On this day in 1968, The Beatles began recording “Happiness Is a Warm Gun”

The title of the song referred to an article in an issue of American Rifleman, the magazine of the National Rifle Association (NRA) that had been brought to the studio by George Martin. The phrase “Happiness Is a Warm Gun” immediately piqued John Lennon’s interest who later said he “just thought it was a fantastic, insane thing to say”.

The band gathered at EMI Studios in London on the 23rd of September to begin recording the song. Though tensions were high between the band members at this point, they collaborated closely to figure out the complex rhythmic elements. Much of this first session was spent figuring out the individual sections, with over 45 takes recorded. The following day another 25 attempts were recorded, resulting in a usable backing track.

Releasing as part of The Beatles album in November, the song immediately found success amongst critics who frequently called it their favourite song on the album. All four members of the band later agreed, identifying it as their favourite as well.

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On this day in 1971, John Lennon released his second solo album, Imagine

In New York, Lennon was having a jam with former bandmate George Harrison and decided to invite him to perform on his next album. Recording began the following week on the 24th of May and continued over the following months. 

Imagine was written during a period of bad blood between Lennon and Paul McCartney following the bands breakup and McCartney’s High Court case to have their partnership dissolved. The song “How Do You Sleep” was written in retaliation to McCartney’s alleged personal attacks on Lennon and Yoko Ono on his recent album, Ram. When Imagine was released, early copies of the record came with a postcard featuring a photograph of Lennon holding a pig in a parody of Ram’s album cover.

Critics early reviews were mixed, with most claiming the album had both high and low points, though the opinions were positive for the most part. Lennon himself later expressed displeasure with the more commercial sound of the album, however Imagine is still remembered as one of his most significant albums.

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On this day in 1995, a concert was held to celebrate the opening of the Rock and Roll Hall of Fame and Museum

Over 10 years earlier in 1983, founder and head of Atlantic Records, Ahmet Ertegun established the idea of a Rock and Roll Hall of Fame and Museum. He assembled a team including Rolling Stone publisher Jann S. Wenner as well as other record executives and attorneys.

3 years later it was decided that the building would be erected in Cleveland, Ohio after the city made a strong campaign for the building, pledging $65 million in funding and with mentions of renowned rock DJ Alan Freed’s Moondog Coronation Ball, often referred to as the first major rock concert.

The ribbon was cut and the Museum opened on the 1st of September with an ensemble that included Yoko Ono and Little Richard in front of a crowd of around 10,000. The following night the concert took place featuring performances from major artists like Bob Dylan, Chuck Berry, Jerry Lee Lewis, Aretha Franklin, Bruce Springsteen, Iggy Pop and John Fogerty among others. The Hall of Fame continues to induct new members yearly with ceremonies alternating between New York and Cleveland.

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On this day in 1968, the Beatles released their first single on their own Apple Records label

After spending their early years signed with EMI, The Beatles decided to go it alone, increasing their ability to try differing methods of promotion and more experimental works. They began with “Hey Jude”, written by Paul McCartney while driving to visit Cynthia Lennon and her son after her separation from John.

McCartney continued to rehearse and refine the song, before bringing it to the rest of the band for recording during the sessions for their self-titled double album, more commonly known as “The White Album”. The song became the first Beatles composition to be recorded on eight-track recording equipment and it was quickly marked for release as a single, backed with “Revolution”, written by Lennon.

The song was bundled with three other singles from new Apple signees, Mary Hopkins, Jackie Lomax and the Black Dyke Mills Band in a pack named “Our First Four” and sent gift-wrapped boxes of the singles to members of the royal family and the UK Prime Minister, an example of the more unorthodox methods of promotion they were now able to utilise. 

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On this day in 1964, The Beatles arrived in California for their first US tour

After the band made their US debut during their two week visit in February to film The Ed Sullivan Show, The Beatles became the most well-known group in America and many fans wanted to see more. In the 6 months following the airing of the tv appearance, the band had achieved seventeen top 40 singles, including six number ones and so it was decided that a US tour would be next. 

Arriving in California, the band was greeted by an estimated 9000 fans before heading to Daly City in the San Francisco area for the first show. The group played 32 shows in 25 cities over the course of 31 days. The majority of the shows sold out quickly, and the band reportedly made $50,000 minimum per show, accumulating over $1 million throughout the tour.

The tour was characterised by the hordes of screaming fans at every location, necessitating increased security and decoy limousines, plus discreet vehicles for the band to actually travel in, like delivery vans or ambulances. One of the more significant moments of the tour was the opportunity to meet Bob Dylan, who all members of the group were fans of. Dylan later said of the band “Everybody else thought they were for the teenyboppers, that they were gonna pass right away. But it was obvious to me that they had staying power.”

