Amos Milburn covering what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce," in 1949.
Black performers saw their songs recorded by white performers, an important step in the dissemination of the music, but often at the cost of feeling and authenticity (not to mention revenue). Most famously, Pat Boone recorded sanitized versions of Little Richard songs, though Boone found "Long Tall Sally" so intense that he couldn't cover it. Later, as those songs became popular, the original artists' recordings received radio play as well. Little Richard once called Pat Boone from the audience and introduced him as "the man who made me a millionaire."
The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number, while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie."
Teen Idols
In 1959, Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson) were killed when a plane Buddy Holly had chartered from Mason City, Iowa, to Fargo, North Dakota crashed in a corn field, after a performance at the Winter Dance Party.
Buddy Holly, fed up with the conditions on the buses, decided to charter a small plane for himself and the Crickets to get to the next show on time, get some rest, and get their laundry done. After the February 2, 1959 performance at the Surf Ballroom in Clear Lake, Iowa, Holly, Richardson (who pleaded with Waylon Jennings for his seat because he was stricken with flu), and Valens (who had won Tommy Allsup's seat after a coin toss), were taken to Clear Lake airport by the manager of the Surf Ballroom.
The plane, a four-passenger Beechcraft Bonanza, departed into a blinding snowstorm and crashed into farmer Albert Juhl's cornfield shortly after takeoff. The crash ended the lives of all three passengers, as well as the 21 year-old pilot, Roger Peterson. This event inspired singer Don McLean's popular 1971 ballad "American Pie", and immortalized February 3 as "The Day the Music Died". The event also inspired the Tommy Dee song "Three Stars", which specifically mentions Buddy Holly, the Big Bopper, and Valens.
Besides Elvis Presley, Holly, Valens, and Richardson were known as three of the first rock and roll teen idols. They were followed by other artists with massive appeal to a teenaged audience, such as Paul Anka, Ricky Nelson, Frankie Avalon, the Beatles, and later, the Monkees.
Teen idols were not only known for their catchy pop music, but good looks also played a large part in their successes. It was because of this that certain fan magazines, exclusively geared to the fans of teen idols (16 Magazine, Tiger Beat, etc.), were created. These monthly magazines typically featured a popular teen idol on the cover, as well as pin-up photographs, a Q&A, and a list of each idol's "faves" (i.e. favorite color, favorite vegetable, favorite hair color, etc.).
Teen idols also influenced toys, Saturday morning cartoons and other products. At the height of each teen idol's popularity, it was not uncommon to see Beatle wigs, Davy Jones' "love beads", or perhaps even Herman's Hermits lunchboxes for sale.
British Rock and Roll
The trad jazz movement brought blues artists to Britain, and in 1955 Lonnie Donegan's version of "Rock Island Line" began skiffle music which inspired many young people to have a go, including John Lennon and Paul McCartney, whose "The Quarrymen", formed in March 1957, would gradually change and develop into The Beatles. These developments primed the United Kingdom to respond creatively to American rock and roll, which had an impact across the globe. In Britain, skiffle groups, record collecting and trend-watching were in full bloom among the youth culture prior to the rock era, and colour barriers were less of an issue with the idea of separate "race records" seeming almost unimaginable. Countless British youths listened to R&B and rock pioneers and began forming their own bands. Britain quickly became a new center of rock and roll.
In 1958 three British teenagers became Cliff Richard and the Drifters (later renamed Cliff Richard and the Shadows). The group recorded a hit, "Move It", marking not only what is held to be the very first true British rock 'n' roll single, but also the beginning of a different sound — British rock. Richard and his band introduced many important changes, such as using a "lead guitarist" (virtuoso Hank Marvin) and an electric bass.
The British scene developed, with others including Tommy Steele, Adam Faith and Billy Fury vying to emulate the stars from the U.S. Some touring acts attracted particular popularity in Britain, an example being Gene Vincent. This inspired many British teens to begin buying records and follow the music scene, thus laying the groundwork for Beatlemania.
At the start of the 1960s, instrumental dance music was very popular. Hits such as "Apache" by The Shadows and "Telstar" by The Tornados form a British branch of instrumental music.
Social Impact
The massive popularity and worldwide scope of rock and roll resulted in an unprecedented level of social impact. Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language. In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the style of music. It also birthed many other rock influenced styles. Progressive, alternative, punk, and heavy metal/rock are just a few of the genres that sprang forth in the wake of Rock and Roll.
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463, 06:29, 2008-04-17 13:01:55 Description: You love this music Paul McCartney, Ringo Starr, George Harrison, and John Lennon Beatles Soundtrack (partials) 0:00 - 0:13 Twist & Shout 0:14 - 0:29 I Feel Fine 0:29 - 0:41 We Can Work It Out (More) You love this music Paul McCartney, Ringo Starr, George Harrison, and John Lennon Beatles Soundtrack (partials) 0:00 - 0:13 Twist & Shout 0:14 - 0:29 I Feel Fine 0:29 - 0:41 We Can Work It Out 0:41 - 0:54 I Wanna Hold Your Hand 0:54 - 1:10 Love Me Do 1:10 - 1:21 She Loves You 1:21 - 1:39 Yes It Is 1:40 - 1:55 I Will 1:56 - 2:20 All My Loving 2:20 - 2:44 Birthday 2:45 - 3:10 Lucy in the Sky 3:10 - 3:26 Sgt. Pepper 3:26 - 3:42 I Am the Walrus 3:42 - 3:57 Magical Mystery Tour 3:57 - 4:13 Yes it Is (again) 4:13 - 4:24 She Loves You (again) 4:24 - 4:44 Ticket to Ride 4:44 - 5:05 Paperback Writer 5:05 - 5:30 Hey Jude 5:30 - 5:52 Get Back 5:53 - 6:02 I need help here, no idea what this one is 6:02 - 6:29 Ob La Di Ob La Da [ above is courtesy of HappyDaze01. Thx HaDz01"!] Origin Liverpool, England Rock/Pop - Years active 1960--1970 Parlophone, Capitol, Apple, Vee-Jay, Polydor, Swan, Tollie Related to Tony Sheridan, The Quarrymen, The Plastic Ono Band, The Dirty Mac, Wings, Traveling Wilburys, Rory Storm and the Hurricanes, Ringo Starr All-Starr Band, Billy Preston Members - Ever to Date John Lennon Paul McCartney George Harrison Ringo Starr Former members Stuart Sutcliffe Pete Best The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are the most commercially successful and critically acclaimed band in the history of popular music. The Beatles are the best-selling musical act of all time in the United States of America, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide. In 2004, Rolling Stone Magazine ranked The Beatles #1 on their list of 100 Greatest Artists of All Time. According to that same magazine, their innovative music and cultural impact helped define the 1960s,[2] and their influence on pop culture can still be felt today. The Beatles led the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s. 1957--1960: Formation The Quarrymen In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool.[6] Lennon and the Quarrymen met guitarist Paul McCartney at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957.[7] On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning school bus ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist[9] after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.[10] Members continually joined and left the lineup during that period, and in January 1960 Lennon's art school friend Stuart Sutcliffe joined on bass.[11] Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers. The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — before settling on "The Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a reference to Buddy Holly's band, the Crickets) and the word "beat". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[12] Lennon, who was well known for giving multiple versions of the same story joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".[13] During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." [14] In May 1960 The Beatles toured northeast Scotland as a back-up band with singer Johnny Gentle.[15] They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band.[16] For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others.[17] Soon after the tour, however, feeling the age gap was too great Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service in a few weeks. His departure posed a significant problem as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany.[19] 1960--1970: The Beatles Hamburg On 15 August 1960, McCartney invited Pete Best to become the group's permanent drummer. He had watched Best play with the Blackjacks[20] in the Casbah Club, owned by Pete's mother, Mona Best. This was a cellar club in West Derby, Liverpool, where The Beatles had played and often visited.[21] In the documentary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable." The Beatles started playing in Hamburg at the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club",[22] Harrison was deported for having lied to the German authorities about his age.[23] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[24] Lennon followed the others to Liverpool in mid-December. The reunited Beatles played their first engagement on 17 December 1960 at the Casbah Club and returned to Hamburg in April 1961. Whilst playing at the Top Ten Club they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[25] produced by famed bandleader Bert Kaempfert.[19] Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and the Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band.[26] In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and the Beat Brothers". A few copies were also pressed under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] (This was ironic, considering that by this time the then-unaffiliated British Decca had turned down the group's attempt to gain a recording contract.) When the group returned to Liverpool, Sutcliffe stayed on in Hamburg with his new German fiancee Astrid Kirchherr, [28] and McCartney took over bass duties.[29] Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club.[19] Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.[30] Epstein took over as the group's manager in January 1962 and led The Beatles' quest for a British recording contract. Epstein had been manager of the record department at North End Music Store (NEMS), an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein."[31] While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[32] White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles.[33] White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[34] Record contract After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who signed the group to EMI on a one-year renewable contract and scheduled their first recording session on 6 June at EMI's Abbey Road studios in north London.[35] Martin had not been particularly impressed by the band's demo recordings,[36] but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him was their wit and humour.[37] Martin did have a problem with Pete Best, [36] whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best was good-looking and popular with the group's fans, but the three founding members had become increasingly unhappy with his drumming and his personality.[citation needed] There was speculation by some that Best's popularity[38] with fans was another source of friction. In addition, Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also had missed a number of engagements because of illness. The three founding members enlisted Epstein to dismiss Best - which he did on 16 August 1962.[39] They asked Ringo Starr (born Richard Starkey), the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band, as Starr had performed occasionally with The Beatles in Hamburg.[40] The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters.[41] Starr played on The Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.[42] Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[43] This royalty rate was further reduced for singles sold outside the UK, on which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[43] Their publishing contract with Dick James Music (DJM) was also standard for the time: songwriters received the statutory minimum of 50% of the gross monies received, with the publisher retaining the other 50%.[citation needed] The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17.[44] ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) On 26 November they recorded their second single "Please Please Me", which reached no. 2 in the official UK charts and no. 1 in the NME chart. Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on the People and Places programme transmitted live from Manchester by Granada Television on 17 October 1962.[45] As The Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed 'Beatlemania'. In November 1963 The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.[citation needed] America Although the band experienced huge popularity in the UK record charts from early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You (their first official no. 1 hit in the UK)".[46] Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963 making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were later cancelled for non-payment of royalties.[47] In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles. New York disc jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' show in January.[48] In early November 1963, Brian Epstein persuaded Ed Sullivan to present The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[49] On 7 December 1963 a clip of The Beatles was shown on the CBS Evening News (the story originally had been scheduled to air on 22 November and was aired on the CBS Morning News but was pre-empted by the assassination of John F. Kennedy). The clip inspired a teenage girl in Washington, D.C. to request a Beatles song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" — forcing Capitol Records to release the song ahead of schedule on 26 December. Several New York radio stations — first WMCA, then WINS (AM) and WABC — began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January). On 3 January 1964 a film of The Beatles performing "She Loves You" was aired on the late-night Jack Paar Show. Beatlemania crosses the Atlantic On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off for their first trip to America as a group.