During these 41 days this second place has had almost 6,000 visits and more than 2,500 downloads and some may say "and what?" and I would tell you that for me that has been, again, another great surprise so "thank you for being so wonderful!" ...

... but we haven't arrived yet! ... this was only the second step ...
... so I would invite you to come with me to the third part of this journey ...
... here: http://seltaeb3.podomatic.com

P.S. PLEASE, BE PATIENT DOWNLOADING THESE FILES, IF YOU CAN'T DOWNLOAD THEM BECAUSE OF BANDWIDTH PROBLEMS TRY AGAIN
IN A FEW DAYS: IT WILL RESET TO ZERO EVERY MONTH . THANK YOU!

... from the Yellow Submarine film (July 17, 1968) (2.32 MB, wmv, colour)
It was recorded during sessions for the single Lady Madonna, and one of the few Beatles song to revolve around a piano riff. During the recording, Paul started to bark without warning. The next lines (initially intended as "Hey Bullfrog") were changed mid-song to "Hey Bulldog". This served as the song's title. The song itself was recorded for the Yellow Submarine film, but initially appeared only in European theatrical prints. It was restored for a 1999 re-release.

... at Balmoral Island & Cabbage Beach (Feb 1965) (1.55 MB, wmv, colour)
The Beatles filmed on Balmoral Island in the Bahamas miming to Another Girl and on Cabbage Beach on Paradise Island the next day. Ringo commented in The Beatles Anthology that they were in The Bahamas for the hot weather scenes and it was rather cold. The track was recorded on February 15, 1965, with the guitar outro overdubbed on February 16. It is worth noting that this is the first Beatles song in which McCartney played lead guitar, in addition to his usual bass.

... at Geliebtes Leben (May 3, 1965) (1.83 MB, wmv, colour)
This is the second George Harrison song The Beatles recorded (on February 15 and February 16, 1965) and released, after a two album-long hiatus from the songwriter. The song is a simple, melancholy number, with a unique guitar sound achieved by Harrison's first recorded use of a tone pedal. The confessional lyrics are commonly thought to be about Harrison's relationship with Pattie Boyd, whom he had met in March 1964 while filming A Hard Day's Night.

... in Obertauern, Austrian Alps (March 15-20, 1965) (2.32 MB, wmv, color)
The actual inspiration of the song is cloudy: John passing his driving test? a girl walking out of his life? a train ticket to Ryde? a special ticket given to prostitutes in Hamburg that showed they had a clean bill of health? ... The lead guitar breaks are by Paul (the first time he played lead guitar on a Beatles record -though it is believed that he played the guitar solo in the outro on Another Girl). After the breakup, Lennon proudly claimed that it was the first heavy metal song of all time; given the droning bassline, repeating drums, and loaded guitar lines.

... from the Help! film (March 1965) (1.63 MB, wmv, colour)
In the film, at the opening of the song, the head of the 'Indian cult', Leo McKern, appears from a manhole cover in the middle of Ailsa Avenue, London, where parts of the film were shot. He stays there for the whole song, which The Beatles play in John Lennon's flat. They are watched by 'Ahme', played by Eleanor Bron, and at the end of the song, George passes out after Ahme produces a giant needle for Ringo, who is wearing the ring the cult want.

... at Twickenham film studios, London (April 30, 1965) (1.75 MB, wmv, colour)
Most of the time of that day was spent filming the You're Going To Lose That Girl 'recording session': The Beatles appeared singing it in the recording studio, for the film. It can be considered as part 2 of She Loves You. Both feature the singer giving a friend advice about a particular girl, however, this theme is taken one step further. Instead of friendly advice, the song is clearly a threat: if the friend in question does not take care of his girl, the singer most certainly will.

