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Beatles Rewind Podcast

Beatles Rewind Podcast

De: Steve Weber and Cassandra
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beatlesrewind.substack.comSteve Weber Música
Episodios
  • Beatlemania Hits Christie’s: The $1 Billion Auction Event of the Decade

    Beatlemania Hits Christie’s: The $1 Billion Auction Event of the Decade
    Jan 11 2026
    The biggest, most valuable collection of rock-music memorabilia ever, including history-defining Beatles artifacts expected to fetch tens of millions, is headed to the auction block in New York. The late Jim Irsay’s remarkable collection of iconic Beatles items documenting the band’s evolution from their “mop-top” era to their peak creative phase includes a Ringo Starr drum estimated at $2 million.The once-in-a-lifetime sale includes Ringo’s Ed Sullivan Show drumhead, Revolver-era guitars, Paul’s handwritten “Hey Jude” lyrics, and the Beatles break-up affidavit, chronicling a journey from the heights of Beatlemania to the painful dissolution of the greatest rock band in history.The group of guitars alone, known as the greatest collection on Earth, include instruments owned by Jimi Hendrix, Pete Townshend, Prince, Lou Reed, Eddie Van Halen, Johnny Cash, Les Paul, U2’s The Edge, Walter Becker of Steely Dan, Neal Schon of Journey, and John McVie of Fleetwood Mac.The Beatles: Crown Jewels of the CollectionThe Beatles portion of the Irsay Collection represents perhaps the most significant grouping of band memorabilia in private hands.Ringo Starr’s Drums:The Ed Sullivan Show Drumhead (February 9, 1964)The original Ludwig bass drumhead featuring the iconic “Beatles” drop-T logo was used during the Ed Sullivan Show TV performance seen by 73 million viewers, launching Beatlemania and the British Invasion. The prominent placement of the Ludwig logo created such a publicity burst that Ludwig became the dominant drum manufacturer in North America. The drumhead was presented to Ringo at the CBS-TV Studio 50 morning rehearsal and installed just in time for the broadcast.* Pre-auction estimate: $1,000,000 - $2,000,000Ringo’s First-Ever Ludwig “Downbeat” Kit (Oyster Black Pearl finish)Used for hundreds of live performances and studio recordings from May 1963 to February 1964, this kit was heard on many of the Beatles’ earliest hit recordings. It was purchased in spring 1963 from Drum City in London through manager Brian Epstein (he negotiated a trade: Ringo’s Premier kit for this Ludwig, and Drum City thew in the painted bass drum featuring the Beatles logo.)* Pre-auction estimate: $1,000,000 - $2,000,0001964 Ludwig Jazz Festival Snare Drum (from Ringo’s second kit)Purchased at Manny’s Music Store in Manhattan on February 9, 1964, this was used throughout Ringo’s time with the Beatles for studio recordings. Notably, Paul McCartney borrowed this snare drum to record his first solo album “McCartney” (1970), mixing components from Ringo’s first two kits. This drum was originally sold at Julien’s Auctions in 2015 for $75,000; Jim Irsay purchased it in 2019.Ringo’s 9-Carat Gold and Sapphire Pinky RingWorn throughout his Beatles years from 1961 through 1969, the ring was an iconic part of Ringo’s image during the band’s peak.* Pre-auction estimate: $60,000 - $100,000George Harrison’s Guitars:• 1964 Gibson SG Standard (Serial #227666, Cherry Red finish)George’s main studio guitar from 1966-1969 during the Beatles’ most experimental phase. The instrument was used extensively on the Revolver album (1966), including “She Said She Said,” “Doctor Robert,” “Taxman,” and “I Want to Tell You.” and it appeared prominently in the promotional films for “Paperback Writer” and “Rain” filmed at Chiswick House, London in May 1966.The guitar also appeared in the “Lady Madonna” promo film (1968), shot during the “Hey Bulldog” session, and was played during the Beatles’ final official UK concert at the 1966 NME Poll Winners Concert on May 1, 1966.John Lennon also used this guitar during White Album sessions in 1968, notably on “While My Guitar Gently Weeps.” Harrison gave the guitar to Pete Ham of Badfinger in 1969, who played it extensively, including on “Baby Blue” (1972). After Ham’s death in 1975, the guitar was stored away for 28 years until the Rock and Roll Hall of Fame contacted Ham’s brother for a Badfinger retrospective in 2002. The guitar had been loaned to the Rock and Roll Hall of Fame before Irsay acquired it.* Pre-auction estimate: $800,000 - $1,200,0001963 Maton MS-500 Mastersound GuitarAn Australian-made acoustic guitar used by Harrison during Beatles performances, it was part of Harrison’s diverse guitar collection from the early Beatles era.John Lennon’s Guitars:1963 Gretsch Chet Atkins 6120 (Serial #53940, Western Orange finish)Used during the “Paperback Writer” and “Rain” recording sessions at EMI Studio 3, Abbey Road on April 14, 1966. It features painted f-holes and horseshoe peghead characteristic of the 6120 model. Lennon gave this guitar to his cousin David Birch in November 1967 when Birch visited Lennon’s home studio in Kenwood, Weybridge. Birch had asked Lennon for a spare guitar to start his own band; he had his eye on a Fender Stratocaster, but Lennon gave him the Gretsch instead. The wood ...
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    11 m
  • "Garbage": 10 Beatles Songs John Lennon Wished He'd Never Written

