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critics
of classical
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how some
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with
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its final
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and has
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is
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Wharf
Regent's
London Nl 9PA
First
published 1995
1995 Phaidon
7148 3203
ISBN
Press Limited
reserved.
All rights
publication
retrieval
or by
British
No
this
book
part of
this
may be reproduced,
system or transmitted,
any means,
is
Library
in
stored
in
any form
electronic, mechanical,
Printed
in
Singapore
1962, poised
to
They
are, from
Paul
McCartney, Ringo
Starr,
left to right,
George
Harrison.
Contents
Preface
Introduction
15
Chapter
Chapter
to Beatles 1957-61
Chapter
Chapter 4
The
93
Beatles
Chapter
Sale 1964
Chapter 6
Chapter 7
Towards
161
Chapter
Sgt.
Pepper 1966-7
Chapter 9
The
210
Epilogue
222
Further Reading
226
Selective
233
Videography
234
Index
Discography
fhe Beatles
Preface
Want
'I
to
'She
my
friends,
madness. Naturally,
the Beatles'
what
remember
records
miming
Still, I
had
reservations.
had been
lessons,
a pupil of Liszt
framed
though, that
in
cars, girls,
1964
was
after
musical energies
full
On some
of teenagers cruised
To
hell
level, as that
it
infectious.
as a lesser
listened closely
Beatles'
released
and
would have
new
musical
and
began won-
did, the
thought
Beatles record
had
rules
dis-
would be
own
as the
made
was
covered what
house
past. It
a nine-year-old, that
with
dering what
I
of it.
my teacher's
music, fun.
my
a collection of Liszt's
waited outside
woman whose
sub-species.
strains
It
life:
cards
Beatles
my own
in her studio.
was the
liked to while
was devoting
who had
cigar butts,
gum
collecting Beatles
friends
Beatles'
to classical
in the
all
that year,
father
first
seemed
recording studio.
More than
three decades
later,
the music of
many of the
Beatles'
Preface
moments, and
nostalgic
much
melodies and
harmonies,
their songs
lyrics, their
still
And
fresh.
after listening to
subtleties that
new
secrets after
of great
seem remarkably
and
as a
many
listenings
is,
can
before.
still
The
each of
find twists
ability to yield
art.
have
tried, in this
and
to
show how
original
duced.
singles,
recordings in
It
I
'I
may seem
(She's
popular 'Here
Comes
'I
John Lennon's
o>{
Abbey Road,
Comes
song, whereas
most
my discussion
Want You
survey,
their
My reason
the Sun'.
beauty,
all its
Want You
(She's
is
for
doing so
far
is
more
that 'Here
a relatively straightforward
So Heavy)'
is
full
of novel and
experimental touches.
Of course,
and take
the
is
main focus
here,
it
was
also necessary to
it
this
were
it
Norman
scholarship and
who
who
Johanna,
And
proof-read with
of arcane information
solo in the
mono
who
Friends.
revolutionized Beatles
ming
of
in
written
performers,
final years
efforts
am
ways
as
('listen
a poet's
!.i\
machines hum-
there's
my
wife
m\ extra
WOO
The Beatles
for
am
many
Marvin
Desk within
its
classical
New
and
making
open forum;
legitimate for
it
in occasional
useful materials; to
me up
to Bill
to date
me
and
to indulge
Leslie
King
and providing an
Self,
D.
on
L.
Tim
Edsall;
to
listened indulgently
ideas
and
Richard Kozinn,
least,
who
owe an
taught
me
my
course. This
book
Allan Kozinn
New York,
1995
is
dis-
Introduction
moments
The
first
them on
Beatles, captured
on film
key
at
in their career:
on 22 August
They
1962.
- shows
in Liverpool,
abandon
and
down
And
Me
They
called
now
than
in less
song called
someone
hardly be simpler:
my
else's
music, a song
its
beat
its
is
chord progression
is
someone
else,
and
Leap forward
had
nightclubs,
Do'.
to
to tone
Barrett.
and
Hamburg
They had
and
roster
ties,
to 25
earlier,
the Beatles
on inner
spirituality. Its
fantasy to
only the electric guitars, bass and drums they are seen playing
clip,
Pepper topping
producers of
and
Our
chamber
were
orchestra.
fulfilling a
Invited to supply
'All
.1
You Need
tor the
.is
to the
would reach
tli.n
the
Now, with
commitment
in
ol various
tor the
summer
the
ot 1967,
Summer
which
ot Love.
10
The Beatles
and
of the day.
A thirteen-piece ensemble -
wearing
stools,
- accompanies
the foursome.
And
the heart of the instrumentation was not the energetic guitar playing
By
this
Need
Is
lead guitarist,
steadily,
Starr,
the
music, songs
All
You
The
also
too.
And
Marseillaise'.
A seemingly simple,
own
guitarist
and Ringo
The song
illusion
- and
rhythm
the
of the song,
rest
pop song
structure,
as if
bar.
These metre
shifts
continue
had decided
to
make
stric-
the contours of his lyrics instead of bending the words to suit the
musical form.
The
Lennon calmly
And
as the
2,
and
a bit
at the
song winds
a
hit,
The
Cavern
in
Beatles'
under
Yet music
The
ture,
let
alone
it.
Mood',
composing
you
to a close, a
a string version
lute
of an early Beatles
five years
is
is
story.
which came
Our World'in
making
world economy
The
just as
Beatles quickly
Introduction
dominated
this
emerging culture,
first as
conventional teen
idols, as
Frank Sinatra and Elvis Presley had been before them, but eventually
and even
as political
quasi-religious figureheads.
Along with
their
hedonism most
kind of
of it.
first
to
new youth
no means
had an unfailing
its
trends early,
culture, they
their
were by
ability to detect
own
impulses, they
adopted and amplified them, making them instantly chic for the
millions of fans
There
is
who
successfully as to always
listeners'
expectations that
their records
still.
and
it
records explored
of pop
one
filled their
On
stood
fresh
one of their
to fragment, every
sensibility.
But experimentation
because they are good.
The
lyrics are
unusually articulate
(if
some-
later
spawned
it,
its
original context.
