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Abbey Road Crossing Wins Protection

The crosswalk from the "Abbey Road" album cover

The crosswalk from the "Abbey Road" album coverLast February, the British government named the Abbey Road Studios in North London a site of national importance. Now it’s done the same for the crosswalk in front of the building, probably the world’s most recognized pedestrian crossing.

Since 1969, when the the Beatles released their “Abbey Road” album, fans have flocked to street to pose for photos imitating the cover, which shows John, Paul, George, and Ringo strolling over tyhe crosswalk.

“This London zebra crossing is no castle or cathedral but, thanks to the Beatles and a 10-minute photoshoot one August morning in 1969, it has just as strong a claim as any to be seen as part of our heritage,” according to Britain’s Tourism and Heritage Minister, John Penrose. His designation means the crosswalk is an important monument and can be altered only with the approval of local authorities.

It’s the first time a zebra crossing has received such an honor.

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The Searchers

The Searchers' "It's Fab! It's Gear" album cover

The Searchers' "It's Fab! It's Gear" album coverWhat band began as a skiffle group in Liverpool in the late 50s, played local venues, traveled to Hamburg in 1962, returned home and scored one hit after another through the early 60s? OK, here’s another hint: They sang in intricate three-part harmonies, and one of them played a Rickenbacker guitar.

Actually two groups share this history: We don’t have to tell you the first. The second is perhaps the most underrated band of the British Invasion, the Searchers.

They took their name from the title of the 1956 Western starring John Wayne. Like the Beatles, the Searchers sang covers of American R&B songs at Liverpool’s Cavern and Iron Door before a four-month gig in Hamburg at the Star Club, where they played three shows a night.

Back in Liverpool, the Searchers signed on with Pye Records, and Tony Hatch became their producer. Hatch played piano on some recordings and wrote “Sugar and Spice” — the band’s second number one record — under the name Fred Nightingale; a secret he kept from the band at the time. [Read more...]

McCartney at the Apollo: “I Know This… I Wrote This”

Paul McCartney at New York's Apollo Theater

Paul McCartney at New York's Apollo Theater
Paul McCartney walked over to the piano on the stage of Harlem’s Apollo Theater and took in the view.

“I just want to soak in the Apollo,” he said, a smile lighting up his face. Over the last 50 years, McCartney has played in the biggest halls and stadiums around the world… but never at the Apollo, which seats about 1500.

“This is very special for us British boys,” said McCartney as he touched the theater’s elm log, considered a lucky charm by generations of the theater’s Amateur Night performers. “It’s the holy grail.”

Sirius XM satellite radio sponsored the concert Monday night to celebrate its 20-millionth subscriber.

McCartney sounded awfully good for a 68-year-old. Backed by his regular band members, he sang for about two hours… opening with “Magical Mystery Tour” and proceeding through many other Beatles classics, like “Hey Jude,” “Let It Be,” “Drive May Car,” and “Eleanor Rigby.” [Read more...]

How We Choose What We Play

Cover of the Beatles first #1 single in the U.S.

Cover of the Beatles first #1 single in the U.S.
While the British Invasion gave us more than its share of great music, it’s sometimes a challenge to find enough songs to keep our listeners entertained 24/7. Here are a few reasons why:

  • Our musical niche was a victim of its own success. By the late 1960s, so many artists around the world were playing the same kind of music that it no longer could be identified as a product of the U.K. As a result, recordings attributed to British Invasion musicians span only about six years.
  • While British Invasion performers put out thousands of recordings between 1962 and 1967, we doubt most people want to hear each one of them. Many just aren’t very good.
  • As Internet broadcasters, we’re also limited by a bizarre federal law that prohibits us from playing some artists as much as we’d like. If we had our way, you would hear a Beatles record at least every 15 or 20 minutes. But the Digital Millennium Copyright Act prevents us from airing songs by the same performers(s) more than once an hour.

In order to bring you enough good music to keep you coming back for more, we need to bend the rules sometimes:

  • We don’t automatically exclude artists from outside the U.K.. For example, we play “My Boy Lollipop” by Millie Small, who’s from Jamaica, because it’s a good song, it was recorded in Britain and was a big hit there and in the States. You’ll also hear the Walker Brothers, who happen to be Americans. But while they weren’t particularly popular in the U.S., their records were consistently big bits in England. About half the members of Fleetwood Mac were also Yanks, but you’ll hear a lot of their music on our station.
  • Likewise, not all of the songs on our playlist were recorded during the years of the British Invasion. Many artists who were a part of the original Invasion have continued performing for decades since — the Stones, Eric Clapton, the Kinks and the individual Beatles, to name just a few. We’ve included a lot of their recordings from the Seventies and beyond.
  • Strictly speaking, Elton John, 10cc and several others came on the scene after the Invasion ended. But we’re glad to include their contributions that were influenced by the first wave of musicians.
  • We’ve also added many recordings that never charted in the U.S. although they were hits in Great Britain.

And finally, we’ll drill down to find good music that never received very much airplay or attention. This past week, we’ve added about 30 of those tracks to our playlist, including:

  • Can’t Let Maggie Go (Honeybus)
  • Getaway (Georgie Fame)
  • Helule Helule (Tremeloes)
  • See My Friends (Kinks)
  • Same Old Feeling (Pickettywitch)
  • Look Before You Leap (Dave Clark Five)

We think British Invasion Radio plays a pretty good mix… but obviously, we’re a little biased. Let us know what you think.

Eric Clapton Puts 70 Guitars on the Auction Block

Eric Clapton at the 2005 Cream reunion concert

Eric Clapton at the 2005 Cream reunion concert

Eric Clapton at the 2005 Cream reunion concert

Want to own a guitar that belonged to one of the greatest rock musicians ever? You’ll get the chance next year, when Eric Clapton sells more than 70 guitars from his personal collection.

Clapton’s auctioning off the instruments next March 9, with the proceeds going to his drug and alcohol rehabilitation center in the Caribbean. The sale — at Bonhams in New York — also includes guitars donated by J.J. Cale and Jeff Beck.

The instruments and amps — manufactured by Fender, Gibson, Marshall, Martin and Music Man, among others — are expected to bring between $300 and $30,000 apiece, according to the auctioneer.

Highlights include one of Clapton’s main stage guitars from 2005, one of two he used during the Cream Reunion Shows in London and New York — a custom built black Fender “Eric Clapton Signature” Stratocaster — estimated at $20-30,000.