... at Twickenham film studios, London (April 22, 1965) (1.81 MB, wmv, colour)
Lennon wrote the lyrics (April 4th) to express his stress coming from the quick rise to a massive level of success for The Beatles. Since Lennon's feelings of insecurity were incongruous with the band's image of confidence, Lennon felt it was nearly impossible for the fans to understand the origin of the song. In 1970, Lennon said that because of its honesty it was one of his favorites among the songs he wrote, but he wished they had recorded it at a slower tempo.

... at Candlestick Park, San Francisco (Aug 29, 1966) (25.0 MB, zipped files)
Today is the 40th anniversary of The Beatles' last public 'paid' performance and the 47th of George's first appearance with The Quarrymen. The concert recordings were made on a cassette recorder because of a request by Paul.
Long Tall Sally was their last song and it is curious because they were closing everywhere else with Paul's I'm Down. According to the author Wiener they supposedly started In My Life, then stopped and left the stage (see comments).

... at Scala Theatre, London (March 31, 1964) (1.97 MB, wmv, b&w)
The Beatles were filmed miming their songs for the film. Phil Collins was in the audience. They were inspired to write She Loves You after a concert at the Majestic Ballroom in Newcastle and it was one of the five Beatles' songs which held the top five positions in the American charts, still an unchallenged record. It also remains their best-selling single in the United Kingdom today and it was the first time Lennon's name had taken precedence over McCartney in the credits.

... at Twickenham film studios, London (Spring 1964) (1.93 MB, wmv, b&w)
This was one of the first pop songs with a title that starts in mid-sentence. Paul was pleased with himself that he came up with this clever idea. It was mainly written by McCartney, though Lennon claimed in an interview with Playboy, that his major contribution was the "middle eight" section: "A love like ours, Could never die, As long as I, Have you near me." John played acoustic guitar, Paul bass, George acoustic lead Ramirez guitar and claves and Ringo played bongos.

... at Twickenham film studios, London (Spring 1964) (1.59 MB, wmv, b&w)
Written by Lennon, it was said that John didn't really like it, so it was given to George to sing in the film. At this time, George's writings were not accepted by John and Paul and were hardly if ever used on any recording. John believed that George's somewhat simple vocal delivery conveyed the mood of the song perfectly. This was their first song recorded on a Sunday recording session.

... at Twickenham film studios, London (Spring 1964) (1.78 MB, wmv, b&w)
Mainly written by John, the song is notable primarily for its unusual structure, which includes an unrepeated introductory section followed by sequential verse sections, each having a slightly expanded form, but with no obvious chorus or bridge section, a two-part harmony by John & Paul and intricate chord changes.

... Thornbury Playing Fields, Isleworth (April 23, 1964) (1.73 MB, wmv, b&w)
The sequence was filmed at Thornbury Playing Fields, Isleworth, Hounslow, Middlesex. John left as soon as it was finished and he went to a luncheon in London where he read his poem 'I Sat Be Lonely'. Therefore he was not around for the scene where the man admonishes them. Approximately at 1 pm, the shooting was done and they left. It was composed and recorded in Paris and it was also the only occasion that a Beatles song was recorded outside of Britain.

... at Twickenham film studios (March 11, 1964) (1.97 MB, wmv, b&w)
This is the baggage car sequence in which they are playing cards and lip-synching to I Should Have Known Better. This is one of the first tracks on which we heard Harrison's 12-string electric Rickenbacker guitar (alongside many other cuts on A Hard Day's Night LP). Later The Byrds would make it their signature instrument.

... at Boston Place & Marylebone Station (April 5, 1964) (1.88 MB, wmv, b&w)
Opening sequence of the film. Its strange title, originated from something said by Ringo, was the inspiration for the title of the movie, according to Lennon (some disagree). John dashed off the song in one night and it took them less than 3 hours to polish it for its final release, featuring a prominent and unique opening chord played by Harrison (subject of contention) and ending with Harrison's guitar-playing fading out, the first time The Beatles had used such a technique.