In fact, the music's adoption outside the youth culture was fairly
New
when he
He
delivered the
referred to
harks
And
in
.111
Eliot
Joncerts'.
lis
them (and
Norton
interview shortly
12
The Beatles
before his death in 1990, he restated his opinion that the Beatles were
the Schuberts of our time.
Other
'serious'
The
at the
championed the
critics
William Mann,
critic
in a
famous review
classical
called
Lennon
The
same
now
year,
and
the like.
Sgt.
garded
as the
Hans
Keller
in
lukewarm
which he
as
composer known
critic's
re-
Mellers,
an American
responded to
a rock
of music from
classical
Brouwer
still
in Japan,
as diverse as
Leo
new
who
specializes
world to
Among
Is
(I
Am the
Walrus) by
13
Introduction
There
is
also,
Motown
By
Beatles'
music had
various
rock.
who
particularly those
record label
as
in
The
Beatles
recorded
primary influences.
Elvis Presley,
The most
successful of
it,
mated
that
it
early 1990s.
But
five
virtually every
esti-
million times
- even
And
to jazz bands,
to 1950s' retro-rockers.
Yet for
all
group's
is
own
is
also a degree to
it is
From
pop
perspective, this
after 1964,
document
his
much
the
same way
workshop
a classical
were
them
satisfied.
electronically
it
in
which the
composer might
into a
symphony, the
Their recordings
until they
music, as
And
related
sometimes cloudy
McCartney agreed
like
issue
early
work
is
the
on
that they
jrei
would be considered
.1
team,
14
The Beatles
lyrics
and musical
When
ideas.
incomplete song to the studio and the other would put on the finishing touches. But
more
composed
too.
One
separately.
cannot over-
who
outsiders
often decisive.
Please Me',
it
When Lennon
was
back
and McCartney
it
record, as indeed
was Martin,
It
too,
who
it
Once McCartney
to his
own
devices.
them
all,
was
daunting
at the
end
their first
hand
initial resist-
in the
arrangement:
cello line,
which moves
in
During the
November
task,
credit for
to be
one of the
Beatles'
brilliant recordings.
During
artistic
would be
they brought
and
it,
McCartney's
agreed, he took a
When
was.
Martin was
'Please
by Roy Orbison.
a jolt.
it
were
him
ance.
played
them record
number one
first
as
start,
Straits,
set
lot.
They
Who, Ray
Elvis Costello, to
Yet not one of the Beatles studied music formally, and none of
them could read musical notation. They achieved what they did
entirely
by
instinct,
in a perfectly
And
them
since.
-I
o
3
c
Q
O
3
09
Q
(a
O
Cn
nj
O
i
city,
It
was very
much pain
the sailors
With fans looking on, the
...It
is
records from
America on
so
cosmopolitan,
the blues
ships.
photo at the
docks
in
{Rolling Stone)
of Liverpool
Li
16
The Beatles
group,
may
but
lessness,
never escape
as a place that
its
it
was
city, it
to Beatles 1957-61
for
a place
it
World War
soul,
also
most
had
cities at
records, in particular.
The
not.
to be bluesy,
band embellish
roll,
schoolboy,
like
c.
an angelic
1945.
and
this
on
October 1940,
to Julia Stanley
and
and
deceptively
to a degree.
its
German bombing
ing a
it is
harmonies that in
his
and
Me
Traumatized by
city
octaves,
and
first,
meant
II.
Alfred Lennon.
merchant
seaman, was absent for long stretches during Lennon's early years.
Julia
was described
in the spring
stable
home
as a free if
somewhat
was decided
flighty spirit. It
Elizabeth,
known
Woolton,
a Liverpool suburb.
as
sister
Mary
in
He saw his
until 1965,
when
was
five,
London newspaper
Lennon was
relationship
a dishwasher in a hotel.
From Quarry
Men
to Beatles
1957-61
17
thereafter. Julia,
who
countered the
One
From
of the
affec-
upbringing
strict
bohemian
role
Mimi
his earliest
emerged
trait
early: a
at
his years at
song
his
years, In
and
lyrics,
His
in the
came
verse, illustrated
with
Own
published in 1986.
In 1955 and 1956, rock and
rhythm and
found
Bill
its
blues,
way
was
roll,
revitalizing
a high-energy
which featured
Elvis
hold on
Lennon's imagination.
Presley
was
western accent
or was
it
the other
his reper-
tory from both sides of the track, but his vocal style struck listeners of
that
made
drew
He was
ecstatic
was
The
quali-
when
their kids
and dancing
jet
seemed
to saccharine
ain'
not'n but a
was, after
all,
hound
wont
dog'.
tip
Tennessee milieu
as Presley
came from
and offered
the
Presley
who was
same Memphis,
a similar musical
admixture.
18
The Beatles
civilized
Over
by contrast, yet
in Texas,
somewhat more
And
refined style.
who came
performers
it
all
make
to
appeal.
its
moulded
to reclaim rock
and
roll
a sly guitar
made
Chuck
Little
Berry.
More
Tall Sally'.
created a
'Long
Little Richard's
boom market
England.
Julia,
who
One
eager
In a middle-class
home
in Allerton,
18
not
far
by
also fascinated
in
Born
Elvis Presley.
more advanced
musical culture flourished in his home. Lennon's parents were amateurs: Julia
Alfred
few
lessons.
He
also
But what
briefly,
really excited
it
after a
him was
the music
that were
making
their
way
Imported rock was not the only music to engage young Lennon
months before
broke out
all
and
its
skiffle craze
blues,
Elvis's
made famous by
known
attraction
as
Lead
Belly. Skiffle
Huddie
in.
The
guitar,
in a skiffle
band,
From Quarry
Men
to Beatles
1957-61
19
which might
scrape
away on
washboard, and a
who
bassist
used a thimble to
who
played an instrument
would come
great
made from
and
a broomstick.
When
he got
make
it
screaming vocal
Little Richard's
style.
Once he heard
Elvis,
immune
to
it.
He
later cited
light
pop and
Elvis,
And from
the
soft pop.
'White
model
close, beautifully
20
The Beaties
development was
contrast,
1957,
saw music
soon
formed
his
after
own
as a social
he got his
skiffle
Blackjacks; thereafter
The Quarry
Lennon
Men
at the
John
parties
Garry (washtub
and contests
guitarist
bassist) -
Church,
just
in
March
in
known
as the
in the spring
and performed
at
as its lead
Shotton
Woolton,
for Boys,
and
Rod Davis
at St Peter's
Lennon, by
start,
indifferent student.
first guitar,
younger brother
microphone,
his
fairly solitary.