[51] They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight.[52] The pilot had radioed ahead, and as they prepared to land said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced such a crowd, estimated at about 3,000 screaming fans.[53] After a press conference (where they first met Murray the K) they were put into limousines and driven to New York. On the way McCartney turned on a radio and listened to a running commentary: "They [The Beatles] have just left the airport and are coming to New York City..."[54] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.[55] Their first live American television appearance was on the The Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper wrote that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[56] Their first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February.[57] After The Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to The Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles, which was essentially The Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This 2-LP set paired Introducing... The Beatles and The Golden Hits Of The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon," while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee Jay Beatles album Capitol Records could not reclaim. The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand," and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on the 1980 Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market, and all have been copiously bootlegged.[58] The Swan tracks ("She Loves You" and "I'll Get You") were issued on the Capitol LP The Beatles' Second Album. (Swan also issued the German-language version of "She Loves You," called "Sie Liebt Dich." This song later appeared (in stereo) on Capitol's US version of the Rarities compilation album.) In mid-1964 the band undertook their first appearances outside of Europe and North America. They toured Australia and New Zealand without Ringo Starr, who was ill and temporarily replaced by session drummer Jimmy Nicol. In Adelaide they were greeted by over 300,000 people who turned out at Adelaide Town Hall.[59] In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson (who also was the M.P. for Huyton, Liverpool).[60] The appointment — at that time primarily bestowed upon military veterans and civic leaders — sparked some conservative MBE recipients to return their insignia in protest.[61] The first two were returned on 14 June, before The Beatles received theirs on 26 October 1965.[62] On 15 August that year, The Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.[63] Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[64] Backlash and controversy In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace.[65] When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations.[66] The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of The Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[67] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[68] Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.[69] Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against The Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave,[70] Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now."[71] Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.[72] The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.[72] Elvis Presley disapproved of The Beatles's anti-war activism and open use of drugs, later asking President Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[73] Guralnick adds, "Presley indicated that he is of the opinion that The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[74] Despite Elvis' remarks, Lennon still had some positive feeling towards him: "Before Elvis, there was nothing."[75] The studio years The Beatles at their last concert, Candlestick Park.In April 1966, the group began recording what would be their most ambitious album to date, Revolver. During the recording sessions for the album, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music. The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[72] McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.[76] From then on, The Beatles concentrated on recording. Less than seven months after recording Revolver, The Beatles returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967. On 25 June 1967, The Beatles became the first band globally transmitted on television—before an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up, a show titled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show. The band's business affairs began to unravel after manager Brian Epstein died of an accidental prescription drug overdose on 27 August 1967 at the age of 32. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[77] Part of the criticism arose because colour was an integral part of the film, but in 1967 few viewers in the UK had colour televisions. The film's soundtrack, which features one of The Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version). The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[78] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily walking out. The band carried on, with McCartney recording the drums on the songs "Martha My Dear", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through almost all of the sessions, and that the others felt that McCartney was becoming too dominating.[79] Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles albums. On the business side, McCartney wanted Lee Eastman, the father of his then-girlfriend Linda Eastman, to manage The Beatles, but the other members wanted New York manager Allen Klein. All past Beatles' decisions had been unanimous, but this time the four could not agree. Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings. Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he [Lee Eastman] was biased against them." Their final live performance was on the rooftop of the Apple building in Savile Row, London, on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called because of complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film. The Beatles recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio. Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark when the song was recorded.[80] Breakup John Lennon announced his departure to the rest of the group on 20 September 1969 but agreed that no announcement was to be publicly made until a number of legal matters were resolved. In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production values went against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney. Pre-release copies included a press release with a self-written interview explaining the end of The Beatles and his hopes for the future.[81] On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the documentary film of the same name. The Beatles' partnership was finally dissolved in 1975.[82] 1970--present: After The Beatles Ringo Starr, 1968 Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs. Other than an unreleased jam session in 1974 (later bootlegged as A Toot and a Snore in '74), Lennon and McCartney never recorded together again. In the wake of the expiration in 1975 of The Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue. John Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. Shortly afterward, in 1981, the three surviving Beatles reunited to record "All Those Years Ago", released as a George Harrison solo single. Its original lyrics had been rewritten as a tribute to Lennon. The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from The Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC. In 1988 The Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility.[83] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. Solo Beatles later inducted were Lennon in 1994, McCartney in 1999 and Harrison in 2004. Collage of the various covers of the Anthology seriesIn February 1994, the three surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television documentaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known The Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept. 450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the ninth best selling album of all time). George Harrison during this time showed his socio-political consciousness and earned respect for his contribution for arranging the Concert For Bangladesh in New York in August 1971 along with sitar maestro Ravi Shankar. Harrison died of lung cancer on 29 November 2001. More recently, in 2006, George Martin and his son Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love. Musical evolution The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967). The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[84] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[85] Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar as in Norwegian Wood (This Bird Has Flown) and the swarmandel as in Strawberry Fields Forever. They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man". Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenburg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967. Influence on popular culture Lifestyle The Beatles' lifestyles were greatly altered by their success and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including The Beatles' — about life, marriage, and sexual relationships.[86] Recreational drug use In Hamburg, The Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[87] McCartney would usually take one, but Lennon would often take four or five.[87] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[88] McCartney remembered them all getting "very high" and giggling.[89] The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[90] In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley.[91] Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times. McCartney was more reluctant to try the drug, but finally did so in 1966 and was the first Beatle to talk about it in the press. The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[92] On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.[93] Meditation On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton, and a few days later went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[94] There, the Maharishi gave each of them a mantra.[95] Their time in early 1968 at the Maharishi's ashram in India was highly productive from a musical standpoint, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by Lennon, McCartney, and Harrison.[78] Discography Further information: List of Beatles songs by singer, The Beatles record sales, worldwide charts, The Beatles bootlegs, and List of Beatles hit singles Official CD catalogue In 1987, EMI released all 12 of The Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps to standardise The Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks. One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962--1970 that had not been issued on the original British studio albums. Magical Mystery Tour - 8 August 1987[96] Past Masters, Volume One - 7 March 1988 Past Masters, Volume Two - 7 March 1988 According to EMI and the Guinness Book of Records, The Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs). Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases. Song catalogue In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock. In 1985, after a short period in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney. A decade later Jackson and Sony merged its music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.) Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon and McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI. Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by The Beatles, "Don't Pass Me By" and "Octopus's Garden". The future of The Beatles catalogue The Beatles are but a few of the major artists (aside from Led Zeppelin and Garth Brooks) who have not to date allowed their entire recorded catalogue to be available through major online music services (iTunes, Napster, etc.). This may be due to the massive royalty fees demanded by the group. As a result, The Beatles' music (both officially and unofficially released) has been made available through illegal music search engines such as eMule and BearShare, and have apparently raised the ire of the entire music industry. However, sure signs that official online distributions may be coming is the fact that the video for Tomorrow Never Knows/Within You Without You (the remix from their album Love) is currently being distributed (as of June, 2007) via Napster, and many Internet radio networks (such as Pandora Internet Radio and Live365.com) are allowing Beatles songs to be broadcasted over the world wide web. There has been talk of negotiations to make such an official online distribution schedule possible. Officials at Apple Corps have hinted at this, as they have confirmed that the entire Beatles catalog has been digitally remastered for online distribution. On film Main article: The Beatles on film The Beatles appeared in several films, all of which featured associated soundtrack albums. The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the documentary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue. Other projects Anthology Main article: The Beatles Anthology Love Main article: Love (Cirque du Soleil) Instrumentation Rickenbacker, Gretsch, Epiphone, Gibson, Fender, and C.F. Martin & Company guitars Höfner, Fender and Rickenbacker basses Vox, Fender, and Selmer amplifiers Premier and Ludwig drums Zildjian cymbals Steinway, and Blüthner pianos Hammond, Vox and Lowrey electric organs Fender Rhodes, Wurlitzer, and Hohner Pianet electric pianos Moog Modular synthesiser Mellotron Polyphonic Keyboard Neumann, AKG, and STC microphones Bill Stoll Stollco video tampa fl (Less)
Channel: metacafe Rate it: Rate:
147, 06:29, 2007-06-27 14:13:23 Description: The Beatles
Paul McCartney, Ringo Starr, George Harrison, and John Lennon
Beatles Soundtrack (partials)
0:00 - 0:13 Twist & Shout
0:14 - 0:29 I Feel Fine
0:29 - 0:41 We Can Work It Out
(More) The Beatles
Paul McCartney, Ringo Starr, George Harrison, and John Lennon
Beatles Soundtrack (partials)
0:00 - 0:13 Twist & Shout
0:14 - 0:29 I Feel Fine
0:29 - 0:41 We Can Work It Out
0:41 - 0:54 I Wanna Hold Your Hand
0:54 - 1:10 Love Me Do
1:10 - 1:21 She Loves You
1:21 - 1:39 Yes It Is
1:40 - 1:55 I Will
1:56 - 2:20 All My Loving
2:20 - 2:44 Birthday
2:45 - 3:10 Lucy in the Sky
3:10 - 3:26 Sgt. Pepper
3:26 - 3:42 I Am the Walrus
3:42 - 3:57 Magical Mystery Tour
3:57 - 4:13 Yes it Is (again)
4:13 - 4:24 She Loves You (again)
4:24 - 4:44 Ticket to Ride
4:44 - 5:05 Paperback Writer
5:05 - 5:30 Hey Jude
5:30 - 5:52 Get Back
5:53 - 6:02 I need help here, no idea what this one is
6:02 - 6:29 Ob La Di Ob La Da
[ above is courtesy of HappyDaze01. Thx HaDz01"!]
