“My Sweet Lord,” the iconic song from George Harrison, was finally received an official music video, 51 years after it was first released. An all-star cast honors Harrison in a video directed by Lance Bangs and executive produced by George’s son Dhani Harrison, and David Zonshine.
The video stars Saturday Night Live’s Fred Armisen and Vanessa Bayer as metaphysical special agents who are tasked by the head of a clandestine agency, played by Mark Hamill, to search for that which can’t be seen. Along the way dozens of agents team up to look high and low for what may have been right in front of their face all along, mirroring the seeking nature of the song.
Over 40 musicians, actors, comedians, directors, artists and other creatives make appearances, ranging from Harrison’s friends and former band mates Ringo Starr and Jeff Lynne; to actors Darren Criss, Jon Hamm, Rosanna Arquette; musicians Joe Walsh, “Weird Al” Yankovic, Reggie Watts, comedians Moshe Kasher, Natasha Leggero, Patton Oswalt; comedy duos Tim and Eric (Tim Heidecker and Eric Wareheim) and Garfunkel and Oates (Kate Micucci and Riki Lindhome); and others like writer, actor, director Taika Waititi, and visual artist Shepard Fairey. The video also features Harrison’s wife Olivia Harrison and theirson Dhani Harrison, who appear in scenes with actress Aimee Mullins and actor Rupert Friend.
In addition to Harrison’s massive influence on popular music as a member of The Beatles and his successful solo career, the legendary songwriter, musician, film producer and peace activist also greatly influenced the comedy world through his groundbreaking British film studio, HandMade Films, which was responsible for such classic films as Monty Python’s “Life Of Brian,” “Time Bandits” and the cult favorite, “Withnail and I.” This music video pays tribute to the sense of humor that George Harrison possessed and his indelible impact on both music and comedy.
Making this was one of the most fulfilling experiences of my life. The approach was to represent the song visually while these agents and inspectors kept missing the metaphysical wonder around them. Images are choreographed to the sounds of vocal melodies, guitar strums, drum patterns, chord changes. George threaded a sense of humor through all of his videos, so we kept that spirit and filled the cast with friends and admirers of his music, many coming from the current comedy landscape. I tracked down vintage prime lenses from some of the films George’s HandMade Films had produced, and I hope that viewers can feel a sense of wonder and searching while they watch it, and that the song continues to add to all of our lives.
video director Lance Bangs
The video for “My Sweet Lord” boasts the new 2020 mix of the song mixed by triple GRAMMY Award-winning engineer, Paul Hicks (The Beatles, The Rolling Stones, John Lennon), released August 6 via Capitol/UMe on a suite of 50th anniversary editions of Harrison’s monumental masterpiece, All Things Must Pass.
Given the massive interest in The Beatles’ forthcoming Get Back film, an army of notable downtown artists are heading uptown to the Cutting Room for GET BACK NYC, a local remake/remodel of tunes from the Fab’s classic 1970 swan song Let It Be – all to benefit Teen Cancer America’sPlay It Back Music Program, a charity founded by The Who’s Roger Daltrey and Pete Townsend.
Produced and presented by David C. Gross and Tom Semioli, the hosts of the radio show/podcast NOTES FROM AN ARTIST, the reinventions are designed to showcase the many musical genres that New York City is renowned for – rock, jazz, experimental, funk, punk, folktronica and urban country. In keeping with the format of Gross and Semioli’s show, the event will be a “PodFormance” – a hybrid of live concert and podcast (with interviews). The event will take place Monday, December 6 at 7 pm at the Cutting Room, at 44 East 32nd Street, New York City.
Artists confirmed for the event include Emily Duff, Joey Kelly Allstars, Arno Hecht (Uptown Horns, Rolling Stones, J. Geils Band), Chris Parker (Bob Dylan, Stuff, Miles Davis, Aretha Franklin, Jon Secada), Peter Baron, Spaghetti Eastern Music, Ben Neill, Lorraine Leckie, Anne Husick (Joey Ramone, Ronnie Spector), Puma Perl, Mark Bosch (Ian Hunter, Mott The Hoople ’74, Garland Jeffreys), Kathena Bryant, Chris Berardo and The DesBerados, along with bassists David C. Gross, Tom Semioli, and a few surprise guests.
Publisher Nicholas Callaway will kick-off the evening of GET BACK NYC with a discussion of The Beatles: Get Back book (Callaway Arts & Entertainment). This is the official account of the creation of their final album, Let It Be, told in The Beatles’ own words, illustrated with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney.
Founded by Roger Daltrey and Pete Townshend, Teen Cancer America (TCA) partners with hospitals throughout the United States to develop specialized facilities and services for teens and young adults with cancer. TCA builds teen friendly environments, enhancing the hospital experience. TCA develops standards for age-targeted care, improve collaboration between pediatric and adult specialists and enable dedicated research to improve outcomes and survival for our young people. The Play It Back Music program gives adolescent and young adult cancer survivors the opportunity to express themselves and heal through the power of making music. Play It Back connects cancer survivors with industry professionals to create songs, meet artists, and explore music.
