“Fame” is a song recorded by David Bowie, initially released in 1975 and in remixed versions, in 1990.

With the Young Americans sessions mostly concluded in late 1974, the material was delayed while Bowie extricated himself from his contract with manager Tony DeFries. During this time he was staying in New York, and met John Lennon. The pair socialised and jammed together, which led to a one-day session at Electric Lady Studios in January 1975. There, Bowie contacted several members of his tour band. Firstly a cover of The Beatles’ “Across the Universe” was recorded. Then a new song called “Fame”, inspired by “Walk On”, from the Jackson Five’s “Going Back to Indiana” live album, and a guitar riff written by Carlos Alomar and with the title from Lennon, was then hurriedly developed by Bowie, and recorded. Both tracks were then added to the Young Americans album. Despite having only a minor contribution, Lennon was given a co-writing credit due to the lyrics (bemoaning the nature of celebrity) being inspired by conversations he had with Bowie on the subject, and because Bowie acknowledged that Lennon singing “Fame!” over Alomar’s guitar riff was the catalyst for the song. The songwriting credit list order is David Bowie, Carlos Alomar, and John Lennon. Lennon’s voice is also heard singing the repeated words “FAME, FAME,FAME” with his voice heard at a fast, normal, and slow track, making it sound like a recording on the fast and slow speeds, until Bowie’s voice is heard singing the final lyrics of the song before the fade.

“Happy Xmas (War Is Over)” is a Christmas song by John Lennon, Yoko Ono and the Plastic Ono Band. It was recorded at Record Plant Studios in New York City in late October 1971, with the help of producer Phil Spector. It features soaring, heavily echoed vocals, and a sing-along chorus. The children singing in the background were from the Harlem Community Choir and are credited on the song’s single.

Although the song is a protest song about the Vietnam War, it has become a Christmas standard and has appeared on several Christmas albums.

Let It Be is the 12th and final studio album released by the English rock band The Beatles. It was released on 8 May 1970, by the band’s Apple Records label shortly after the group’s announced breakup.

Most of Let It Be was recorded in January 1969, before the recording and release of the album Abbey Road. For this reason, some critics and fans, such as Mark Lewisohn, argue that Abbey Road should be considered the group’s final album and Let It Be the penultimate. Let It Be was originally intended to be released before Abbey Road during mid-1969 as Get Back, but the Beatles were unhappy with this version, which was mixed and compiled by Glyn Johns, and it was temporarily shelved. A new version of the album was created from the studio tapes by Phil Spector in 1970 and finally released as Let It Be. The album acts as a soundtrack album for the 1970 motion picture of the same name, a documentary of the band rehearsing and recording the album. While two songs from the sessions were released as singles before the album’s release, “Get Back” and “Let It Be,” the songs were remixed by Spector for the album.

The rehearsals and recording sessions for the album did not run smoothly because of increasing acrimony among the four Beatles. The group bickered and argued throughout the album’s production. George Harrison, at one point during the rehearsals, walked out and quit the group after severely arguing with both Paul McCartney and John Lennon, only to be coaxed back some days later. The film version is famous for showcasing a number of conflicts between the group members and has frequently been referred to as a documentary intended to show the making of an album but instead showing “the break-up of a band.”^{[citation needed]}

Despite a largely negative review from Rolling Stone magazine at the time of its release, this determination was later retracted with the album being ranked number 86 in the magazine’s list of the 500 greatest albums of all time in 2003.

“With a Little Help from My Friends” (originally titled “A Little Help from My Friends”) is a song written by John Lennon and Paul McCartney, released on The Beatles album Sgt. Pepper’s Lonely Hearts Club Band in 1967. The song was written for and sung by Beatles drummer Ringo Starr as the character “Billy Shears”; it is ranked #304 on Rolling Stone’s list of the 500 Greatest Songs of All Time. Paul McCartney and Ringo Starr performed this song for the first time together at the David Lynch Benefit Concert in the Radio City Music Hall, New York in April 2009.

“All You Need Is Love” is a song written by John Lennon and credited to Lennon/McCartney. It was first performed by The Beatles on Our World, the first live global television link. Broadcast to 26 countries and watched by 400 million, the programme was broadcast via satellite on June 25 1967. The BBC had commissioned the Beatles to write a song for the UK’s contribution. Rolling Stone magazine ranked it at #362 in their 500 greatest songs of all time

“Imagine” is a song written and performed by English rock musician John Lennon. It is the opening track on his album Imagine, released in 1971. “Imagine” was released as a single in the United States where it reached number three on the Billboard Hot 100. When asked about the song in one of his last interviews, Lennon declared “Imagine” to be as good as anything he had written with the Beatles. The song is one of three Lennon solo songs, along with “Instant Karma!” and “Give Peace a Chance”, in the Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. Rolling Stone Magazine ranked “Imagine” the 3rd greatest song of all time.

“Sympathy for the Devil” is a song by The Rolling Stones which first appeared as the opening track on the band’s 1968 album Beggars Banquet. It was written by Mick Jagger and Keith Richards. Rolling Stone magazine placed it at #32 in their list of the 500 Greatest Songs of All Time.

The recording of “Sympathy for the Devil” began at London’s Olympic Sound Studios on 4 June 1968 and continued into the next day; overdubs were done on 8, 9 and 10 June. Personnel included on the recording include Nicky Hopkins on piano; Rocky Dijon on congas; Bill Wyman on maracas. Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie Watts, producer Jimmy Miller, Wyman and Richards can be seen performing backup vocals in the film Sympathy for the Devil (see below) by Jean-Luc Godard. Richards plays bass on the original recording, and also the song’s electric-guitar solo.

In the 2003 book According to the Rolling Stones, Charlie Watts said: “‘Sympathy’ was one of those sort of songs where we tried everything. The first time I ever heard the song was when Mick was playing it at the front door of a house I lived in in Sussex… He played it entirely on his own… and it was fantastic. We had a go at loads of different ways of playing it; in the end I just played a jazz Latin feel in the style of Kenny Clarke would have played on ‘A Night in Tunisia’ – not the actual rhythm he played, but the same styling.”

On the overall power of the song, Jagger continued in Rolling Stone: “It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn’t speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it is also got some other suggestions in it, an undercurrent of being primitive—because it is a primitive African, South American, Afro-whatever-you-call-that rhythm (candomble). So to white people, it has a very sinister thing about it. But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it is a very unpretentious groove. If it had been done as a ballad, it wouldn’t have been as good.”

Film clips from the recording of the song (as well as the tone of the guitar on the released track) reveal that Richards used his 1957 three pick-up Gibson Les Paul Custom. In the clips various amps are seen, with a Vox AC-30 and a solid state Vox Supreme (the top-of-the-line guitar amp of the solid-state Vox line, which included the Supreme, Defiant and Conqueror) as the main guitar amps.