Origin Liverpool, England
Rock/Pop - Years active 1960--1970
Parlophone, Capitol, Apple, Vee-Jay, Polydor, Swan, Tollie
Related to Tony Sheridan, The Quarrymen, The Plastic Ono Band, The Dirty Mac, Wings, Traveling Wilburys, Rory Storm and the Hurricanes, Ringo Starr All-Starr Band, Billy Preston
Members - Ever to Date
John Lennon
Paul McCartney
George Harrison
Ringo Starr
Former members
Stuart Sutcliffe
Pete Best
The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are the most commercially successful and critically acclaimed band in the history of popular music.
The Beatles are the best-selling musical act of all time in the United States of America, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide. In 2004, Rolling Stone Magazine ranked The Beatles #1 on their list of 100 Greatest Artists of All Time. According to that same magazine, their innovative music and cultural impact helped define the 1960s,[2] and their influence on pop culture can still be felt today.
The Beatles led the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s.
1957--1960: Formation
The Quarrymen
In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool.[6] Lennon and the Quarrymen met guitarist Paul McCartney at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957.[7] On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning school bus ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist[9] after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.[10] Members continually joined and left the lineup during that period, and in January 1960 Lennon's art school friend Stuart Sutcliffe joined on bass.[11] Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers.
The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — before settling on "The Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a reference to Buddy Holly's band, the Crickets) and the word "beat". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[12] Lennon, who was well known for giving multiple versions of the same story joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".[13] During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." [14]
In May 1960 The Beatles toured northeast Scotland as a back-up band with singer Johnny Gentle.[15] They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band.[16] For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others.[17] Soon after the tour, however, feeling the age gap was too great Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service in a few weeks. His departure posed a significant problem as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany.[19]
1960--1970: The Beatles
Hamburg
On 15 August 1960, McCartney invited Pete Best to become the group's permanent drummer. He had watched Best play with the Blackjacks[20] in the Casbah Club, owned by Pete's mother, Mona Best. This was a cellar club in West Derby, Liverpool, where The Beatles had played and often visited.[21] In the documentary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable."
The Beatles started playing in Hamburg at the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club",[22] Harrison was deported for having lied to the German authorities about his age.[23] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[24] Lennon followed the others to Liverpool in mid-December.
The reunited Beatles played their first engagement on 17 December 1960 at the Casbah Club and returned to Hamburg in April 1961. Whilst playing at the Top Ten Club they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[25] produced by famed bandleader Bert Kaempfert.[19] Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and the Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band.[26] In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and the Beat Brothers". A few copies were also pressed under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] (This was ironic, considering that by this time the then-unaffiliated British Decca had turned down the group's attempt to gain a recording contract.) When the group returned to Liverpool, Sutcliffe stayed on in Hamburg with his new German fiancee Astrid Kirchherr, [28] and McCartney took over bass duties.[29]
Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club.[19] Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.[30]
Epstein took over as the group's manager in January 1962 and led The Beatles' quest for a British recording contract. Epstein had been manager of the record department at North End Music Store (NEMS), an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein."[31] While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[32] White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles.[33] White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[34]
Record contract
After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who signed the group to EMI on a one-year renewable contract and scheduled their first recording session on 6 June at EMI's Abbey Road studios in north London.[35] Martin had not been particularly impressed by the band's demo recordings,[36] but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him was their wit and humour.[37]
Martin did have a problem with Pete Best, [36] whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best was good-looking and popular with the group's fans, but the three founding members had become increasingly unhappy with his drumming and his personality.[citation needed] There was speculation by some that Best's popularity[38] with fans was another source of friction. In addition, Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also had missed a number of engagements because of illness. The three founding members enlisted Epstein to dismiss Best - which he did on 16 August 1962.[39] They asked Ringo Starr (born Richard Starkey), the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band, as Starr had performed occasionally with The Beatles in Hamburg.[40] The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters.[41] Starr played on The Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.[42]
Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[43] This royalty rate was further reduced for singles sold outside the UK, on which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[43] Their publishing contract with Dick James Music (DJM) was also standard for the time: songwriters received the statutory minimum of 50% of the gross monies received, with the publisher retaining the other 50%.[citation needed]
The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17.[44] ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) On 26 November they recorded their second single "Please Please Me", which reached no. 2 in the official UK charts and no. 1 in the NME chart. Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on the People and Places programme transmitted live from Manchester by Granada Television on 17 October 1962.[45] As The Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed 'Beatlemania'. In November 1963 The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.[citation needed]
America
Although the band experienced huge popularity in the UK record charts from early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You (their first official no. 1 hit in the UK)".[46] Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963 making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were later cancelled for non-payment of royalties.[47]
In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles. New York disc jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' show in January.[48] In early November 1963, Brian Epstein persuaded Ed Sullivan to present The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[49] On 7 December 1963 a clip of The Beatles was shown on the CBS Evening News (the story originally had been scheduled to air on 22 November and was aired on the CBS Morning News but was pre-empted by the assassination of John F. Kennedy). The clip inspired a teenage girl in Washington, D.C. to request a Beatles song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" — forcing Capitol Records to release the song ahead of schedule on 26 December.
Several New York radio stations — first WMCA, then WINS (AM) and WABC — began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January). On 3 January 1964 a film of The Beatles performing "She Loves You" was aired on the late-night Jack Paar Show.
Beatlemania crosses the Atlantic
On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off for their first trip to America as a group.[51] They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight.[52] The pilot had radioed ahead, and as they prepared to land said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced such a crowd, estimated at about 3,000 screaming fans.[53] After a press conference (where they first met Murray the K) they were put into limousines and driven to New York. On the way McCartney turned on a radio and listened to a running commentary: "They [The Beatles] have just left the airport and are coming to New York City..."[54] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.[55]
Their first live American television appearance was on the The Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper wrote that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[56] Their first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February.[57]
After The Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to The Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles, which was essentially The Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This 2-LP set paired Introducing... The Beatles and The Golden Hits Of The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon," while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee Jay Beatles album Capitol Records could not reclaim.
The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand," and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on the 1980 Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market, and all have been copiously bootlegged.[58] The Swan tracks ("She Loves You" and "I'll Get You") were issued on the Capitol LP The Beatles' Second Album. (Swan also issued the German-language version of "She Loves You," called "Sie Liebt Dich." This song later appeared (in stereo) on Capitol's US version of the Rarities compilation album.)
In mid-1964 the band undertook their first appearances outside of Europe and North America. They toured Australia and New Zealand without Ringo Starr, who was ill and temporarily replaced by session drummer Jimmy Nicol. In Adelaide they were greeted by over 300,000 people who turned out at Adelaide Town Hall.[59]
In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson (who also was the M.P. for Huyton, Liverpool).[60] The appointment — at that time primarily bestowed upon military veterans and civic leaders — sparked some conservative MBE recipients to return their insignia in protest.[61] The first two were returned on 14 June, before The Beatles received theirs on 26 October 1965.[62] On 15 August that year, The Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.[63] Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[64]
Backlash and controversy
In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace.[65] When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations.[66] The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of The Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[67] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[68] Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.[69]
Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against The Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave,[70] Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now."[71] Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.[72]
The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.[72]
Elvis Presley disapproved of The Beatles's anti-war activism and open use of drugs, later asking President Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[73] Guralnick adds, "Presley indicated that he is of the opinion that The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[74] Despite Elvis' remarks, Lennon still had some positive feeling towards him: "Before Elvis, there was nothing."[75]
The studio years
The Beatles at their last concert, Candlestick Park.In April 1966, the group began recording what would be their most ambitious album to date, Revolver. During the recording sessions for the album, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music.
The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[72] McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.[76]
From then on, The Beatles concentrated on recording. Less than seven months after recording Revolver, The Beatles returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967.
On 25 June 1967, The Beatles became the first band globally transmitted on television—before an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up, a show titled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show.
The band's business affairs began to unravel after manager Brian Epstein died of an accidental prescription drug overdose on 27 August 1967 at the age of 32. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[77] Part of the criticism arose because colour was an integral part of the film, but in 1967 few viewers in the UK had colour televisions. The film's soundtrack, which features one of The Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version).
The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[78] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily walking out. The band carried on, with McCartney recording the drums on the songs "Martha My Dear", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through almost all of the sessions, and that the others felt that McCartney was becoming too dominating.[79] Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles albums.
On the business side, McCartney wanted Lee Eastman, the father of his then-girlfriend Linda Eastman, to manage The Beatles, but the other members wanted New York manager Allen Klein. All past Beatles' decisions had been unanimous, but this time the four could not agree. Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings. Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he [Lee Eastman] was biased against them."
Their final live performance was on the rooftop of the Apple building in Savile Row, London, on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called because of complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film.
The Beatles recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio.
Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark when the song was recorded.[80]
Breakup
John Lennon announced his departure to the rest of the group on 20 September 1969 but agreed that no announcement was to be publicly made until a number of legal matters were resolved.
In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production values went against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney. Pre-release copies included a press release with a self-written interview explaining the end of The Beatles and his hopes for the future.[81] On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the documentary film of the same name. The Beatles' partnership was finally dissolved in 1975.[82]
1970--present: After The Beatles
Ringo Starr, 1968 Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs.
Other than an unreleased jam session in 1974 (later bootlegged as A Toot and a Snore in '74), Lennon and McCartney never recorded together again.
In the wake of the expiration in 1975 of The Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue.
John Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. Shortly afterward, in 1981, the three surviving Beatles reunited to record "All Those Years Ago", released as a George Harrison solo single. Its original lyrics had been rewritten as a tribute to Lennon.
The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from The Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC.
In 1988 The Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility.[83] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. Solo Beatles later inducted were Lennon in 1994, McCartney in 1999 and Harrison in 2004.
Collage of the various covers of the Anthology seriesIn February 1994, the three surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television documentaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known The Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept. 450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the ninth best selling album of all time).