David C. Gross and Tom Semioli’s NOTES FROM AN ARTIST is an insightful, intriguing and informative talk/music program airing Monday evenings on www.CygnusRadio.com. It is a unique program that brings you behind the scenes with individuals whose artistry had resonated with generations. The program has presented some of the biggest names in music of many genres, including jazz bass legend Ron Carter, Michael League (Snarky Puppy), Richard Thompson, photographer The Cutting Room is located at 44 East 32nd Street, New York City. Admission for GET BACK NYC is $20.00 with all proceeds going to TEEN CANCER AMERICA. For tickets and info contact The Cutting Room.
Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.
Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.
Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.
Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.
Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.
Paul Simon
After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.
The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.
Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”
Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.
The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.
Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.
On Friday, February 7, 1964, Beatlemania arrived in the United States, as John, Paul, George and Ringo touched down on Pan Am Flight 101 at JFK Airport in Queens. More than 3,000 screaming fans greeted the mod suit wearing Beatles on the tarmac, leading to a few injuries among the crowd.
AP photo
In Anthology, Paul McCartney shared his thoughts as the plane approached New York.
There were millions of kids at the airport, which nobody had expected. We heard about it in mid-air. There were journalists on the plane, and the pilot had rang ahead and said, ‘Tell the boys there’s a big crowd waiting for them.’ We thought, ‘Wow! God, we have really made it.’
At nearly 1:30 p.m., the plane taxied to the terminal and the aircraft door opened. Cheers and screams rang out from the crowd. The NY Daily News reported a 17-year-old June Clayton of Brooklyn saying “They’re so cute. And Ringo’s the cutest. Look at them comb their hair!”
In addition to the huge crowd carrying signs and placards, the press numbered 200, reporters, photographers and cameramen among them.
How did so many people arrive at JFK Airport on this Friday afternoon? It seems Seltaeb, who handled The Beatles’ merchandising in the States, offered a promotion that promised every one who showed up at the airport would receive a t-shirt and a dollar, or $8.40 in 2021 dollars. The idea was crafted by Nicky Byrne of Seltaeb, with direction from Beatles manager Brian Epstein.
Byrne made a deal with radio stations WMCA and 1010 WINS to promote the offer, but Capitol Records had a promotion of their own, arranging for posters and car stickers that read “The Beatles are Coming” being spread out across New York City. When fans called Capitol Records, receptionists would answer the phone, “Capitol Records, The Beatles are coming.” Between radio, print and offers of a free shirt and money, fans flocked to JFK to give the boys from Liverpool a proper welcome.
Murray the K, DJ at 1010 WINS, announced The Beatles’ flight number and time of arrival over the air, which was spread by larger stations WMCA and WABC, helping to build anticipation.
The band then held a press conference inside Kennedy Airport where they met Murray the K, and were asked by the press pool to say their names, as the were individually not well known to the press.
The playful press conference was nothing more than a slapstick routine for the foursome, mildly frustrating the straight-laced press. Just as the crowd was dissipating, Paul grabbed the microphone to say “We have a message.” As reporters got ready to take notes and photographers jockeyed for position, Paul would say, “Our message is: buy more Beatles records!”
The Fab Four would leave the airport in four separate limousines, with Cynthia Lennon accompanying John and the others riding solo. Epstein and others needed to hail a taxi to get into Manhattan. A play-by-play could be heard on the radio by McCartney, which culminated in a crowd of fans and reporters swarming the band at the Plaza Hotel, where the band was giving a 10-room suite on the 12th floor with a Central Park view.
In the days that followed, The Beatles would make music history in New York City and Washington, D.C. On Sunday, February 9 at 8pm, Ed Sullivan welcomed the band to his stage for five songs: “All My Loving,” Meredith Willson’s “Till There Was You,” “She Loves You,” “I Saw Her Standing There” and “I Want to Hold Your Hand.” 73 million tuned in to watch The Ed Sullivan Show that night, roughly two-fifths of the population in America at that time. This would be the largest television audience at the time, according to Nielsen.
On February 11 at the Washington Coliseum, The Beatles performed their first American concert, with 8,000 lucky fans in attendance. They returned to the Big Apple the next day for performances at Carnegie Hall on the 12th and 13th, each of which were attended by 2,000.
From New York, The Beatles flew to Miami, making a second appearance on The Ed Sullivan Show on February 16, broadcast from the Napoleon Ballroom at the Deauville Hotel in Miami Beach, bringing in another huge audience of 70 million viewers. Returning to England via Heathrow Airport on February 22, the band was met by 10,000 fans, leaving the beginnings of Beatlemania in their wake back in America.
