songs I like

Shazam 801 - ende - Part 1

_ClassicHits

#Top100 #Charts from the source:
http://ki.informatik.uni-wuerzburg.de/~topsi/deu1968/deu_1968t.html

#Hits #German Top 20 - The Chart Of #1968

TW 	Points 	Weeks 	Peak 	Title 	Artist
1. 	464 	39 	2. 	Mama 	Heintje
2. 	457 	28 	1. 	Du sollst nicht weinen 	Heintje
3. 	443 	26 	1. 	Delilah 	Tom Jones
4. 	347 	21 	1. 	Help Yourself 	Tom Jones
5. 	252 	13 	1. 	Hey Jude 	Beatles
6. 	230 	19 	1. 	Der letzte Walzer 	Peter Alexander
7. 	229 	17 	3. 	Delilah 	Peter Alexander
8. 	225 	13 	1. 	Jumpin' Jack Flash 	Rolling Stones
9. 	214 	13 	1. 	Hello Goodbye 	Beatles
10. 	210 	13 	1. 	Judy In Disguise 	John Fred & His Playboy Band
11. 	209 	15 	1. 	Mighty Quinn 	Manfred Mann
12. 	209 	15 	2. 	Lazy Sunday 	Small Faces
13. 	208 	13 	1. 	World 	Bee Gees
14. 	205 	13 	1. 	Words 	Bee Gees
15. 	203 	10 	1. 	Heidschi Bumbeidschi 	Heintje
16. 	201 	13 	3. 	Yummy Yummy Yummy 	Ohio Express
17. 	187 	13 	2. 	Lady Madonna 	Beatles
18. 	185 	15 	3. 	Fire 	The Crazy World Of Arthur Brown
19. 	182 	15 	4. 	Do It Again 	Beach Boys
20. 	174 	13 	3. 	Congratulations 	Cliff Richard
uvm.

Top 100 Hits - Charts 1968

60er und älter

A selection of tracks from our 50 best sounding albums, chosen by our staff, friends in the recording industry and you.

50 years of audio excellence

The Beatles recorded 25 takes of "Hey Jude" at Abbey Road Studios in two nights, 29 and 30 July 1968. These were mostly rehearsals, however, because they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks).One take from 29 July is available on the Anthology 3 CD.The master rhythm track was recorded on 31 July at Trident. Before recording took place, Mal Evans, the Beatles' assistant and pal, arrived with a truck full of marijuana plants and a large tea chest. He was met by Trident founder Norman Sheffield. Sheffield looked in the chest and found that it was full of corn flakes and steaks. Sheffield told Mal that they had a full kitchen upstairs and that the food wouldn't be necessary. Evans insisted on the pot plants, however, and said that "the boys" wanted the plants in the studio to make the place "soft." Four takes were recorded; take one was selected. The song was completed on 1 August with additional overdubs, including a 36-piece orchestra for the song's long coda, scored by George Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses.

According to Norman Sheffield, there was a lot of dissention to start with. "Some of the musicians were looking down their noses at the Beatles, I think. Paul picked up on this and confronted them straight away: 'Do you guys want to get fucking paid or not?' he said. That concentrated their minds pretty well...they soon fell into line." During the first few takes, McCartney was unhappy with the energy and passion the orchestra was putting into it. So he stood up on the grand piano and started conducting the orchestra from there. While adding backing vocals, the Beatles asked the orchestra members if they would clap their hands and sing along to the refrain in the song's coda. Most complied (for a double fee), but one declined, reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!"

Ringo Starr almost missed his drum cue. He left for a toilet break—unnoticed by the other Beatles—and the band started recording. In 1994, McCartney said, "Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take, and 'Hey Jude' goes on for hours before the drums come in and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable."

At 2:57 of the song, someone can allegedly be heard to say, "Fucking hell!" There is some dispute as to who said this, and whether it was really exclaimed at all. Sound engineers Ken Scott and Geoff Emerick claim the exclamation came from McCartney and that it was Lennon's idea to leave the mistake in the final mix. "'Paul hit a clunker on the piano and said a naughty word,' Lennon gleefully crowed, 'but I insisted we leave it in, buried just low enough so that it can barely be heard. Most people won't ever spot it ... but we'll know it's there.'] However, in the Kevin Ryan and Brian Kehew book Recording the Beatles, discussing the recording processes behind the Beatles' sessions, engineer Malcolm Toft recalls, "Barry Sheffield engineered 'Hey Jude', but I mixed it ... John Lennon says a very rude word about halfway through the song. At 2:59 you will hear a 'Whoa!' from him in the background. About two seconds later you will hear, 'Fucking hell!' This was because when he was doing a vocal backing, Barry sent him the foldback level [headphone volume] too loud and he threw the cans on the ground and uttered the expletive. But, because it had been bounced down [mixed] with the main vocal, it could not be removed. I just managed to bring the fader down for a split second on the mix to try to lessen the effect." Others argue that the voice is Ringo Starr's.

George Harrison and McCartney had a disagreement over this song. According to McCartney, during a rehearsal Harrison played an answer to every line of the vocal. This did not fit with McCartney's idea of the song's arrangement, and he vetoed it.In a 1994 interview, McCartney said, "We were joking when we made the Anthology: I was saying: 'I realise I was a bossy git.' And George said, 'Oh no, Paul, you never did anything like that!'... But it was essential for me and looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure."[19] Ron Richards, who worked for George Martin at both Parlophone at AIR Studios, and who discovered the Hollies,] was present for many Beatles' recording sessions. He said McCartney was "oblivious to anyone else's feelings in the studio," and that he was driven to make the best possible record, at almost any cost.Trident was paid £25 per hour by EMI for the "Hey Jude" sessions. Sheffield says his studio earned about £1,000 total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable.

THE BEATLES / HEY JUDE / REHEARSAL TAKE / WHITE ALBUM SESSIONS

Jungle Night

50 Big Ones: Greatest Hits

Darlin' (2012 Stereo Mix)

Night Beat

Laughin' and Clownin'

20 Golden Greats: Buddy Holly Lives

Rave On

Sings Lonely and Blue

I Can't Stop Loving You

Four Tops

Baby I Need Your Loving

Stay With the Hollies

Stay

Suzi Quatro

Can the Can

At Abbey Road

How Do You Do It? (Mono)

Schlager-Rendezvous mit Peter Alexander, Vol. 2

Delilah

Schlager-Rendezvous mit Peter Alexander, Vol. 1

Der letzte Walzer

Singles 1965-1967

(I Can't Get No) Satisfaction (Mono)

Singles 1968-1971

Sympathy For The Devil ((Original Single Stereo Version))

Aretha's Gold

Think

Flashback- Best Of

Centerfold

Kind Of Blue

Flamenco Sketches (feat. John Coltrane, Cannonball Adderley & Bill Evans)

Elvis Is Back

Fever

Help Yourself

All The Young Dudes

All the Young Dudes

Achtung fertig

Ich dich auch

Sie geht los

Fire And Water

All Right Now

You've Got Your Troubles

Lovers of the World Unite

Hooked on a Feeling

Ich boykottiere dich

Keiner fickt mich (feat. Fatoni)

Let's Dance

The Loco-Motion

Pretty Little Angel Eyes

Pretty Little Angel Eyes (Rerecorded)

Heartbreakers

Runaway (Rerecorded)

Doo Wop Greatest Hits

In The Still Of The Night

A DJOK! Extended Club Remix of
"Aretha Franklin - Respect"

Aretha Franklin - Respect (A DJOK! Extended Club Remix) REMASTER

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