George Harrison during this time showed his socio-political consciousness and earned respect for his contribution for arranging the Concert For Bangladesh in New York in August 1971 along with sitar maestro Ravi Shankar. Harrison died of lung cancer on 29 November 2001.
More recently, in 2006, George Martin and his son Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love.
Musical evolution
The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967).
The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[84] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[85]
Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar as in Norwegian Wood (This Bird Has Flown) and the swarmandel as in Strawberry Fields Forever. They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man".
Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenburg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967.
Influence on popular culture
Lifestyle
The Beatles' lifestyles were greatly altered by their success and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including The Beatles' — about life, marriage, and sexual relationships.[86]
Recreational drug use
In Hamburg, The Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[87] McCartney would usually take one, but Lennon would often take four or five.[87] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[88] McCartney remembered them all getting "very high" and giggling.[89] The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[90]
In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley.[91] Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times. McCartney was more reluctant to try the drug, but finally did so in 1966 and was the first Beatle to talk about it in the press.
The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[92] On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.[93]
Meditation
On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton, and a few days later went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[94] There, the Maharishi gave each of them a mantra.[95] Their time in early 1968 at the Maharishi's ashram in India was highly productive from a musical standpoint, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by Lennon, McCartney, and Harrison.[78]
Discography
Further information: List of Beatles songs by singer, The Beatles record sales, worldwide charts, The Beatles bootlegs, and List of Beatles hit singles
Official CD catalogue
In 1987, EMI released all 12 of The Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps to standardise The Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks.
One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962--1970 that had not been issued on the original British studio albums.
Magical Mystery Tour - 8 August 1987[96]
Past Masters, Volume One - 7 March 1988
Past Masters, Volume Two - 7 March 1988
According to EMI and the Guinness Book of Records, The Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs).
Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases.
Song catalogue
In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock.
In 1985, after a short period in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney.
A decade later Jackson and Sony merged its music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.)
Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon and McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI.
Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by The Beatles, "Don't Pass Me By" and "Octopus's Garden".
The future of The Beatles catalogue
The Beatles are but a few of the major artists (aside from Led Zeppelin and Garth Brooks) who have not to date allowed their entire recorded catalogue to be available through major online music services (iTunes, Napster, etc.). This may be due to the massive royalty fees demanded by the group. As a result, The Beatles' music (both officially and unofficially released) has been made available through illegal music search engines such as eMule and BearShare, and have apparently raised the ire of the entire music industry.
However, sure signs that official online distributions may be coming is the fact that the video for Tomorrow Never Knows/Within You Without You (the remix from their album Love) is currently being distributed (as of June, 2007) via Napster, and many Internet radio networks (such as Pandora Internet Radio and Live365.com) are allowing Beatles songs to be broadcasted over the world wide web. There has been talk of negotiations to make such an official online distribution schedule possible. Officials at Apple Corps have hinted at this, as they have confirmed that the entire Beatles catalog has been digitally remastered for online distribution.
On film
Main article: The Beatles on film
The Beatles appeared in several films, all of which featured associated soundtrack albums.
The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the documentary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue.
Other projects
Anthology
Main article: The Beatles Anthology
Love
Main article: Love (Cirque du Soleil)
Instrumentation
Rickenbacker, Gretsch, Epiphone, Gibson, Fender, and C.F. Martin & Company guitars
Höfner, Fender and Rickenbacker basses
Vox, Fender, and Selmer amplifiers
Premier and Ludwig drums
Zildjian cymbals
Steinway, and Blüthner pianos
Hammond, Vox and Lowrey electric organs
Fender Rhodes, Wurlitzer, and Hohner Pianet electric pianos
Moog Modular synthesiser
Mellotron Polyphonic Keyboard
Neumann, AKG, and STC microphones
Bill Stoll
Stollco video
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138, 06:51, 2008-04-22 16:35:02 Description: The Smokers Band ~ Tampa FL Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals, Genre: Blues-rock, Blues, Jamm Instrumentalm Rock (More) The Smokers Band ~ Tampa FL Band Members: Joe Saputo, Lead and Vocals; Rich Castellano. Bass and Vocals; Bill Bryant, Percussion and Vocals, Genre: Blues-rock, Blues, Jamm Instrumentalm Rock Years active 1991 - present The Smokers was formed in Tampa, Florida on March 26, 1991 and remain a popular cover band today. Tampa~St. Pete were home before expanding statewide Florida in 2005. Their unique arrangements and fresh rock and roll licks drew a loyal following spanning the state. Formerly: The Affordables Booking agent: Joe: 813.681.1330 Sampling Six includes (1) Rock Me Baby - Written by B B King (2) Born on the Bayou - Written By Creedence Clearwater Revival (3) Hard To Handle - By Otis Redding (-) Introductions to the band - The Smokers (4) Darlin You Know I Love You - By B.B. King (5) Long Train Running Lyrics - By The Doobie Brothers (6) Will It Go Round In Circles - By Billy Preston (bonus cut) Funky Broadway - By Wilson Pickett - ~~~ Lyrics Rock Me Baby B.B. King Rock me baby, rock me all night long Rock me baby, honey, rock me all night long I want you to rock me baby, like my back ain't got no bone Roll me baby, like you roll a wagon wheel I want you to roll me baby, like you roll a wagon wheel Want you to roll me baby, you don't know how it makes me feel Rock me baby, honey, rock me slow Yeah, rock me pretty baby, baby rock me slow Want you to rock me baby, till I want no more ~~~ Born on the Bayou Creedence Clearwater Revival Now, when I was just a little boy, Standin' to my Daddy's knee, My poppa said, "Son, don't let the man get you Do what he done to me." 'Cause he'll get you, 'Cause he'll get you now, now. And I can remember the fourth of July, Runnin' through the backwood, bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS: Born On The Bayou; Born On The Bayou; Born On The Bayou. Wish I was back on the Bayou. Rollin' with some Cajun Queen. Wishin' I were a fast freight train, Just a chooglin' on down to New Orleans. CHORUS Do it, do it, do it, do it. Oh, Lord. Oh get back boy. I can remember the fourth of July, Runnin' through the backwood bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS All right! Do, do, do, do. Mmmmmmm, oh. ~~~ Hard To Handle - By Otis Redding Hey Here I am I'm the man on the scene I can give you what you want But you got to come home with me I forgot some good old lovin' And I got some more in store When I get to throw it on you You got to come back for more Toys and things that come by the dozen That ain't nothin' but drug store lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Action speaks louder than words And I'm a man of great experience I know you got another man But I can love you better than him Take my hand, don't be afraid I'm gonna prove every word I say I'm advertisin' love for free So, you can place your ad with me Once it come along a dime by the dozen That ain't nothin' but ten cent lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Yeah, hard to handle, now Oh, baby Baby, here I am The man on your scene I can give you what you want But you got to come home with me I forgot some good old lovin' And I got some in store When I get to throw it on you You got to come runnin' back for more Once it come along a dime by the dozen That ain't nothin' but drug store lovin' Hey little thing, let me light your candle' Cause mama I'm sure hard to handle, now, Get around Hard, hard to handle, now Oh yeah, yeah, yeah Yeah Once it come along a dime by the dozen That ain't nothin' but ten cent lovin' Hey little baby, let me light your candle' Cause mama I'm sure hard to handle, now, gets around Yeah, so hard to handle, now Oh yeah Baby, good lovin' Baby, baby, owww, good lovin' I need good lovin' I got to have, oh yeah, yeah, yeah Yeah So hard to handle, now, yeah Um-um-um ~~~ Darlin You Know I Love You By B.B. King Darlin', darlin' you know I love you, I love you, for myself But you're gone, gone and left me for someone else I think of you, think of you every morning I dream of you, every night, and with love, love to be with you always When night began to fall, I cry, cry alone And I wish, maybe I can hold you in my arms tonight Oh, darlin', darlin' you know I love you, I love you, for myself But you're gone, gone and left me for someone else ~~~ Long Train Running Lyrics By The Doobie Brothers Down around the corner half a mile from here see them both feet run and you watch them dissapear without love where would you be now without love though i saw miss lucy down along the track she lost her home and her family and she won t be coming back without love where would you be now without love with the feeling always central and the southern central freight you got to keep on pushing mamma you know there running late without love where would you be now without love when the pistons keep on turning and go round and round and the steel reels are cold and hard and the moutain ain t no down without love where would you be now without love ~~~ Will It Go Round In Circles - By Billy Preston Will it go round in circles Will it fly high like a bird up in the sky Will it go round in circles Will it fly high like a bird up in the sky ... ~~~ Funky Broadway - By Wilson Pickett - Every town I go in There's a street, uh, huh Name of the street, uh, huh Funky funky Broadway Down on Broadway, huh There's a nightclub, now, now Name of the nightclub, now baby Funky Funky Broadway Down on Broadway There's a crowd, now, huh Name of the crowd, baby Broadway crowd Down on Broadway, yeah There's a dancestep, huh Name of the dance, Funky Funky Broadway, hey! huh Wiggle your legs now, baby Shake your head, ooh, huh Do the shing-a-ling now baby, now Shake, shake, shake now You don't know, huh, baby, now You don't know, now woman, owww! Doin' the funky Broadway, hey! Lord have mercy Oh, you got me feelin' alright Dirty filthy Broadway Don't I like the Broadway, huh That Broadway, lookit here Down on Broadway There's a woman Name of the woman, huh Broadway woman, hey! Down on Broadway, yeah There's a man, huh Name of the man (fade) ~~~ Origins of rock and roll Rock and roll began to emerge as a musical style in United States of America during the late 1940s as a combination of the rhythms of the blues, R&B, African American culture, and from America's country and western music, as well as gospel. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined the above elements with jazz, influences from traditional Appalachian folk music, and Gospel music. Going back even further, rock and roll can trace one lineage to the old Five Points, Manhattan district of mid-19th century New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances with melody-driven European genres, particularly the Irish jig. Rocking was a term first used by black gospel singers in the American South to mean something akin to spiritual rapture. By the 1940s, however, the term was used as a double entendre, ostensibly referring to dancing, but with the subtextual meaning of sex, as in Roy Brown's "Good Rocking Tonight." This type of song was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences. During the 1920s and 1930s, many white Americans enjoyed African-American jazz and blues performed by white musicians. They often objected to the music as performed by the original black artists, but found it acceptable when performed by whites. A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success. While rock and roll musicians increasingly wrote their own material, many of the earliest white rock and roll hits were covers of earlier rhythm and blues or blues songs. Blues would continue to inspire rock performers for decades. Delta blues artists such as Robert Johnson and Skip James also proved to be important inspirations for British blues-rockers such as The Yardbirds, Cream, and Led Zeppelin. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing this type of music for a multi-racial audience. Freed is credited with coining the phrase "rock and roll" to describe the rollicking R&B music. While working as a disc jockey at radio station WJW in Cleveland, he also organized the first rock and roll concert, called "The Moondog Coronation Ball" on March 21, 1952. The event, attended mainly by African Americans, proved a huge drawing card — the first event had to be ended early due to overcrowding. Thereafter, Freed organized many rock and roll shows attended by both whites and blacks, further helping to introduce African-American musical styles to a wider audience. There is much debate as to what should be considered the first rock & roll record. Sister Rosetta Tharpe was recording shouting, stomping music in the 1930s and 1940s that in some ways contained major elements of mid-1950s rock and roll. She scored hits on the pop charts as far back as 1938 with her gospel songs, such as "This Train" and "Rock Me", and in the 1940s with "Strange Things Happenin Every Day", "Up Above My Head", and "Down By The Riverside." Another artist who was singing hard-rocking blues/gospel to a boogie piano was Big Joe Turner, whose 1939 recording, "Roll 'em Pete," is almost indistinguishable from '50s rock and roll. Other significant records of the 1940s and early 1950s included Roy Brown ("Good Rocking Tonight", 1947), more Big Joe Turner ("Honey, Hush", 1953, and "Shake, Rattle and Roll", 1954), Paul Bascomb ("Rock and Roll", 1947), Fats Domino ("The Fat Man," 1949) and Les Paul and Mary Ford ("How High the Moon", 1951). Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record[2]. Bo Diddley's 1955 hit "Bo Diddley" backed with "I'm A Man" introduced a new, pounding beat, and unique guitar playing that inspired many artists. Bill Haley's "Rock Around the Clock" (1954) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and the door was opened for this new wave of popular culture. Other artists with early rock 'n' roll hits were Chuck Berry and Little Richard, as well as many vocal doo-wop groups. Within the decade crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed. Both rock and roll and boogie woogie have four beats (usually broken down into eight eighth-notes/quavers) to a bar, and are twelve-bar blues. Rock and roll however has a greater emphasis on the backbeat than boogie woogie. Little Richard combined boogie-woogie piano with a heavy backbeat and over-the-top, shouted, gospel-influenced vocals that the Rock and Roll Hall of Fame says "blew the lid off the '50s." However, others before Little Richard were combining these elements, including Esquerita, Cecil Gant, Amos Milburn, Piano Red, and Harry Gibson. Little Richard's wild style, with shouts and "wooo wooos," had itself been used by female gospel singers, including the 1940s' Marion Williams. Roy Brown did a Little Richard style "yaaaaaaww" long before Richard in "Ain't No Rockin no More." Early North American Rock and Roll (1953-1963) Rock and roll appeared at a time when racial tensions in the United States were coming to the surface. African Americans were protesting segregation of schools and public facilities. The "separate but equal" doctrine was nominally overturned by the Supreme Court in 1954, and the difficult task of enforcing this new doctrine lay ahead. This new musical form combining elements of white and black music inevitably provoked strong reactions. From the early 60s, Ike & Tina Turner were big Rock & Roll stars. On March 21, 1952 in Cleveland, Alan Freed (also known as Moondog) organized an early rock and roll concert, titled "The Moondog Coronation Ball". The audience and the performers were mixed in race. The evening ended after one song in a near-riot as thousands of fans tried to get into the sold-out venue. The record industry soon understood that there was a white market for black music that was beyond the stylistic boundaries of rhythm and blues. Even the considerable prejudice and racial barriers could do nothing against market forces. Rock and roll was an overnight success in the U.S., making ripples across the Atlantic, and perhaps culminating in 1964 with the British Invasion. From this early-1950s inception through the early 1960s, rock and roll music also spawned a new dance craze. Teenagers found the irregular rhythm of the backbeat especially suited to reviving the jitterbug dancing of the big-band era. "Sock-hops," gym dances, and home basement dance parties became the rage, and American teens watched Dick Clark's American Bandstand to keep up on the latest dance and fashion styles. From the mid-1960s on, as "rock and roll" yielded gradually to "rock," later dance genres followed, starting with the Twist, and leading up to Funk, disco, house and techno. Rockabilly In 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun studios in Memphis. Elvis played a rock and country & western fusion called rockabilly, which was characterized by hiccupping vocals, slapping bass and a spastic guitar style. He became the first superstar rock musician. Elvis Presley in 1957's Jailhouse RockThe following year's "Rock Around the Clock" by Bill Haley & His Comets really set the rock and roll boom in motion. The song was one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. The song's inclusion in the film Blackboard Jungle marked the beginning of a mutually beneficial marriage of the genre to film. It had been recorded in 1954 with limited sales, but exploded in 1955 after the release of the movie, which used it in the opening sequence. If everything that came before laid the groundwork, "Clock" certainly set the mold for everything else that came after. With its combined rockabilly and R & B influences, "Clock" topped the U.S. charts for several weeks, and became wildly popular with teenagers in places like Britain, Australia and Germany. The single, released by independent label Festival Records in Australia, was the biggest-selling recording in the country at the time. In 1957, Jerry Lee Lewis and Buddy Holly became the first rock musicians to tour Australia, marking the expansion of the genre into a worldwide phenomenon. That same year, Haley toured Europe, bringing rock 'n' roll to that continent for the first time. Covers Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit. Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets. However, savvy artists and producers quickly recognized the potential of rock, and raced to cash in with white versions of this black music. White musicians also fell in love with the music and played it everywhere they could. Many of Presley's early hits were covers, like "That's All Right", "Baby, Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog". Covering was customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law (still in effect [4]). One of the first successful rock and roll covers was Wynonie Harris's transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a showy rocker. The most notable trend, however, was white pop covers of black R&B numbers. Exceptions to this rule included Wynonie Harris covering the Louis Prima rocker "Oh Babe" in 1950, and Amos Milburn covering what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce," in 1949. Black performers saw their songs recorded by white performers, an important step in the dissemination of the music, but often at the cost of feeling and authenticity (not to mention revenue). Most famously, Pat Boone recorded sanitized versions of Little Richard songs, though Boone found "Long Tall Sally" so intense that he couldn't cover it. Later, as those songs became popular, the original artists' recordings received radio play as well. Little Richard once called Pat Boone from the audience and introduced him as "the man who made me a millionaire." The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number, while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie." Teen Idols In 1959, Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson) were killed when a plane Buddy Holly had chartered from Mason City, Iowa, to Fargo, North Dakota crashed in a corn field, after a performance at the Winter Dance Party. Buddy Holly, fed up with the conditions on the buses, decided to charter a small plane for himself and the Crickets to get to the next show on time, get some rest, and get their laundry done. After the February 2, 1959 performance at the Surf Ballroom in Clear Lake, Iowa, Holly, Richardson (who pleaded with Waylon Jennings for his seat because he was stricken with flu), and Valens (who had won Tommy Allsup's seat after a coin toss), were taken to Clear Lake airport by the manager of the Surf Ballroom. The plane, a four-passenger Beechcraft Bonanza, departed into a blinding snowstorm and crashed into farmer Albert Juhl's cornfield shortly after takeoff. The crash ended the lives of all three passengers, as well as the 21 year-old pilot, Roger Peterson. This event inspired singer Don McLean's popular 1971 ballad "American Pie", and immortalized February 3 as "The Day the Music Died". The event also inspired the Tommy Dee song "Three Stars", which specifically mentions Buddy Holly, the Big Bopper, and Valens. Besides Elvis Presley, Holly, Valens, and Richardson were known as three of the first rock and roll teen idols. They were followed by other artists with massive appeal to a teenaged audience, such as Paul Anka, Ricky Nelson, Frankie Avalon, the Beatles, and later, the Monkees. Teen idols were not only known for their catchy pop music, but good looks also played a large part in their successes. It was because of this that certain fan magazines, exclusively geared to the fans of teen idols (16 Magazine, Tiger Beat, etc.), were created. These monthly magazines typically featured a popular teen idol on the cover, as well as pin-up photographs, a Q&A, and a list of each idol's "faves" (i.e. favorite color, favorite vegetable, favorite hair color, etc.). Teen idols also influenced toys, Saturday morning cartoons and other products. At the height of each teen idol's popularity, it was not uncommon to see Beatle wigs, Davy Jones' "love beads", or perhaps even Herman's Hermits lunchboxes for sale. British Rock and Roll The trad jazz movement brought blues artists to Britain, and in 1955 Lonnie Donegan's version of "Rock Island Line" began skiffle music which inspired many young people to have a go, including John Lennon and Paul McCartney, whose "The Quarrymen", formed in March 1957, would gradually change and develop into The Beatles. These developments primed the United Kingdom to respond creatively to American rock and roll, which had an impact across the globe. In Britain, skiffle groups, record collecting and trend-watching were in full bloom among the youth culture prior to the rock era, and colour barriers were less of an issue with the idea of separate "race records" seeming almost unimaginable. Countless British youths listened to R&B and rock pioneers and began forming their own bands. Britain quickly became a new center of rock and roll. In 1958 three British teenagers became Cliff Richard and the Drifters (later renamed Cliff Richard and the Shadows). The group recorded a hit, "Move It", marking not only what is held to be the very first true British rock 'n' roll single, but also the beginning of a different sound — British rock. Richard and his band introduced many important changes, such as using a "lead guitarist" (virtuoso Hank Marvin) and an electric bass. The British scene developed, with others including Tommy Steele, Adam Faith and Billy Fury vying to emulate the stars from the U.S. Some touring acts attracted particular popularity in Britain, an example being Gene Vincent. This inspired many British teens to begin buying records and follow the music scene, thus laying the groundwork for Beatlemania. At the start of the 1960s, instrumental dance music was very popular. Hits such as "Apache" by The Shadows and "Telstar" by The Tornados form a British branch of instrumental music. Social Impact The massive popularity and worldwide scope of rock and roll resulted in an unprecedented level of social impact. Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language. In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the style of music. It also birthed many other rock influenced styles. Progressive, alternative, punk, and heavy metal/rock are just a few of the genres that sprang forth in the wake of Rock and Roll. Contributed by Bill Stoll StollCo Video - 2007 Tampa FL (Less)
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121, 01:20, 2007-07-21 22:54:28 Description: JUS ME CRANKIN DAT URKEL DANCE
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73, 04:18, 2008-04-21 16:10:03 Description: GET THE RINGTONE FOR FREE - TODAY ONLY I THINK http://ringtones.tunejunkies.com/wutang.html i don't know how long the ringtone will be free for but i got it for nothin lawl WU-TANG CLAN - TAKE (More) GET THE RINGTONE FOR FREE - TODAY ONLY I THINK http://ringtones.tunejunkies.com/wutang.html i don't know how long the ringtone will be free for but i got it for nothin lawl WU-TANG CLAN - TAKE IT BACK - LYRICS [Intro: movie sample (Raekwon)] On the firing line... lock, one round load Ready on the right? Ready on the left? Ready on the firing line? Watch for ya targets (Yeah, yeah, yeah...) pay attention [Raekwon] Welcome to the fish fry where niggaz get burnt to a crisp Jump out the pot, "Yeah yo I got this" Long armor, construction's on, I'm pro-drama Catch me in the wildest beefs, I bring bombers Bearded like Talibans, booted, my black ninjas 'll come through, tuxedos on with the gold llamas Priceless like emeralds, check out the ski mask King Tut's nephew gave it to me for three bags Of heron, Don Baron, sniff a bag of blow Fifth out, runnin' up in Saks with the ill army Shake feds, play dead, yo check out what Rae said Lay on ya hands, let the Branson break bread High energy, all my niggaz a kin to me Regardless how it go down I still get ten a ki Beware of my enemies, y'all remember me Nikes with the low goose on and I've been a beast Wilding in my headphones, red in my stones Good ganja out, if I die fill up my headstones With water, dough, acid and gold classics All my niggaz who pump, the spirit'll jump out and grab shit Max with the laser on 'em, staircase caskets (caskets) Broke bugged thugs in the hallway maxing (maxing) [Interlude: Inspectah Deck (movie sample)] Still them 1-6-Ooh niggaz, straight up (whoa, hold up, hold up) [Inspectah Deck] The nozzel aim, rip through ya frame for pocket change Fiend for the Rush Hour 4, then pop a vein Thousand dollar corks pop, pause or get off top Used to be a general, just lost your spot Animal House, two grand'll handle ya mouth Beast mode with the G-Code, cancel 'em out Son, I've seen hell, fell into the palms of Satan arms Don that I am made 'em bow in the face of God Graveyard Shifting, different day, the same thing The name ring then the chain swing and dames cling Money green, Maury kicks, whips and new fitteds (It was all a dream) Advocated by the few who do live it Bloomberg, make a nigga cop the Mausberg Shorty ain't a shorty, he a Shooter like Wahlberg Old man told me, don't be, blind to deception, only Sharp with perfection, homey, ya mind is a weapon [Interlude: movie sample] Relax, you got ya muscles tight, relax Word... Word... [Chorus: Method Man (U-God)] First we told y'all niggaz, then we showed y'all niggaz, huh? (We gon' take it back with this) By the time you get a show, we've been all around the globe, huh? (We gon' take it back with this) Before you even had a name, you was screaming "Wu-Tang" (We gon' take it back with this) When we was running on the block, you was under ya pops, remember (We gon' take it back with this... let's go) [Ghostface Killah] Armored truck money, Shazam bangles, play the throne like Julius Caesar, gorilla mob, slash, Killah's gaurd Fake passports and visas, all of my goons They be carrying spoons, because boom, he had a massive seizure Hot chocolate lovers, guns is published Detroit bitches out of town be dying to fuck us This is real talk, shank lullabyes Ben Franks, we like Jet Blue we stay hella high Curl on the dumbell L, we can't even S-P-E-L-L MTV or TRL's Supreme novelists, we rank superior, guarding the post Down low in the 'jects, got it locked in ya area Ain't tryin' to hurry up We like rebel niggaz powdered up wilding in the streets of Liberia No matter the crime, I'm beating the case If I'm a wrong, a chair hit a judge right in his face Shitting shanks out, come to court dates Mittens on shines with blood Wally's that's the color of wine [U-God] Talk to me, my criminal mystique Kick back the boards, six thousand a week Pay homage, what the don beat, you're a minor threat I see ya sweat roll down ya cheek And ya soft and sweet, ya talk is pork Get murdered in New York when I enforce the heat And the cost ain't cheap, my advice is priceless Bring back the life that ya thought was lifeless The Way of the Gun, son, who the nicest? S.K., no stungun, smooth devices Time Crisis, I played the game, low lifers In a brawl, ripped the phones out the walls in Riker's Vipers in the infirmary rooms with slicers Shiesters with hate in their blood might bite ya Fuck that bitch, ya wife don't write ya Cancel her, buy another one just like her Pipers in the bucket of ice taste righteous Today's mathematics when we build in cyphers The baby automatic kill like Air Force strikers I'm still Asiatic when I spill the hypeness [Interlude: movie sample] The dark, and this place will come here That's right! [Chorus] (Less)
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![Three Six Mafia - I'd Rather[UNCENSORED + LYRICS]](http://img.youtube.com/vi/nhwo75z0bs0/1.jpg "Three Six Mafia - I'd Rather[UNCENSORED + LYRICS]")
84, 04:16, 2008-04-21 22:07:50 Description: I said I love havin sex But I'd rather get some head, but I'd rather get some head, but I'd rather get some head Hypnotized Minds Three 6 Mafia, and Ya boy DJ montay And this another (More) I said I love havin sex But I'd rather get some head, but I'd rather get some head, but I'd rather get some head Hypnotized Minds Three 6 Mafia, and Ya boy DJ montay And this another oomp camp production I said I love havin sex But I'd rather get some head, but I'd rather get some head, but I'd rather get some head I said I'd rather get some head Ridin down the street man I'm in my big car I scoped a lil sexy lil bad mixed broad she made my dick stand like kareem abdul jabar I hit the brakes so hard man I droped my cigar pussy pretty fat like cash in a wallet I'm lookin like damn baby girl don't stop n I'm a take u to my crib girl and screw u like a fraud or maybe get some head while I'm ridin in the car either way it go man a nigga gotta bust sumthin wit my dollar a nigga got dust sumthin high as the moon I'm a goon like plies spray like big oomp spray it dead in a eyes in ya eyes I'm the one who supply that d I'm the that keep? with me I'm the one that be ridin clean that be on the scene with that texas tea I'm the dude that took yo girl I'm the fool that changed her world I'm the man with the 12 inches she love to like and it make her urll always fresh when I'm at the club sippin goose or playin keep a buzz from the hood so I throw it the other side don't mess with us I love a girl that do it right make my toes like curly fries in the bathroom or in the car or behind the bar she dynomite Give me head: In the dormroom make me ass out make me dead Give me head: Wake me up then put me back to sleep I ain't scared Hold on hold on hoe let me stop let me borrow yo lips that s what I told her girl got that aquafina with a good head on her shoulders she whispered boy I'm hungry so I told her she could come and I didn't feed her nothin but some dick and bubble gum she want more I give her some I keep them magnums I'm straped and if she tired lay down just place yo head in my lap ay big oomp records on the map we keep that mouth wide open I clearance card that throat from the east to west I'm strokin comin down to the I'm pokin everytime it's a hit it get greater two choices that she gotta make she can chew me now or later I'm bout that p-p-paper but see ilove havin sex and the more p-p-paper I know that head is the best yea (Less)
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74, 05:31, 2008-05-25 13:38:50 Description: Can only put top 4 lyrics because theres too many words
4.It was written: The message-Fake thug, no love, you get the slug, CB4 Gusto
Your luck low, I didn't know til I was drunk though
You (More) Can only put top 4 lyrics because theres too many words
4.It was written: The message-Fake thug, no love, you get the slug, CB4 Gusto
Your luck low, I didn't know til I was drunk though
You freak niggaz played out, get fucked and ate out
Prostitute turned bitch, I got the gauge out
96 ways I made out, Montana way
The Good-F-E-L-L-A, verbal AK spray
Dipped attache, jumped out the Range, empty out the ashtray
A glass of 'ze make a man Cassius Clay
Red dot plots, murder schemes, thirty-two shotguns
Regulate wit my Dunn's, 17 rocks gleam from one ring
Yo let me let y'all niggaz know one thing
There's one life, one love, so there can only be one King
The highlights of livin, Vegas style roll dice in linen
Antera spinnin on Milleniums, twenty G bets I'm winnin them
Threats I'm sendin them, Lex with TV sets the minimum
Ill sex adrenaline
Party with villians, a case of Demi-Sec to chase the Henny
Wet any clique, with the semi-tech who want it
Diamonds I flaunt it, chickenheads flock I lace em
Fried broiled with basil, taste em, crack the legs
way out of formation, it's horizontal how I have em
fuckin me in the Benz wagon
Can it be Vanity from Last Dragon
Grab your gun it's on though
Shit is grimy, real niggaz buck in broad daylight
with the broke Mac it won't spray right
Don't give a fuck who they hit, as long as the drama's lit
Yo, overnight thugs, bug cause they ain't promised shit
Hungry-ass hooligans stay on that piranha shit
3:I am NY state of mind 2
Broken glass in the hallway, bloodstained floors
Neighbors, look at every bag you bring through your doors
Lock the top lock, momma shoulda cuffed me to the radiator
Why not? It might've saved later from my block
N.Y. cops, hookers crawlin off the stroll, coughin
stitches in they head, stinkin and I dread thinkin they be snitchin
But who else, could it be, shook at these, unmarked vans
Parked in the dark -- NARC's, where's your heart?