It
was
hours before
life.
to
and
singer. Correctly
his fronting a
entirely
On
summer
to
at Julia's house.
secret
later
described as
From Quarry
Men
to Beatles
1957-61
21
and
on the
'Puttin'
Style', a
Quarry
It is
on
that date.
Men
Lonnie Donegan
There
And
Gunter's
- turned up
in a
are also
a local
hit
- Arthur
newspaper referred
briefly to the
performance.
Liverpool suburb in the late 1950s should have been so well docu-
mented - and
more
the
all
Quarry
Men
sets,
that
mate of McCartney's
knew McCartney
to
McCartney was
It
was
at this
church
fete,
was a
Grammar
make up
the verses he
McCartney knew
tar,
a skill
more
didn't
know.
crucially,
out the
class-
School, and
intrigued by Lennon,
who
between
he proved
his
Men
And Lennon
lyrics led
him
a gui-
roll
by writing
lyrics to
Richard voice.
McCartney would be an
Lennon's band:
perceived as
its
it
was
leader.
asset.
his gang,
and
it
Having someone
He
first.
McCartney made
18
band
Men
October
1957,
his first
Men on
He
was,
on the other hand, not shy about pointing out musical weaknesses
elsewhere in the band. Virtually from the
source of tension that the group had not
trolling voice
known when
were a
in
high
22
The Beatles
relief
years.
his
bandmates
to at least
approximate
McCartney was
a perfectionist,
abandon
to
ideas that
faze
him: the
was
result
all
that mattered.
By
stabilized,
Griffiths
As the
pianist.
skiffle
bass,
boom
on
Garry
all
share.
Within months,
left,
as occasional
faded,
with
Colin Hanton
guitars,
and
Griffiths
in a guitarist
than McCartney but was obsessed with the guitar and was making
quick headway.
When
he turned up
at a
performance on 6 February
1958, a
a child,
and
a sullen
one
at that.
Lennon could
not.
did:
his
way
as
into the
he was a member.
Harrison was born on 25 February 1943, the youngest of the four
children of Harold Harrison and Louise French,
1930. His father drove the bus that
McCartney
who
was dressing
in the
at least irritating.
as
his
main
menacing, or
married in
outlet
style
that parents
tight
found
something
to
accompany
He
his older
brother, Peter,
had
band
the
He
who
their singing,
also
made
did have
it
a prac-
tice to
bring his guitar to dances in the hope that one of the bands
would
let
him
sit
in or
From Quarry
Men
to Beatles
23
1957-61
Men - whose
other groups.
Lennon
McCartney
'I
late 1957,
Lennon and
Lost
and some-
My Little Girl',
by play-
a simple, three
chord number with a melody that would not have been out of place
a song,
was not
uncritical.
that
When McCartney
Lennon used
lines:
to rib
lyrics, particularly
Sillier lyrics
the
curl'.
verbal sensitivity
to
the collaboration. His other response was to write a song of his own,
Obsessed
George Harrison
until his
of the
fingers bled.
first
capture
practised
In
photographs
one
to
this fascination,
he
hand
a second-
steel-string acoustic
>
The Beatles
rehearsal tape, in
it
it
- one on
of McCartney's
more
The
tion.
meloci
Little Girl'
is
far prettier
pop song
unable to
recall
his
the
first
as
sort
mother used
title.
is
of model - a half-remembered
to sing
him, though
later
its
easily to
was patterned
Know
Life'
is
lifted
from Baby,
Men
that
song
in
mind:
after
Do You Want
the 19'
Not
from
White and
he was
was one of
as templates
line
of
Run
Your
for
Let's
tape.
Lennon worked
this
way
all
the time.
Many
Still,
of his best
using an earlier
new work
centuries,
is
time-honoured
church composers
like
and sixteenth
any
listener
did not have copyright lawyers looking over their shoulders. Lennon
knew
that
if
to disguise
he patterned
'Come
Together' after
let
as
models, he had
Chuck
Catch
similarities
a line of
Ben
for his
Rock
'ri
Roll
oldies collection.
work
as a
Ira
to
From Quarry
Men
to Beatles
25
1957-61
Stoller or
individually (as
most were). By
- 'Love
I'm 64'
Me
The
filled a
or
notebook with
'When
One
side
lead.
home
many were)
(as
way onto
would bear
'That'll
song was
essentially his
and
was
found
falling apart.
As
life
and
a teenager
killed
by
a car.
dozen
class
profound
years,
had
he
effect
now
on
felt
that
theme he explored on
his
in 1970.
He had
us'
15
More
But on
his father in a
fledgling musician, he
clown;
Julia's
now
as well.
1956.
Lennon's.
else in
31
And
fully
By
late 1958,
work had
essentially
up
Quarry Men,
to steadier
They reconvened
August
Quartet.
the
virtually dried
that
work with
to
after a
work
as the
com-
house band
in
to
made
it
to
The Beaties
classroom
to resist.
at the college
met Cynthia
Powell,
whom
classes:
it
was
He
also
promise.
biennial
1959,
prize-winning
but
artist
a woefully amateurish
bassist, Stu Sutcliffe joined
the
band
at Lennon's
insistence
member
in
1960, was a
and died
in
a year
1962;
nevertheless, he influenced
the group's attitude
look,
name
and
and suggested
Beatles.
the
One
at the
he
became
late in
From Quarry
Men
to Beatles
27
1957-61
for 65,
Sutcliffe to
spend on an
electric
bass guitar.
Sutcliffe's talents
Lennon
him
to bring
and he wanted
showed
in
be in
his friends to
it,
He
with a pun on
halls all over
From May
'beat'.
as a
abilities
less
was
to July, the
band played
in
dance
Beetles before
Lennon
Hamburg,
musical
thought of it partly
still
definitively
adopted
Sutcliffe's idea.
Sutcliffe bailed
Germany
by the
He
Existentialist student
Hamburg. The
Beatles, then
still
Elvis clones,
mark, the
He
also
known
were derisive
in
at first,
collarless jacket,
still
in leather.