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On this day in 1968, the band that would come to be known as Led Zeppelin played together for the first time

The members had known each other for a while, but it was the dissolving of the Yardbirds that freed up Jimmy Page to assemble a new band. The Yardbirds were still booked for several shows and so former guitarist Jeff Beck authorised Page and the band to play as “The New Yardbirds”.

Assembling in a small rehearsal room below a record store on Gerrard Street in London, the band barely fit in the room filled wall-to-wall with amplifiers. The group debated what to play before deciding on an old Yardbirds song called “Train Kept  A Rollin’”. The chemistry was reportedly felt instantly and they blasted through the song. All of the members recall being excited by the rehearsal and the new bands prowess.

After more rehearsals, the band performed together for the first time on September 7th in Denmark. Soon after they began work on their first album, based on their live material. The album was finished within 9 days, and the band were forced to change their name to Led Zeppelin due to a lawsuit. The name change would prove to be no obstacle as their first album quickly shot into the top 10 in both the US and the UK.

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On this day in 1973, Led Zeppelin were robbed of $200,000 in New York

 In the midst of a highly successful US Tour, the band performed three nights at New York’s famous Madison Square Garden stadium. The band’s road manager, Richard Cole checked the group’s safety deposit box in their room at the Drake Hotel at 1:20am and saw nothing out of the usual. But, when he checked again at 7:30pm he discovered only 5 passports remained in the box, with between $203,800 and $220,000 missing.

Detectives attended the hotel immediately and questioned Cole and the rest of the band. They were informed that the band kept these large amounts of cash for expenses. The detectives discovered no indication that the box had been forced open and that two keys were needed to remove the box from the safe, one kept by the desk clerk and another by Cole himself. 

Zeppelin manager Peter Grant held a press conference about the robbery the following day, while the band remained secluded in their suites. Though the $200,000 would have put a dent in the bands earnings, the group still accumulate over $4 million from the rest of the tour. Despite the thorough police investigation, the crime remains unsolved.

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On December 15, 1969, John Lennon and Yoko Ono began the next stage of their campaign for peace. Huge posters and billboards bearing the slogan “War is Over! If You Want It.” appeared in 12 major cities around the world. Thousands of handbills and posters were printed to be posted around the cities and handed out to pedestrians. The ad also appeared in numerous publications around the globe.

This handbill (above) was made during this period, signed by Yoko Ono and kept by Ritchie Yorke as a part of his collection.

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Ritchie Yorke was involved in this peace campaign as an ambassador, helping Lennon and Ono plan and organise some of the key moments such as the meeting with Canadian PM Pierre Trudeau. His position as ambassador led to him travelling the world alongside Ronnie Hawkins in 1970 to display the posters in various locations, including a dangerous trip to the Chinese border.

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This campaign set a precedent around the world and showed numerous artists the ways in which they could use their success and celebrity for positive causes and to affect a real change in the world around them. Strong branding and the use of repetition ensured the message was cemented in the minds of its audience. Though the posters were unsuccessful in ending the Vietnam War raging at the time, they are considered a pivotal moment in changing the public opinion on the conflict.

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September 5th 1966
Ritchie Yorke, Normie’s U.K. manager, was on hand to meet the Golden Boy when he arrived in London. Ritchie spent three months laying the foundations for Normie’s assault on the British pop scene. They were glad the big moment had arrived.

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September 12th 1966
Monday was spent visiting the Press people at Australia House, and doing other interviews.

normie of to work

September 16 1966
The date of Normie’s first international recording session. We had a morning rehearsal session at the producer’s office, a big T-bone steak for a morale booster, and then headed off to the Decca studios in Hampstead.

normie in the studio

Our first sight was unforgettable – more than two dozen people jammed in a recording studio all bent on one purpose – making a hit record. The session got under way at 2:30, and the first track we recorded was “Mary, Mary” – an uptempo number which is very catchy. It was originally composed by Mickey Keen and Robin Shaw, two promising young London tunesmiths. Neither Normie nor I were too happy about part of the lyrics, so I did a little re-arranging.

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Test pressing of single “Mary Mary”

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The below letter outlines some of the problems Ritchie had in trying to get African-American music onto Australian radio during the 1950’s and 60’s

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I have just received from Mrs Emily Dunn, of the International Department of Motown Records, the first 3 copies of your very fine magazine, Hitsville U.S.A. Actually, I am quite astonished at the rapid fashion in which your club has established itself, and the formidable threat it represents in England, in the battle of the purists versus the “ignorant”. All I can say to you, and your club execs. and members, is congratulations on a job mighty well done!!

 But let me tell you a little about my reasons for writing. I have been an ardent (and there wouldn’t be too many MORE ardent than myself) fan of the Detroit brand of Rhythm and Blues for a long, long time. I have always been a supporter of R&B, because to me, it is the only music that justifies itself. It means something …. and in this world, that’s something hard to find.

But the Tamla/Motown/Gordy music has always had a very special meaning to me.