... a look at the rest of the Let It Be film (the first hour or so) here:
http://www.youtube.com/watch?v=mWnt0m-z7OA&search=The
http://www.youtube.com/watch?v=B0kOOVecgmU&search=The
http://www.youtube.com/watch?v=nlXKUKp72to&search=The

... at the Apple Studios, London (Jan 31, 1969) (54.3 MB, mpeg, colour)
Paul, upset over The Beatles pending breakup, claims his mother, Mary, came to him in a dream saying: "Let it be." After Take 22, Paul said they should change the tempo a bit. The April 1, 1970 dub was the band's last 'recording session'. This was the first Beatles record to be released in the USSR (see comments).

... at the Apple Studios, London (Jan 31, 1969) (35.6 MB, mpeg, colour)
Paul originally wrote the song at his farm in Scotland, inspired by the growing tension between The Beatles at the time and recorded a quick demo version of the song sometime in September of 1968. Lirically somewhat ambiguous, the 'long and winding road' sometimes claimed to have been inspired by a 31-mile winding road in Scotland, running along the east coast of Kintyre into Campbeltown, and part of the 82-mile drive from Lochgilphead (see comments).

... at the Apple Studios, London (Jan 31, 1969) (34.3 MB, mpeg, colour)
Composed by Paul (although John claimed to have written it in a 1980 interview with David Sheff) it originally began as a rocker with a strong Peggy Sue drum beat but it lost its rock leanings as Paul worked out the song and it became a more introspective song. For Linda, though it sounds at times as if it is addressing John, whose relationship with Paul was tense at that time (see comments).

... at the Twickenham and Apple Studios (January 1969) (7.01 MB, wmv, colour)
This clip was made utilising Michael Lindsay-Hogg's film work. It features a combination of Twickenham filming and Apple recording sessions. Some footage is from the actual day when the song was recorded. It seems that it was meant to be included, as part of the extras, in a future release of Let It Be in DVD.

... at the Apple Studios rooftop, London (Jan 30, 1969) (33.6 MB, mpeg, colour)
The third rooftop version is the Beatle's last song of their last public performance. The song almost breaks down but lurches to a finish, with Paul's ad-libs and John's famous statement. The Anthology and the Let It Be film are the only publicly available true recordings, with the lurching version and the closing ad-libs.

... at the Apple Studios rooftop, London (Jan 30, 1969) (8.87 MB, wmv, colour)
Don't Let Me Down was recorded live on 28 January and played twice during the Rooftop Concert. Here is a combination of shots of The Beatles playing the song. The sound comes from the original studio recording released as the B-side to Get Back, so John can not be heard changing the line he forgot during the concert.

... at the Apple Studios rooftop, London (Jan 30, 1969) (37.7 MB, mpeg, colour)
Before it began John asked for the words, so an assistant can be seen kneeling before him with the lyrics attached to a clipboard. John would later comment that he thought the song was one of the worst he had ever written. Written for his soon-to-be wife, Yoko Ono, and featured a multitude of strange phrases strung together as well as the culmination of each verse, "All I want is you".

... at the Apple Studios rooftop, London (Jan 30, 1969) (28.3 MB, mpeg, colour)
One After 909 was written by John before The Beatles' days but was not officially released until it was included on the 1970 album Let It Be. The recording of this happened during a session at Abbey Road Studios in 1963 and was included on a compilation of takes published in 1995 as Anthology 1. The song ends with John sarcastically reciting a line of the 1913 standard Danny Boy.

... at the Apple Studios rooftop, London (Jan 30, 1969) (2.54 MB, wmv, colour)
This was actually three unfinished songs strung together: Paul's "I've Got a Feeling" and John's "Everybody Had a Hard Year", with the main guitar riff coming from John's unfinished "Watching Rainbows." John had actually had a very hard year: he had divorced and was estranged from his son, Yoko Ono had a miscarriage, he was arrested for drug possession and his money was dwindling.