Beyond
music, and
Lennon wanted
The
letters
to
and
art
band
if
left
Hamburg
are full
guitarist
tough veneer.
than about
literature
from mid-1960
an informal rehearsal,
it
exists,
and although
it is
clear-
drummerless
time;
when he can be
is
inaudible
much
of the
the-bar variety. In the long jams, there seem to be two distinct lead
guitarists,
awkward
28
The Beatles
Hamburg
portrait
From
ruin in
a famous
by Astrid Kirchherr.
left to right:
Pete Best
m.
C2
mi
'
-*
*"^
-*
.**.
From Quarry
Men
to Beatles
1957-61
29
30
The Beatles
The
scale-like runs.
One,
obviously,
are
accompaniment.
clearly here
album
One
is
in the
more
It
Be
in 1969.
appearance here
its
The
finished
version begins with a graceful walk through the song's chord progression,
Buddy
of the
is
lyrics.
first
two
with a twangy,
the lyrics
starts
far cry
of the 1964 recording. But the song's bridge section was entirely
revised
it
was
a simple, brief
country and western pastiche with the Holly-style solo leading back
into the verse.
The 1964
bridge,
The
mode
lyrics,
digression.
versions,
which
are split
With
You'), brighter
Love Her
So'),
(Fats
Domino's
'I
'Moovin'
'n'
Groovin"
with
direct aggression).
Soon
Allan Williams ran a club called the Jacaranda, and undertook various
freelance
Billy
not, at
were
first,
less
local
stars like
bands
filling
out the
bill.
He was
Still,
all
local
bands
at
From Quarry
Men
to
Beatles
1957-61
his
31
insisted
hoped
an
on the accompaniment of a
to strip to the
backing a dancer
who
live
Man
had
and
Sutcliffe.
to settle for
Man Who
Gave
the Beatles
Away, McCartney
rilled in
on drums.
them -
for
Moore accompanied
a
backup band
ments
him
Tommy Moore,
in Liverpool,
but
left
Bottle Works.
when
on
a short tour
the
more
band when
fully to his
for a
of Scotland
his girlfriend
day job
persuaded
at the
they heard
him
as
few engage-
Garston
enlisted
after
was conscripted.
In the
summer
of i960, Williams
made
a connection with
Bruno
in the
would
him
arrive in
mid-August, he received a
for everyone.
bad
own
Randolph
of protest, warning
letter,
his
letter
as the Beatles
still
searching for a
Mona
Peter Best,
Best's
set
was
easily
induced to throw
Hamburg,
in his lot
in
on becoming
drum-
Casbah, where
to leave
with Lennon,
SutclirTe.
and
The
32
The Beatles
Pete Best,
who
joined the
first
*., ,
Hamburg
1960
trip in
ambience was
and
entirely decadent,
On
and
Existentialist literature,
sion, varied
from
became current
dress,
in
London seven
album
years
at
in with a
art
costumed look
One
that
of the students,
ties
in 1966,
later.
fell
contemporary
interested in
and whose
1962
in
were dismal:
living conditions
poorly-lit quarters
success
And Astrid
bassist
on
few
became the
classic early
always nostalgic
Astrid, to
1975 he used
Rock
of
in
Roll,
and
especially to
destiny
him
that he
had put
his
own
was particularly
critical,
rise to
in the
artistic
increasing tensions.
but Lennon
band, his
McCartney
they
an album
who
to this crowd,
this
it
was drawn
for the
evokes;
whom
influenced him.
all
resolved to remain in
autumn of i960 he
From Quarry
Men
to Beatles
33
1957-61
~~:
'
*>T
dif,
1"
p^
'.ft
-.
k\
<;
***
----*
HI
-^
*~
__
_^k*
34
TheB
pop
in
art.
For the
performed
rest
in
Hamburg were
from musical
dent on the mid-1960 tape, their sound was truly crystalized by some
latest hits,
late
America.
In October,
In
Hamburg, 1961,
Beatles
the
abandoned
Elvis-clone hairstyles
their
in
It
was another
six
stage
suits.
when Koschmider
From Quarry
Men
to Beatles
1957-61
35
and sometimes
Sheridan
(right) at the
in
own
competing Kaiserkeller
under
job at the
club,
Hamburg
at the
in
to their first
Ten, they
to be
age,
set a
condom
afire to
Bambi
in order to
provide
move
to the
Top
burn marks
light, leaving
professional recordings, as
on the
were deported.
wall.
Sutcliffe
remained
band, although he
Hamburg
stint in 1961.
in
Hamburg,
sat in
effectively resigning
returned to Liverpool in
rather,
He
in music,
talents for
Best's Blackjacks)
On
reflection he
get
was
from the
And Lennon
after
had
his heart
a resource to squander.
Newby
(the bassist
from
36
The Beatles
college holiday,
and
their
performances
of i960
re-
inforced his decision. Musically, the Beatles were far better than they
left
Liverpool,
them
later,
would be
called Beatlemania.
<
o
o
Q
3
ft
a>
I
3T
<>
oi
any
ate
This advertisement for
April
1962 concert
an
at the
spiffy
stage
old informal
appealed
suits,
image
but their
still
But
to their Liverpool
Some
would
shouted at them
to
fans.
the Beatles on
after
stage.
me,
considerable magnetism. I
its
pounding
this,
bass beat
of those fans
months
protest four
later,
when drummer
Best,
on the
right,
was
replaced by Ringo
and its
Pete
Starr.
Brian Epstein, in
Cellarfull
of Noise, 1964
38
The Beatles
It
would be
Germany
And
in
as
changes in
August 1962.
The most
was what
to
do about
a bassist,
now
them
beginning of 1961
at the
that Sutcliffe
tried to
worked
left
momentous than
effect
was
it
and country
to take
up the
That
bass proved
from three
Its
more
immediate
rhythm
guitar
significantly, the
McCartney an opportunity
to distinguish himself
instrumentally in a
way not
one of three
Bass lines
on
available to
him
depending on the
style
and context,
as
a bassist
guitarists.
would
of the
As
late as 1968, a
when
His bass
lines
rule,
almost an alternate
And
were direct
which
is
that
form of lead
guitar.
Johann Sebastian
chamber and
choral works. Especially in the period from Rubber Soul to Sgt. Pepper,
the bass lines are so intricate that they can stand alone as melodies.