It was for, and because of Detroit R & B, that I have continued to fight in a battle that appears will never be decided – the battle of myself against every disk jockey, radio station and Program Director in Australia. You see, I am (or I was) a disk jockey. I started out in the business at 18 (3 years ago) when I commenced compering a half hour teenage TV show here in Brisbane (a city of close on 600,000). In this show, called “Teen Tops”, I featured prominently the sounds of Hitsville U.S.A., which Mr Gordy Jr. so kindly sent to me. At this stage (as you can readily imagine) disk jockeys laughed at me — I mean a guying playing Rhythm and Blues, and saying it’s good – how ridiculous ! “Why, that’s music for black people – rubbish”. The kids were so amazed when I used to tell them that Mary Wells (like, who was she to them) outsold all and any femme vocalists in the world. But I plugged on, and if it hadn’t been for strong pressure from a record company that I embarrassed by playing records they didn’t want played, I may have still been going. So my TV career playing Detroit R & B came to an end, but I certainly didn’t. At that time, I was writing feature stories for the TV Week magazine here, and much of my material was syndicated nationally, thus reaching 1 million Australians. Being an ardent R&B fan, I did all I could in the circumstances to push R&B through TV Week. I am still doing this, even now, and I’ve enclosed a few examples of my efforts in the past for your perusal. Unfortunately, in my Hits of the Year survey, my Editor won’t let me be restricted to R&B so I have to include some of the trash and junk, which so many ignorant people buy/and waste their money. However, I did the best I could. September last year, I left the TV station, and joined up with a radio station very near here. In 4 weeks at the station, I managed to get YOU LOST THE SWEETEST BOY, I GOTTA DANCE TO KEEP FROM CRYING, FINGERTIPS, and DO YOU LOVE ME into their Top 40. In fact, the Contours’ smash became the station’s most requested record of all time, in 34 years of programming. I was pleased! However, the other jocks on the station decided to gang up on me (the music was making me too popular)/and that ended that.

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The Tamla/Motown Appreciation Society graduation photo 1966
Ritchie Yorke (above, second row up, on the far right)

By this stage, I was earning somewhat of a reputation as a rebel – purely because I wanted to play the records that were top selling hits in the U.S.A. And just because of the fact that R&B predominantly featured in America’s top sellers, I was a rebel playing “negro music”. You see, out here the jocks don’t recognise R&B hits as worthwhile as programming, despite the fact that they may sell hundreds of thousands in the U.S., and to a combined audience.

It took me some time, but I eventually found another job – this time in a station 380 miles south of Brisbane – Tamworth. Well, I really plugged the R&B there, and I lasted 5 months (surprisingly). Believe me, Mary Wells was the biggest thing they ever saw in Tamworth. But, after many warnings not to touch music “that other stations don’t play” they put me on a fast rocket out of town.

So, then I made a tour of the entire country with a whole stack of R&B records, and big ideas for an exclusive R&B show, but it wound up where it started – nowhere. So, as it is now, no radio station in the country will give me a job, because they know of my R&B preferences. I’m not a fanatic in the real sense of the word – but I am very determined to bring R&B to this country. I am, right at this moment, trying to get into a new TV station on the publicity side of things. In the meantime, I keep working on my favourite “hobby” – songwriting. Also writing for Music Business of N.Y.

When I saw your magazines, I was absolutely knocked out. I decided that I must write right away, and inform you that I was so pleased you are doing so well. I only wish I could say the same for the R & B cause in Australia.

I know about a dozen really keen fans of the music (real soul music) and there’s probably hundreds (as no doubt is the case in your country) who dig some, like the Supremes. I’ll enclose a chart from the top radio station in this city to give you an idea of what’s happening. Too much trash, and most of it comes from those woeful English groups (I trust you won’t mind my knocking them). Perhaps in the future, you may let me contribute an article for “Hitsville U.S.A.” It could be something different! Let me know what you think.

By the way, have you people seen how good Music Business is as a trade magazine? Their policy leans toward R&B (they have a full page report each week from their R&B editor on what is happening), and they also run tremendous articles on the R&B business (e.g. Sue’s current story, a big spread on Jerry Butler, Alvin Cash and the Crawlers etc.). They have twice as large a circulation as the Cashbox, and I sincerely believe they are much better than the Billboard as well. Why not recommend to your members that they write and get a sample copy – address is 225 West 57th Street, New York City. I’m certain they’ll be glad to send any and everyone a copy. After that, they’ll be convinced that Music Business is by far the best for R&B coverage. They’re real gone on the Supremes – it’s a pity that the other trades weren’t the same.

Well, I guess I’ve said all that was on my mind. However, I would like to wish you all the very, very best for continued success, and achievement of your eventual gains. I would like to hear from you when you get a chance – perhaps you’d be good enough to send me copies of your magazines from time to time. I’d love to read them. Hope to meet you all one day.

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