... at the Apple Studios rooftop (Jan 30, 1969) (32.5 MB, mpeg, colour)
Don't Let Me Down was the B-side to Get Back and when the single was issued another colour promotional clip was distributed to TV stations. The song was recorded live (with Billy Preston playing the keyboard) just minutes after the completion of Get Back on 28 January. Here is their first performance from the Rooftop Concert. John can be heard forgeting one of the lines in the middle.

... at the Apple Studios rooftop (Jan 30, 1969) (42.8 MB, mpeg, colour)
When Get Back was issued as a single one colour promotional clip was distibuted to TV stations. Although it did not contain any footage from the actual studio recording, it was synchronised to that version, and it presented material different from that included in Let It Be (the film has a well-matched edit of the first two Get Back versions). This clip is from the rooftop performance (see comments).

... at the Apple Recording Studios rooftop (Jan 30, 1969) (10.3 MB, mp3)
The historical Rooftop Concert which turned out being their last public performance. The police stopped it short. During a meeting on Sunday 26 January the idea was raised that the group give an unannounced live performance the following Thursday on the roof of their own office building. Many claim to have originated the rooftop idea, which suggests that it was warmly received by all. It was 37 & 1/2 years ago yesterday (see comments).

... at the Apple Recording Studios rooftop (Jan 30, 1969) (23.8 MB, mp3)
The historical Rooftop Concert which turned out being their last public performance. The police stopped it short. During a meeting on Sunday 26 January the idea was raised that the group give an unannounced live performance the following Thursday on the roof of their own office building. Many claim to have originated the rooftop idea, which suggests that it was warmly received by all. It was 37 & 1/2 years ago today (see comments).

... at the Johanneshov's Isstadion (July 28, 1964) (4.59 MB, wmv, b&w)
Excerpts from their performances of I Saw Her Standing There and Twist And Shout at the Johanneshov's Isstadion (an ice hockey arena). An elevator was supposed to bring The Beatles down to the stage, but it broke down with them on it for 5 minutes. During the show John And Paul suffered an electric discharge when they touched their ungrounded microphones while playing Long Tall Sally.

... from the Magical Mystery Tour film (Dec 26, 1967) (54.6 MB, mpeg, colour)
An interesting factor to the music is that all the chords used are major chords or 7th chords, and all the 'musical' letters of the alphabet are so used. The song ends with a descending progression of A7, G7, F7, E7, D7, C7, and B7, repeated until the end. The unusual monologue buried in the mix towards the end is actually a few lines of Shakespeare's King Lear (Act IV, Scene VI), which were added to the song direct from an AM radio receiving the broadcast of the play.

... at Knole Park, Sevenoaks (Jan 30 & 31, 1967) (39.3 MB, mpeg, b&w)
It was debuted on the Top of the Pops on February 9, 1967. It was released in both color and in black & white. Widely considered to be one of the group's best recordings, it is also one of the defining works of the psychedelic rock genre. Brian Wilson claimed that this song was partially responsible for the collapse of the Beach Boys' legendary unfinished album SMiLE. It also gave its name to the Strawberry Fields Memorial in Central Park, near the site of Lennon's assassination.

... I FEEL FINE, Take 2 (mp3) at EMI Studio Two, London (Oct 18, 1964).

The Beatles' producer George Martin reminds the boys that the tape is still rolling. John asks, "Did it sound too strange, singing it?".
After some last minute adjustments, take two begins.
This time, the Beatles are in the correct key, and John does not appear to be straining as much on the vocal.
...
John: "What?"
George Martin: "I didn't say anything. Did you down there?"
Yet, as with the previous attempt, this take breaks down, this time towards the end of the solo break.

... but two of us still got a long and winding road stretching out ahead ... and that other one is you! ... so take your ticket to ride and let's get on our way back home! (We haven't arrived yet, what had you thought?!)

P.S. This is a place to share some music and videos ... but what's more: to share good feelings! So everybody is very welcome! Without your comments it has not too much sense. What have you got to say?!

P.P.S. Don't forget to visit the first part:
http://seltaeb.podomatic.com/