Yet they are also propulsive, an essential part of the band's
rhythm
section.
Liverpool
Dance
Halls
1961-2
39
As a
sideline to his
work
saw
to
some
management chores
keeping a fastidious
scrapbook
of clippings
This
advertisements for
several gigs as well
as a
Mersey Beat
article
Hamburg
recordings
That McCartneys
ability
months
around
made
in
is
June
between
figures
verses,
same time.
it,
McCartney song
is
Hamburg
after
and
in
is
sense of
a
its
My Loving',
The
first
next
thing that
is
the texture,
Lennon. Pressed
by
might focus on
Harrison's mildly jazz guitar solo. But the bass line, heard almost
subliminally,
plicity:
is
it is
every beat.
and then
He
way down
with a graceful punctuating figure that hops back to the top of the
40
The Beatles
Dance
Liverpool
Left,
Beatles
the scruffy
come up
between
on Matthew
nearly
300
41
makes
young
in
sets at the
cellar club
1961-2
back from
freshly
Hamburg,
Halls
Cavern
Street, the
dank
to
first
more
overtly sophisticated,
and he began
line,
to
had taken
Pepper, he
and then,
song
as the
fully
evening performances
worked
although in
fairness, the
more
was a
traditional
meant
far cry
most nights
in the
also
sound.
live
dance
halls
and
found some-
poorly
lit
cellar that
their principal
haunt
until
August
a vegetable warehouse,
1963. In
its
remained
July.
at the
Top Ten,
from
alternating
sets
with Tony Sheridan, and working until two or three in the morn-
ing.
They seem
ticularly
to have thrived
It
star,
who from
their point
visit that
they record-
were released
as a single a
At the Sheridan
their
more
'When
the Saints
few months
Go Marching
In'
later.
two songs on
as a collaboration
The
British guitar-based
The
Elvis.
also, at
it,
band of the
early
one point,
its
called 'Beatle
wildness and
as sterile
and
42
The Beatles
which the
melody
McCartney
drums along
lazily
pro-
speedily,
bending
more
fiery twists
Duane
Although the
Beatles' Liverpool
Shadow'
is
was captured on
Cavern
instead,
McCartney tucked
the tune
away
until 1967,
in the studio;
when he
gave
it
The
The
is
autumn of 1965.
and
particularly to the
music of Booker
Magical Mystery
T.
abondoned
it.
It
used
all
was not
second instru-
as incidental
music for
a fantasy
However
far
they had
come
in 1961, the
they had to
make
records.
A reasonable observer
lately
made
beyond
their grasp.
worked
also
after
He
and had
stints
store
knew
the
to
And
left
classical
Street,
not
far
from The
roil.
friendly with
its
Liverpool
Dance
Halls
43
1961-2
he singled out
also
had
in his
a fondness for
and show
Cellarful
German Polydor
Lilly
But
Mersey Beat, he
tunes.
In his autobiography,
to
in
likely that
its utility
as
their
German
full
all,
the
'My
label. It
may
same Mersey
recording sessions in
some
detail.
it.
As
it
away
But he made
unsatisfied,
it
a point
and when he
at a
of
learned
club ten
had
neither managerial
but
and
roll,
was captivated by
Beatles at
worked
first
the
hearing and
tirelessly to get
de facto Liverpool
their
them
The Beatles
November
him
Cavern
to the
them
out. His
lunchtime
on
set
1961.
farther
initial attraction,
undoubt-
a particular
from the
clad rock
and
rollers
stomping
They were,
their audience
and indulged
of their performance
ate
on
shouted
stage,
at
in private jokes.
indeed he
and
hits
thoroughly unprofes-
in Epstein's eyes,
irresistible;
sional,
walls,
their
later
admitted that he
felt
Epstein returned to the Cavern several times over the next three
When
in early
December, he
this
label.
them
a contract
as
they were to cleanse their stage patter of obscenities and private jokes.
would be organized,
and
and
ties.
Lennon
a
later
their time
stage
would be
would be exchanged
for
new work
stage show,
figure into
it.
and more
matching
suits
rules unenthusiastically.
to focus
to the point,
more
how
fully
their
Their
and one thing the new regimen did was get them
staples,
stage.
strictly limited,
But they
on
their
the stage.
way onto
their first
tested
on
Liverpool
Dance
Halls
1961-2
45
London-based record
He
band
at the
from Liverpool
when Smith
arrived,
them
a hearing
assistant producer,
Cavern on
The
diffi-
13
was sent
December and
trav-
to
own
made them
nervous, some-
could be,
as
Lennon
list
factor
to
show
was not
their
best.
Cool
Cats'
sound
uncharacteristically goofy.
One
'Till
not have
known
originals
Girl',
for a
came
it
from
years, 'Like
and
after
down
but
this part
may
the Beatles.
the
efforts. In
with him on
Little
offers a
it
London
any
listenlive,
It
also
case, the
The
rejec-
tions were
as his first
management
The
first
publisher
client,
nibble, actually,
from
46
The Beatles
subsidiary
- who
liked the
songs.
Upon
to the
group than
Colman arranged
a publishing contract,
for a
mid-
EMI
subsidiary.
Martin, born in 1926, came to the record world with a solid musi-
cal training,
he was
in 1955,
charge of an
EMI
label.
as a child,
and
during his school years he led a dance band, George Martin and the
Four Tune
Tellers.
World War
a
BBC
II,
As
his off-duty
producer,
who
Arm
during
arranged for
him
to
principal instrument.
He
also
and music
as a
student of composi-
EMI
command
BBC,
Parlophone. His
at
on
on
to
To EMI's
and
chagrin, he turned
impressed with
Steele's
Where Martin
jazz
(Humphrey
as a soloist
down Tommy
was, however,
made
his
all
mark was
the voices.
He
as well as Flanders
in
comedy
records. In
as the
Goons -
favourites of
The
Beatles were in
Hamburg when
would
give
tapes,
Fringe'.
and drew up
had begun
tragically:
upon
a pro-
on 6 June
them
a listen.