Hustlers starve; they bust a U-e I jog
to my building -- come out later wearin camouflage
See the sergeant and the captain -- strangle men
Niggaz gaspin for air; til they move no more and just stare
with dead eyes -- tired of riots, shit is quiet
Simple-minded fools infiltrate grimy crews
Overcrowded cribs, uncles home from bids, sister's pregnant
father's on drugs, moms is smokin, beds is piss-infested
Had eight partners growin up, eight turned to seven
Seven turned to six niggaz, got two in heaven
Six of us, holdin it, now it's five rollin thick
The sixth one's parole flipped; five niggaz, went to fo' quick
when he went O.T., college life, converted into gangbangin
Four niggaz still hangin, years passed and slang changin
Three of us now, fourth nigga ain't around
We all thought he was real -- he did the snake shit
Fake shit -- beat his ass down, yo his mouth
could've got us all wasted, what a fuckin clown
All I got left in the end is two of my best friends
And we all goin out, to the death for these ends, WHAT?
2: Nas Illmatic : the world is yours
sip the Dom P, watchin Gandhi til I'm charged
Then writin in my book of rhymes, all the words pass the margin
To hold the mic I'm throbbin, mechanical movement
Understandable smooth shit that murderers move wit
The thief's theme, play me at night, they won't act right
The fiend of hip-hop has got me stuck like a crack pipe
The mind activation, react like I'm facin time like
Perry Mason with pens I'm embracin
Wipe the sweat off my dome, spit the phlegm on the streets
Suede Timb's on my feets, makes my cypher, complete
Whether crusin in a six-cab, or Montero Jeep
I can't call it, the beats make me fallin asleep
I keep fallin, but never fallin six feet deep
I'm out for presidents to represent me (Say what?)
I'm out for presidents to represent me (Say what?)
I'm out for dead presidents to represent me
1:Only built for cuban linx Verbal intercourse (1st verse)
Through the lights cameras and action, glamour glitters and gold
I unfold the scroll, plant seeds to stampede the globe
When I'm deceased, by then the beast arise like yeast
to conquer peace leaving savages to roam in the streets
Live on the run, police paying me to give in my gun
Trick my Wisdom, with the system that imprisoned my son
Smoke a gold leaf I hold heat, nonchalantly
I'm grungy, but things I do is real it never haunts me
while, funny style niggaz roll in the pile
Rooster heads profile on a bus to Riker's Isle
Holdin weed inside they pussy with they minds on the
pretty things in life, props is a true thug's wife
It's like a cycle, niggaz come home, some'll go in
Do a bullet, come back, do the same shit again
From the womb to the tomb, presume the unpredictable
Guns salute life, rapidly, that's the ritual (Less)
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64, 01:51, 2008-04-17 15:09:42 Description: The band originally a surf rock group called The Crossfires from the planet Mars, was formed in 1965 in Westchester, California (a Los Angeles neighborhood) by Howard Kaylan and Mark Volman. With (More) The band originally a surf rock group called The Crossfires from the planet Mars, was formed in 1965 in Westchester, California (a Los Angeles neighborhood) by Howard Kaylan and Mark Volman. With the help of DJ and club owner Reb Foster, the Crossfires signed to White Whale Records, and, adhering to the prevailing musical trend, re-branded themselves as a folk rock group called "The Tyrtles", the intentional misspelling inspired by The Byrds. However, the trendy spelling did not survive long. As with the Byrds, the Turtles achieved breakthrough success with a Bob Dylan cover. "It Ain't Me Babe" reached the Billboard Top Ten in the late summer of 1965 (see 1965 in music) and was the title track to the bands first album. Their second single, "Let Me Be" (written by P.F. Sloan), cracked the top 30 in the autumn. Their third hit, "You Baby" (P.F. Sloan and Steve Barri), charted in the top 20 in early 1966. However, their second album You Baby never entered Billboard's Top LPs chart, and of several singles released in 1966 only two the Rolling Stones-like "Grim Reaper of Love" and the adorable "Can I Get to Know You Better" entered the Billboard Hot 100. The album You Baby includes the frenetic pop-rock nugget "Outside Chance", written by Glenn Crocker and Warren Zevon. At the start of 1967 a heavy touring schedule combined with a lack of recent chart success convinced drummer Don Murray and then bassist Chuck Portz to quit the group. They were replaced by Joel Larson then John Barbata on drums and Chip Douglas on bass. It occurred to the band that for eight months they had been performing a certain song on stage that, while moderately popular with the fans, had yet to be recorded. The first of several key Turtles singles co-written by Garry Bonner and Alan Gordon, "Happy Together" seemed almost a parody of itself, and had already been rejected by countless performers. Their biggest hit and surely their signature song, "Happy Together" signalled a turning point for the Turtles and for Chip Douglas, who provided the arrangement. With its tongue-in-cheek tone, incessant and infectious guitar riff, addictive chorus and backing vocals, simple drum and organ lines, and even an oboe playing along during the second chorus, "Happy Together" is perhaps the quintessential example of fresh, feel-good 1960s American pop. The single replaced the the Beatles' "Penny Lane" at number one on the Billboard Hot 100 in the spring of 1967. Their only number one, it remained at the top for three weeks. An album of the same name followed and peaked at number 25. Impressed by Chip Douglas's studio arrangements, Monkee Michael Nesmith approached him after a Turtles show at the Whisky a Go Go and invited him to become the Monkees' new producer, as the band wanted to break out of their "manufactured" studio mould. Douglas accepted, left the Turtles, and was replaced by bassist/singer Jim Pons. 1967 proved to be the Turtles' most successful year in the charts. "She'd Rather Be With Me" reached number 3 on the US charts in late spring, and actually out-charted "Happy Together" overseas. Two successive top-15 gems followed: the singularly lush and pretty ballad "You Know What I Mean" and the playfully psychedelic and gleefully adolescent "She's My Girl". Both 45s signalled a certain shift in the bands style. Golden Hits was released later that year, charting in the top 10. (The album covers for Golden Hits and its follow up Golden Hits Vol 2 were designed by Dean Torrence of Jan & Dean fame and his company, Kittyhawk Graphics.) 1968 started without a bang. The first two singles, "Sound Asleep" and "The Story of Rock and Roll", stalled somewhere in the middle of the top 100. The band's fortunes changed when now hugely successful Monkees producer Chip Douglas returned to work with them in the studio. Late in 1968 the Turtles released a concept album called The Turtles Present the Battle of the Bands, in which the group pretended to be eleven different bands (with names like 'The Bigg Brothers', 'Nature's Children', 'The US Teens featuring Raoul', and 'The Fabulous Dawgs'), each with a song in a different genre. The album yielded two distinctive singles: "Elenore" and "You Showed Me" (both peaking at number six). The blissful-sounding "Elenore" may be the only Top Ten single to contain et cetera in its lyrics, and allegedly was the band's tongue-in-cheek response to White Whale's demands for more songs like "Happy Together". (Howard Kaylan confirmed this account in a live interview on XM Radio's 60s channel on March 3, 2007.) The breathy-trippy 1969 hit "You Showed Me" was written by Byrds members Gene Clark and Roger (then James) McGuinn in 1964. Television appearances in 1968 include a February 26 visit to The Mike Douglas Show, to which they returned in April 1969. Kaylan and Volman rebelled against White Whale's attempts to push the Turtles towards factory-like studio chicanery (including firing the rest of the band, and recording and touring with hired musicians, and putting their vocals tapes already recorded in Memphis ).The label's pressure did force the band to record a single called "Who Would Ever Think That I Would Ever Marry Margaret" ( which the band totally disowned after its release ) The result was the 1969 release Turtle Soup, a critically well-received LP produced by Ray Davies of The Kinks. Inspired by the revered 1968 concept album The Kinks Are the Village Green Preservation Society, this was Daviess only ever production work for another band. Kaylan and Volman insisted the whole band share in the writing and singing. Notable tracks include the ethereal and introspective "Somewhere Friday Nite" and the rather failed single "Love in the City". In spite of Turtle Soup's critical acclaim, commercial success was marginal and the band soon began disintegrating. The Turtles wound down their career with a B-sides and rarities album, Wooden Head (1969), and a second compilation album, More Golden Hits (1970). With the demise of The Turtles, White Whale Records was left with few, if any, commercially viable bands, and ceased operation. (Less)
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65, 05:19, 2008-06-01 19:56:52 Description: haha how's the video?
http://www.MemphisUniform.com
Lowest price guarantee on Dickies, Dickies Girl, French Toast, and many more! If you find a lower price - we'll match it (More) haha how's the video?
http://www.MemphisUniform.com
Lowest price guarantee on Dickies, Dickies Girl, French Toast, and many more! If you find a lower price - we'll match it and give you extra 10% OFF!
Largest selection of School Uniforms!
New shit from Lil Wayne featuring Jay-Z. Off his new album "Tha Carter III" in stores June 10th. This song is produced by Just Blaze.