    "Garbage": 10 Beatles Songs John Lennon Wished He'd Never Written
    Jan 10 2026
    John Lennon was many things—a musical genius, a cultural revolutionary, a provocateur—but he was also his own harshest critic. While millions of fans cherished every Beatles record, John spent much of his post-Beatles career publicly eviscerating songs he’d written, performed, and watched climb up the charts. If a lyric didn’t ring true or a melody felt too “sweet,” he was the first to tear it down. According to John, the catalog was littered with “filler,” “garbage,” and “lousy” tracks.Some of his targets were obscure album tracks, but others were beloved classics that defined an era. 🎸 What’s striking about John’s self-criticism isn’t just that he disliked certain songs—it’s how much he disliked them, and how willing he was to say so. This wasn’t false modesty or artistic posturing; it was genuine regret, wrapped in the kind of blunt honesty that made John Lennon both fascinating and occasionally infuriating. Self-Loathing – The Songs John Couldn’t Stand1. “Run For Your Life” – The Song He Called His Worst“I always hated ‘Run For Your Life.’” – John Lennon, 1980 Playboy InterviewIf there was one Beatles song John Lennon truly despised, it was “Run For Your Life” from Rubber Soul (1965). In his final major interview, with David Sheff for Playboy in 1980, John didn’t mince words: He called it his least-favorite Beatles song ever. The lyrics—borrowed from an old Elvis Presley song—threatened violence against a cheating woman, and by 1980, Lennon was deeply embarrassed by them. The song’s opening line about preferring to see a woman dead than with another man horrified the older, more reflective Lennon, who had spent years working on his own issues with jealousy and possessiveness.What makes this confession really striking is that John wrote it quickly, almost carelessly, to fill out the Rubber Soul album. It was a throwaway track that haunted him for the rest of his life. In his 1970 Rolling Stone interview with Jann Wenner, just after the Beatles’ breakup, John admitted he was just “churning it out” and had no real emotional investment in the song. By 1980, that lack of investment had curdled into genuine shame. 😱2. “It’s Only Love” – “Abysmal” According to John“I always thought it was a lousy song. The lyrics were abysmal.” – John Lennon, discussing “It’s Only Love”From the same Rubber Soul era came “It’s Only Love,” and John’s assessment was equally harsh. He told interviewers that the lyrics were “abysmal” and that he never liked the song. The track featured fairly straightforward love song clichés—exactly the kind of thing John was trying to move away from by 1965. While George Harrison’s guitar work saved it from being completely forgettable, John clearly wished he’d spent more time on the writing.The interesting thing about John’s critique of “It’s Only Love” is that it reveals his evolving artistic standards. By the time of Rubber Soul, he was writing songs like “Girl” and “Norwegian Wood”—complex, layered compositions that explored adult relationships with nuance and wit. “It’s Only Love” represented the simpler, more innocent Beatles he was trying to leave behind, and he hated being reminded of it. 💔3. “Good Morning Good Morning” – “A Piece of Garbage”“’Good Morning Good Morning’ is a piece of garbage.” – John Lennon, 1980From Sgt. Pepper’s Lonely Hearts Club Band came “Good Morning Good Morning,” another song he called a throwaway. He called it “garbage,” inspired by a Kellogg’s Corn Flakes TV commercial. The song’s saving grace was the barnyard animal sound effects at the end—arranged so each successive animal could eat the one before it—but John felt the song itself had no real substance.What’s fascinating is that John wrote this during the Sgt. Pepper sessions, arguably the most creative period of his life. Even surrounded by masterpieces like “A Day in the Life” and “Lucy in the Sky with Diamonds,” he could still produce something he considered worthless. It’s a reminder that even geniuses have off days—and that John Lennon was painfully aware when he’d had one. 📺4. “Being for the Benefit of Mr. Kite!” – All Stolen“I had all the words... from this old poster.” – John Lennon, 1980While John didn’t express outright hatred for “Being for the Benefit of Mr. Kite!” from Sgt. Pepper, he was dismissive of it because, as he explained to David Sheff, he’d simply copied the lyrics nearly word-for-word from an old Victorian circus poster. He bought the poster at an antique shop and merely rearranged the text into song form. John felt there was no real creative achievement in the song—it was just transcription with a tune.This confession reveals something important about John’s artistic standards: he valued originality and emotional authenticity above all else. A song could...
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    12 m
  • Ketchup and Compression: John Lennon’s War with the Microphone