Hamburg's
newest and biggest club, where they were the main attraction.
visit
in
1962.
who went
Steele,
He
and
non-
really
Lennon's -
Lyttelton
both
and
light
second
as
first
him
hiring
as
library.
their arrival in
Hamburg on
The
11
April
Liverpool
Dance
Halls
47
1961-2
they learned from Astrid that Sutcliffe had died of a brain haemorrhage the previous day.
Back
studios in
staff
He was
twenty-one years
old.
in
Abbey Road
shook
As
their heads in
dismay
at the sight
at
Me Why'. The
day, three of
Me
'P.S.
them Lennon
Love You' and 'Ask
enough
satisfied
Do',
at the
commit Parlophone
to
Decca
so he gave
them 'How
It',
who
He
did not
visual image.
session
felt
He was
that
not,
He
Pete Best's
he
was chartworthy,
Do You Do
Martin was
session.
as
also disliked
recommend
likely to
replacing Best,
be a focus of their
to bring in a
drummer.
Hamburg
Best. In
drummer
for
they had
become
their
friendly with
Ringo
Starr, the
than Best.
And when
and
whose
on 7 July 1940
in 1943.
real
name
to Elsie
He was
streets until
and
his
who
divorced
and
years later he
is
him
hospitalized for
he was
fifteen.
work experience
pleurisy,
more than
Seven
a year.
olf the
in a variety of
a kit
bought
48
The Beatles
for
him by
his stepfather,
1953. In 1957,
Clayton
when he was an
Skiffle
Elsie in
set.
Two
years later he
joined the Raving Texans, which later became Rory Storm and the
number of rings
earned him his nickname, which also appealed to him because of its
cowboy
aura.
And
Starr
seemed
a better stage
name than
Starkey.
He
The
firing
They
told
later
admitdispleas-
ure with his work, nor did they pass along Martin's comments.
of
known as Ringo
crouching as a
member
Hurricanes, the
band
which he drummed
for
until
Starr
away
August 1962
Right,
was
onstage clowning
persuaded them
of the
benefits of professional
at
He
Liverpool
Dance
Halls
49
1961-2
George Harrison
Starr), with
Tower Ballroom,
at the
Brighton,
in
New
November 1961.
member
of Rory Storm
Still
and
a grey streak
back
hair,
would
lose
in his
slicked
both of which he
when he
joined
was
effectively
When
16
in
mid-June,
August only
Ringo
it
in'.
There
is
drumming with
the
session)
is
efficient pattern
Sheridan recordings
is
of quick
considerably more
lusty.
rolls,
fill
rapid, light-
on the
drumming
is
straightforward, dutiful
lacks, in these
examples,
and sometimes
is
energetic.
What
his playing
50
Th e Decries
Starr's
drumming added
it
The
John Lennon's
first
wife
much
Brigitte Bardot,
notion,
in
'We want
Beatles
When
Cavern on
a voice
Pete'.
would
had time
scarely have
to reconsider even if
And amid
all
like
Lennon's
of the ideal
calling out,
woman.
Lennon discovered
this,
college,
Granada
23 August,
was born on
8 April 1962.
new drummer,
did not
Do
It'
own
Me
songs
as a first single.
Then
it
overdubs -
As
it
Starr's
drumming
session for
session
11
September,
time hiring
Best's.
on
impressed with
He booked
Andy White, an
would be
this
Me
drummer. 'Love
Starr
much more
"PS.
Love You',
Somehow,
this
White
another
experienced
time with
also
McCartney
drummed
ballad with
was the
end of the
You' as the
session,
Martin
first single. It
was
released,
first
release
on
settled
did not
October, but
it
on 'Love
a bit different
It
was the
ized the
on
fire
Love
when
its
second
its
going on in Liverpool.
Beatles'
it
reached
by an unknown provincial
it
Me
reason.
When
Me'
that galavan-
the Beatles
first
Liverpool
George
Dance
Halls
1961-2
51
played
Martin, a
schoolmasterish overseer of
it
for Martin,
was
it
a slow ballad,
sessions
listens
as
in
McCartney and
of their
EMI's studios
Road.
in
visit
Abbey
meant
to
sound
like a
Roy
Orbison song. Martin liked the song but hated the way they played
to spice
it
up.
When
they returned to
Abbey Road
opening melody
guitar.
line.
But Martin
sound on 'Love
On
felt
Me
Harrison played
stage,
that the
this
introduction on
a useful signature
Lennon doubles
came up with
Me'
lasts just
begin with,
then,
is
different
and unusual
refrain,
for a
move
it.
The
vocal harmony, to
unison, then
is
lines,
two
lines
gradually apart as
McCartney
repeats his
until
and
in
opening
52
The Beatles
Liverpool
Dance
Halls
1961-2
53
far cry
from the
scruffy,
perform on
in
1963.
British television
54
The Beatles
first
lines,
and
a single line
guitar figure leads into the pleading (and suggestive) refrain, 'come
oh yeah,
like
please
'come on' four times, with each of his solo invocations followed by
a
rises
rise.
The
rise, fall
and
seven seconds,
is
is
chord roots
in a
lasts
magical.
who
figure (that
is,
two
quick
slides
McCartney's
to sing
on
its
from below.
It is
only
at the
seems
on'
in
big
demand
theirs.
Liverpool
Dance
Halls
1961-2
55
figure.
And
two
in the
to the
start
Starr, too,
is
with rapid
accompanying the
at his finest,
fills,
finale
on' section
with a chain of
The
bridge section
actual
number of bars
Lennon
the secondary
called 'the
required
want
picturesque element.
on two adjacent
note,
is
a musical evocation
in the end,
it
The
Most
listeners at the
in
lyrics.
sung by
word of the
line,
'it's
so
do you make me
blue?'
ways
'ah'
explodes in frustration,
of the
eight', regardless
adds another
middle
felicities
or even the
(or, in
Martin was so confident that the revamped 'Please Please Me' worked
when
that
go there immediately,
ii
January 1963,
number one on 22
It
had some
it,
first
number
cruised
it
made your
up the charts
It
did not
would. Released on
for six
February.
help.
as well.
new
year.
March
their
1962,
The BBC
first
radio
and made
discovery.
name, Pop Go
one.'
a series in their
regulars
own
television appear-
punctuated by
as
many
as three
BBC
sessions
and
a television date.
56
The Beatles
The
radio programmes,
which
up on
As 1962 ended,
a
it
a quality the
finally at
humour,
quickly.
as
hard
as
on the world.