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Lil Wayne - Mr. Carter ft. Jay-Z
Track list on Tha Carter III 3
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Channel: youtubeTags: 2008 album best beyonce blaze carter da dr iii jay jay-z just lil mister mr mr. new rapper single tha three wayne weezy
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55, 04:18, 2008-04-22 09:22:29 Description: Imeem Page Link : http://shockey01.imeem.com/ lyrics: sa mga gin updan naton sng ikaw ari pa pati ang mga kasadya upod ang asta mag aga until da morning sun gin sulbar ang problema nga na-agyan kay (More) Imeem Page Link : http://shockey01.imeem.com/ lyrics: sa mga gin updan naton sng ikaw ari pa pati ang mga kasadya upod ang asta mag aga until da morning sun gin sulbar ang problema nga na-agyan kay wala gina pabay-an ang homeboy nga masaligan kag subong nga tu-ig the year of 2-O-O-7 na dula ka sa amon but someday see you in heaven kag salamat sa tanan sa ulihi kami ang ma-apas tani ma tunga ko kag mapabalik liwat ang oras fuck the haters and their hate and love to those have faith kag sa masakit mo nga na-agyan daw kami nag gin crimate pero kami indi mag surrender nga naka duko ang ulo asta nga ma husticiahan matapos ang natabo sa imo sa ila sa iban kag upod nga mga nadalahig and we dont care what is takes para lng makahatag sng bulig and to all those muthaf*ckas who wants me dead go ahead i'll put a bullet straight down in yah head.. (me against the world now) CHORUS* yo,3x daw kahapon lng ta nag updanay dunagn pa kita sng lakat and I picture out my self to be also dead on the spot i know its hard to be gone yah friends mourn and crying for a day or two along my prayers I pray and yea we truly miss you and here inside our hearts there's a place for you my friend (Lord) have mercy on my soul if today's will be my end the only thing we wish is to have you a while reminisce the yesterday and again to see you smile thank God for everything that I made it this far kag kung akon na nga tiempo mga haterz ga ikspektar btw, salamat tol sa bulig nga wala sng kontra-tiempo even though may hilanat ka may trankaso or may flue and those niggas deserve the sh*t and they must achieve we will succeed and by the time all muthaf*ckas believe there's no fear within me so let it be God bless you mah homie and R.I.P CHORUS* (here we go) Six feet unda foreva i'll rememba the old days we gettin high when i die dont cry so all i want for you to remember that i was a good man I'll do the best what i can and pass away with God's plan for me and guide my friends please forgive me my sins be strong here's the last song let me ask you where I belong bal-an ko. and at this time damo sng crime asta mag sunrise dear beloved homie rest in the paradise kag bisan ara lng sa dream i can see you so clear ikaw ang nag tudlo sa amon to face our fear aminon ko kabudlay kalimtan ang tanan and wipe the tears sa mga gin updan ta until the day u disappear and the memories we had mabudlay man nag plastada slowly but surely ang pag asenso sng bilog nga tropa im not famous im not rude im not stupid in the neighborhood im just a homeboy with an attitude (thats right) DEDICATED TO KWIK aka Denn Mark Salinas and to all who fell victim to the streets! SM city 2007 shockey kuruptone rumpage iloilo cpu talibong1 ill pride mizta blaze BENJO bigatlan fiasas gagong rapper bsydaz rumpage inc sts nyk west clan boracay homicide pinoy real kutaw pbws nyc agi sunoy gang fight freestyle gloc 9 andrew E dongalo mike swift charice pempengco arnel pineda manny pacquiao boracay bacolod floetics jaro san agustin doctors guimaras hip hop rap tagalog t-pain chris brown asia (Less)
Channel: youtubeTags: airport bacolod benjo boracay cebu city cpu homeboy ill iloilo ilonggo memories pride shockey sm talibong1
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51, 01:59, 2008-04-17 15:10:50 Description: The band originally a surf rock group called The Crossfires from the planet Mars, was formed in 1965 in Westchester, California (a Los Angeles neighborhood) by Howard Kaylan and Mark Volman. With the (More) The band originally a surf rock group called The Crossfires from the planet Mars, was formed in 1965 in Westchester, California (a Los Angeles neighborhood) by Howard Kaylan and Mark Volman. With the help of DJ and club owner Reb Foster, the Crossfires signed to White Whale Records, and, adhering to the prevailing musical trend, re-branded themselves as a folk rock group called "The Tyrtles", the intentional misspelling inspired by The Byrds. However, the trendy spelling did not survive long. As with the Byrds, the Turtles achieved breakthrough success with a Bob Dylan cover. "It Ain't Me Babe" reached the Billboard Top Ten in the late summer of 1965 (see 1965 in music) and was the title track to the bands first album. Their second single, "Let Me Be" (written by P.F. Sloan), cracked the top 30 in the autumn. Their third hit, "You Baby" (P.F. Sloan and Steve Barri), charted in the top 20 in early 1966. However, their second album You Baby never entered Billboard's Top LPs chart, and of several singles released in 1966 only two the Rolling Stones-like "Grim Reaper of Love" and the adorable "Can I Get to Know You Better" entered the Billboard Hot 100. The album You Baby includes the frenetic pop-rock nugget "Outside Chance", written by Glenn Crocker and Warren Zevon. At the start of 1967 a heavy touring schedule combined with a lack of recent chart success convinced drummer Don Murray and then bassist Chuck Portz to quit the group. They were replaced by Joel Larson then John Barbata on drums and Chip Douglas on bass. It occurred to the band that for eight months they had been performing a certain song on stage that, while moderately popular with the fans, had yet to be recorded. The first of several key Turtles singles co-written by Garry Bonner and Alan Gordon, "Happy Together" seemed almost a parody of itself, and had already been rejected by countless performers. Their biggest hit and surely their signature song, "Happy Together" signalled a turning point for the Turtles and for Chip Douglas, who provided the arrangement. With its tongue-in-cheek tone, incessant and infectious guitar riff, addictive chorus and backing vocals, simple drum and organ lines, and even an oboe playing along during the second chorus, "Happy Together" is perhaps the quintessential example of fresh, feel-good 1960s American pop. The single replaced the the Beatles' "Penny Lane" at number one on the Billboard Hot 100 in the spring of 1967. Their only number one, it remained at the top for three weeks. An album of the same name followed and peaked at number 25. Impressed by Chip Douglas's studio arrangements, Monkee Michael Nesmith approached him after a Turtles show at the Whisky a Go Go and invited him to become the Monkees' new producer, as the band wanted to break out of their "manufactured" studio mould. Douglas accepted, left the Turtles, and was replaced by bassist/singer Jim Pons. 1967 proved to be the Turtles' most successful year in the charts. "She'd Rather Be With Me" reached number 3 on the US charts in late spring, and actually out-charted "Happy Together" overseas. Two successive top-15 gems followed: the singularly lush and pretty ballad "You Know What I Mean" and the playfully psychedelic and gleefully adolescent "She's My Girl". Both 45s signalled a certain shift in the bands style. Golden Hits was released later that year, charting in the top 10. (The album covers for Golden Hits and its follow up Golden Hits Vol 2 were designed by Dean Torrence of Jan & Dean fame and his company, Kittyhawk Graphics.) 1968 started without a bang. The first two singles, "Sound Asleep" and "The Story of Rock and Roll", stalled somewhere in the middle of the top 100. The band's fortunes changed when now hugely successful Monkees producer Chip Douglas returned to work with them in the studio. Late in 1968 the Turtles released a concept album called The Turtles Present the Battle of the Bands, in which the group pretended to be eleven different bands (with names like 'The Bigg Brothers', 'Nature's Children', 'The US Teens featuring Raoul', and 'The Fabulous Dawgs'), each with a song in a different genre. The album yielded two distinctive singles: "Elenore" and "You Showed Me" (both peaking at number six). The blissful-sounding "Elenore" may be the only Top Ten single to contain et cetera in its lyrics, and allegedly was the band's tongue-in-cheek response to White Whale's demands for more songs like "Happy Together". (Howard Kaylan confirmed this account in a live interview on XM Radio's 60s channel on March 3, 2007.) The breathy-trippy 1969 hit "You Showed Me" was written by Byrds members Gene Clark and Roger (then James) McGuinn in 1964. Television appearances in 1968 include a February 26 visit to The Mike Douglas Show, to which they returned in April 1969. Kaylan and Volman rebelled against White Whale's attempts to push the Turtles towards factory-like studio chicanery (including firing the rest of the band, and recording and touring with hired musicians, and putting their vocals tapes already recorded in Memphis ).The label's pressure did force the band to record a single called "Who Would Ever Think That I Would Ever Marry Margaret" ( which the band totally disowned after its release ) The result was the 1969 release Turtle Soup, a critically well-received LP produced by Ray Davies of The Kinks. Inspired by the revered 1968 concept album The Kinks Are the Village Green Preservation Society, this was Daviess only ever production work for another band. Kaylan and Volman insisted the whole band share in the writing and singing. Notable tracks include the ethereal and introspective "Somewhere Friday Nite" and the rather failed single "Love in the City". In spite of Turtle Soup's critical acclaim, commercial success was marginal and the band soon began disintegrating. The Turtles wound down their career with a B-sides and rarities album, Wooden Head (1969), and a second compilation album, More Golden Hits (1970). With the demise of The Turtles, White Whale Records was left with few, if any, commercially viable bands, and ceased operation. (Less)
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44, 06:01, 2008-04-22 09:11:23 Description: Uh uh uh uh uh uh uh oh Uh uh uh uh uh uh uh oh Check it out Going out On the late night Looking tight Feeling nice It's a cock fight I can tell I just know That it's going down Tonight At (More) Uh uh uh uh uh uh uh oh Uh uh uh uh uh uh uh oh Check it out Going out On the late night Looking tight Feeling nice It's a cock fight I can tell I just know That it's going down Tonight At the door we don't wait 'cause we know them At the bar six shots just beginning That's when dickhead put his hands on me But you see I'm not here for your entertainment You don't really wanna mess with me tonight Just stop and take a second I was fine before you walked into my life Cause you know it's over Before it began Keep your drink, just gimme the money It's just you and your hand tonight Uh uh uh uh uh uh uh oh Uh uh uh uh uh uh uh oh Midnight I'm drunk I don't give a fuck Wanna dance By myself Guess you're outta luck Don't touch Back up I'm not the one By-bye Listen up, it's just not happening You can say what you want to your boyfriends Instant Song Lyrics Just let me have my fun tonight-aight I'm not here for your entertainment You don't really wanna mess with me tonight Just stop and take a second I was fine before you walked into my life Cause you know it's over Before it began Keep your drink, just gimme the money It's just you and your hand tonight Uh uh uh uh uh uh uh oh Break break break Break it down In the corner with your boys you bet up five bucks To get at the girl that just walked in but she thinks you suck We didn't get all dressed up just for you to see So quit spilling your drinks on me yeah You know who you are High five and talkin' shit, but you're going home alone arentcha? 'Cause I'm not here for your entertainment (no) You don't really want to mess with me tonight Just stop and take a second (just stop and take a second) I was fine before you walked into my life Cause you know it's over (know it's over) Before it began Keep your drink just give me the money It's just you and your hand tonight (it's just you and your hand) I'm not here for your entertainment (no no no) You don't really want to mess with me tonight Just stop and take a second (just take a second) I was fine before you walked into my life Cause you know it's over Before it began Keep your drink just gimme the money It's just you and your hand tonight (Less)
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