    Ketchup and Compression: John Lennon’s War with the Microphone
    Jan 9 2026
    It is one of the great ironies of music history: the man with the most raw, expressive voice in rock and roll couldn’t stand the sound of it. To the rest of us, John Lennon’s voice was an awesome force of nature. To John, it was an annoyance that needed to be “fixed.” He constantly cornered producer George Martin with the same desperate plea: “Smother it.” He wanted his vocals buried in double-tracking, drenched in reverb, or warped by effects—anything to make him sound like “someone else” or, as he often put it, “the man on the moon.” 🎙️ Today, we might call this a form of audio dysphoria, a disconnect between the voice the world hears and the one the artist hears in their own head. The “Tomato Ketchup” PhilosophyMartin recalled this struggle in his book Summer of Love, still sounding a bit baffled by it all:“John had an inborn dislike of his own voice which I could never understand, as it was one of the best voices I’ve heard” He was always saying to me: ‘Do something with my voice! You know, put something on it. Smother it with tomato ketchup or something. Make it different.’”While Paul McCartney was happy to let his pure, sweet vocals sit front-and-center, John wanted a jagged, soulful friction. He didn’t want a pop song; he wanted an atmospheric haunting.The Science of Why We Cringe 🧠This wasn’t just rock-star neurosis; it’s physics that affects everyone. When you speak, you hear yourself through bone conduction. Your skull vibrates, acting like a private subwoofer that makes your voice richer, but only to you.The playback you hear is what the rest of the world hears: just vibrations traveling through air. When John listened to his tapes, he wasn’t hearing the “hero version” from inside his head; he was hearing a thinner, nasally stranger. For a man whose entire identity was tied to his art, this wasn’t just a “bad recording”—it was an identity crisis played back at 15 inches per second.The Lennon Toolkit: Engineering an Identity 🛠️John’s vocal insecurity wasn’t just a quirk—it actually forced the Abbey Road engineers to invent the future of music.* The “Instant Clone” (ADT): John hated the “boring” work of singing a song twice to get a thick sound. So, the engineers birthed Artificial Double Tracking (ADT), creating a second, slightly delayed "ghost" vocal on a separate tape machine, which is then layered back over the original to create a thicker, more shimmering sound. 👯‍♂️* The “Naked” Microphone: Instead of keeping a proper, professional distance, John would get uncomfortably close to the mic. He wanted to capture the grit and the “honest” imperfections that most 1960s stars were desperately trying to polish away. 🎤* The Spinning Speaker: For Tomorrow Never Knows, John gave the engineers a bizarre mission: “Make me sound like the Dalai Lama chanting from a mountaintop.” They solved it by feeding his voice through a Leslie speaker—a massive, rotating cabinet meant for organs. It gave him that swirling, underwater sound that signaled the end of the “traditional” John Lennon. 🎡* Beyond the swirling mountain-top sound of “Tomorrow Never Knows” and the intimate, high-treble sighs of “Girl,” John Lennon’s vocal dissatisfaction pushed two other tracks into legendary territory:“Strawberry Fields Forever” (The Impossible Stitch) 🍓John was so unhappy with the initial, “light” version of this song that he asked for a second, much heavier orchestral version. When he couldn’t decide between the two takes, he gave Martin the impossible task of joining them together. Because they were in different keys and speeds, the tape had to be manipulated—speeding up one and slowing down the other. This inadvertently gave John’s voice a thick, slightly “slurred” and dreamlike quality that he felt masked his natural tone enough to match the song’s surreal mood. 😵‍💫“Revolution” (The Red-Line Distortion) ⚡For the single version of “Revolution,” John didn’t just want a “rock” sound; he wanted a “dirty” sound. He insisted that the engineers plug the guitars and his microphone directly into the recording console, intentionally “red-lining” the equipment to create a fuzzy, distorted crunch. He wanted his voice to sound broken and aggressive, hiding the “purity” of his singing behind a wall of electronic grit. He reportedly told the engineers, “It doesn’t sound ‘heavy’ enough,” until the distortion was so thick it was practically melting the speakers. 🎸The Haunted Androids of TodayJohn was the pioneer of a struggle that defines modern music. We see it in Thom Yorke, who treats his voice like a “haunted android,” hiding behind vocoders and glitchy layers. We see it in Billie Eilish, who turned vocal insecurity into a superpower by whispering directly into your ear, using the microphone as a shield rather than a stage. 🎚️...
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    5 m
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