'
3
Q
3
Q.
<>
GO
They learned so
quickly.
When
the Beatles
were
Great
Britain's
US
military
awarded
wounded
medal
to soldiers
in
'PS.
the best
I Love You
of them.
Lt
and
'Love
Me Do' were
stuff.
Show
Business Personalities of
to
and
action.
didn't really
them down.
58
The Beatles
Beatlemania
in
England 1963
'Ask
in
Me Why'
flipside
its
collaboration called
Hamburg, sharing
Me' and
Lennon-McCartney
slightly Latin-flavoured
bill
to the Star-Club
New Year's
Eve.
On
one
last
Little Richard,
time in mid-December,
one of their
The
tually
them and
found
split
a buyer,
the profits.
They
when
Allan Williams
objections in 1977.
In their original state, the recordings are quite raw: the perform-
pre-Epstein
style.
had been
result
It
captures
their
underwent
released, they
of which
glimpse of the
them
in the
their
way
When
yet
number
one,
it
was
11
album
on
by presenting
and by favouring
writers.
Now
their
there
own
this
hits,
Typically, a
lightly
pop
cooked
filler.
Beatlemania
in
59
England 1963
his quotient
Do You Do
were a potential
The
recordings of
file
'How
It'
fresh,
and
to treat every
song
as
single.
new songs -
recorded eleven
one of the
originals,
'Hold
five originals
Me
and
six covers.
Please
Me was
With the
set.
Of those,
Tight',
later
be
during the
The model
Beatles.
to
for Please
is
moment
Arthur Alexander's
There'.
Lennon
closes
show
Love
also takes
in his
Lennon
Each
style.
'I
show
in the spotlight.
up
own
few ballads,
It's
it,
an explosive vocal
And
Harrison,
who
tone
retained a heavy
of a Goffin-King
The
show
covers
America.
classic, 'Chains',
You Want
song, 'Do
One
is
most prominent
to
Know
and
a lively
Lennon-McCartney
a Secret'.
Motown,
music) in
name of the
groups melded rhythm and blues with aspects of gospel and top-forty
pop
styles.
Three of the
American
six covers
girl
on
Please Please
Me were
Cookies.
It's
On
style
was
recorded by
60
The Beatles
Beatlemania
Left,
Paul
in
Enqland 1963
McCartney, the
eager
was
'Devil in
group's
interviewers.
Her
Bears' 'To
to discuss the
work with
61
compositional
and response
styles.
gesture, in
ing chorus.
The
effect
Please Me',
and
its
is
syllables, 'sha la
And
girl
it
main
or 'doo
la,'
call
repeated by a back-
by nonsense
is
mirror image
visatory amplifications
A variation
is
which
may
wah
Love You'.
singer's lines
punctuated
became
Know
Motown and
to
style
cast.
Of course,
Me are
much
as
as the
cover versions
Beatles'
the originals.
ship. 'Ask
Me Why',
real
Some show
tell
points of interest
on
Please Please
and
Please Me',
a precursor of the
Me
Do' and
instru-
'Please
points.
And
line,
and brief
on
'There's a Place'.
spirit
of 1963. 'There's a
unrequited love
It
key
As
at
was not an
is
to turn inward, to a
uncommon
conceit. Five
world of introspective
months
later
what more
Place', for
My
Room',
some-
62
The Beatles
Wilson
is
USA.
original form,
Lennon
it
go'.
But
Saw Her
'I
The song
is
The arrangement
sometime
after
know what
less
tape recorded
can
vitality that
in the song.
place where
line, 'There's a
and 'Misery'
its
yet
essentially McCartney's,
queen'.
released in the
evolved too.
moment
A Cavern
Club
line.,
rehearsal
lyrics.
By
the time
they played the song at the Star Club in December, the harmonica
in
finished form.
its
it
But
two
first
way
Lennon
couplet,
and the
roots:
harmony
sings a lower
it is
similar in shape
'I'm Talking
About
Several sonic
tures are
in thirds, fourths
too.
An
it
'and
sixths,
its
of Chuck Berry's
their
way
to
their
becoming
Beatles signa-
made
and
in
most of their
the Beatles
lyric,
gimmicks on
found here
in 'Please Please
and
On
lines are
McCartney
own by
and
incorporating
hits
first
of 1963.
Little Richard,
it
in the
heard
Its
but
amalgam of
sound.
They
also
days of screaming
found
girls
it
The
to
literal repetition.
So when they
When
they returned to
Abbey Road
it
on
Beatlemania
63
England 1963
in
ABBEY
ROAD
A component
of
own
peripherally.
however
Once
became known
it
that the
Abbey Road,
street signs
vanished
regularly. This
up
again.
effect
Me
to You', a
in
one turned
Her Standing
There',
it
found
its
songs second
burst of energy on
its final
and
last
way
sing the
three
word. In
fact,
first
anything
the effect
three
is
Saw
'I
anything associated
studios
N.W.8
Me
can do' a
expanded
words of that
here.
line in
also testing a
new
notion that songs in which 'me' and 'you' were used prominently and
repeated frequently would strike listeners as personal, and would have
a special appeal.
rule the
pop
may seem
It
charts
imitators,
Me
to You', they
record, then in
may
its
second week
at the top.
were so intent on
composed 'From
first
number one
at this
64
The Beatles
Beatlemania
in
65
England 1963
Long
obbligato cf screaming
fans rendered acoustic
guitars impractical for stage
use, the Beatles
used them
in
sometimes
the recording
demonstrates here,
television
in
their
appearances.
66
The Beatles
Once 'From
Me to You'
tional
On
their
July,
composi-
Abbey Road
with 'She Loves You, a song they had written only four days
a hotel
room
earlier in
in
in
drum
linked to a steady
shaking falsetto 'oooh', here placed strategically before the song's most
ear-catching element, the joyously cathartic 'yeah, yeah, yeah' refrain.
It
would be
no
bridge. Structurally,
all
it is
of the
a masterpiece
of pop song
is,
for example,
is
breaks a
it
refrain, plus
scale) that
an ending that
slightly
common
ambiguous and
Martin came to
chord was a
final,
and
insisted,
delicious touch in a
of great hooks.
full
The
all
trick in the
song
verses,
up
ties
lyric
was
also
something new
now, the
pop
moon
either to
songs,
when men
sing to other
men, they do so
turf.
But
in 'She
some
detail,
later, in
and
'You're
is
Two
Going
to Lose
That
years
Girl',
again, but with a twist: if you don't treat the lady right,
I'll
steal
her away.
'She Loves You' was clearly
diate use, but
to think
by
of composing
They had
composed
own immebeginning
calling in musical
also
management, expanded
his
other groups and singers, mostly from Liverpool, and several benefited
from access
to
Lennon-McCartney songs
Beatlemania
67
England 1963
in
wrote
specifically for
mer hat-check
girl at
use.
own
became
And
'It's
and
for You'
songwriting machine
became
way
in
friendly
London, and
together
'I
Wanna Be Your
When
own
its
if
Man',
a riffy, basic
its
rhythm
guitarist,
their
Keith
write their
own music -
rather than
became
Between
visits to
touring schedule.
among
bands, but
British
a competitive friendship.
number one
hit,
Be Your Man'
later,
members
'I
in
first
Wanna
1963;
of the Stones
appeared
in
the Beatles
You Need
Is
Love' telecast,
and
'All
Stones'
album
Their Satanic
Majesties Request.
Abbey Road,
By August
them
68
The Beatles
ballroom
circuit:
raised stages.
to thirty minutes.
They were
like
We Go and Side
own
Beatles.
becom-
also
BBC,
to You,
Go
the
was broadcast
to
in
Take a Ticket
to Ride.
1965
- they performed
live
or with minimal
88 songs, 36 were
total
'I'll
Be
On My Way',
Lennon McCartney
The BBC
some
in as
many
Of the
numbers from
at these sessions,
the lovely
Chuck
Berry, Carl
like
And
shrill
their
concerts.
They demonstrate
Was
1964,
when
when
grew
increas-
it
from
their
concert repertory.
their recording
in the cards.
make than
and performing
its
predecessor,
Beatles,
took longer to
There would
a firm distinction
careers,
as separate projects.
moment
Beatlemania
in
69
England 1963
fans
if their
had bought
should
not have to buy the same tracks again on albums. In immediate practical
In
on
meant
term, this
its
Me could not be
Please Please
Please Please
response refrain
a back
outing, the
Me', his
listener's
attention with
this
singles since
But
on
new album.
band supplied
'yeah'.
set.
And
and
an aggres-
As on the
and performed
Won't
'It
its call
first
six covers.
devoted the
composing
rest
Chuck
Over
Berry's 'Roll
Beethoven' and the Donays' 'Devil in Her Heart'. Stuck for something for Starr to sing,
facility as a
Me Tight'
memorable of the
It is
crooner
is
Wanna Be
show
tune, 'Till
My Loving',
certainly the
most
originals.
on most of the
'I
He
sings lead
as well as
on three Motown
covers,
all
Yet ironically,
more
it
album has
also
sounds more
leisurely,
more
Me.
carefully considered,
settled.
if their
albums documented
The
Beatles
their concert
arrangements.
They
raised
no objection
to
to
to
'I
Wanna Be Your
Second Time',
them
Hammond
On
'Till
in
Martin encouraged
away from
organ
'Not a
and
Lennon, McCartney
70
The Beatles
and
Starr
African bongo
And
four
all
and an
claves
show
their enthu-
siasm for a studio trick Martin showed them: strengthening the lead
vocals
by double-tracking them.
Musically, the
ticular,
album
is
his idea to
move, and
My Loving'
More
Got
fully at
to
rock, an
it
and
perfectly,
play a
home
in jazz
lingers in the
and
The chord
Harrison goes on to
as
sessions,
EMI
chords.
much
mood
Motown-inspired
memory, even
I've
entirely foreign to
'Till
it
had been
and
blatantly,
guitar. It
sensible mixing,
until
good micro-
it
image. But the recordings Martin was making with the Beatles were
more complex.
In order to retain
full
to a
other.
loss
in quality.
EMI
in
overdue; indeed,
American
affiliate,
it
visit to
among
the
lost
which allowed
on
the major
USA in
1958,
three-track recorders,
last
EMI's
company used
EMI
Upon
to install similar
his return to
equipment, but
London he
his requests
tried to persuade
were ignored.
making
England,
EMI
released
its
recordings in both
mono and
stereo
Beatlemania
in
England 1963
71
little
which the extreme separation of the raw tapes was modified only
because the early stereo
is
so primitive, these
and
vocal arrangements,
mono
compressed
mixes.
Now the
instruments
could take two or more tracks. Lead and backing vocals could be
recorded separately, and the stereo mixing sessions would yield more
artfully
crucially, the
expanded
facilities
would
had
in
mind
brought
'I
On
fairly basic.
Want
to
Hold
new
doo-wop, performed
bridge, in
wordless
on
which Lennon
Lennon
for
in
it is
lushly
and
'If
Fell'
and
'Yes
It Is'
to 'Sun
Want
'I
to
tionally structured.
'I
Want
to
guitar chords
of the
title
The
Beatles
become
is
let
me
collaboration,
more convena
the introduction
is
more ambitious:
music
is
Lennon-McCartney
The song
verse.
tells a
The innocent
would
different story.
for
declaration
reassure parents
anyone
listening
leap ('you'll
hold your hand') that leads into the refrain expressed undis-
guised sexual tension, and the bridge amplifies the image of false
restraint: the studied
you
feel
happy
inside',
is
line,
and when
and
touch
rising
72
The Beatles
can't hide,
'it's
my love
can't hide,
can't hide'.
(now
in the British
me
more unbuttoned
to
the second
interviews,
is
lyrics
is
Lennon
song
referred to the
as
'I
want
on
to be singing
in this recording
first line.
Harrison
fills
set in the
same
sing
it
is
in unison, but
when
seems
less
an embel-
lishment than an integral part of the melody. There are also small
but effective touches - the stray twangs of a solo guitar that dot the
texture like sighs,
the
an important element.
also
word
When Lennon
drumming
is
line
hat.
fill.
'I
their
And
in
can't hide',
bash
If
at the
Want
to
were a
'I
sold
when
1.5
it
November
(a
week
after
With the
Beatles),
doing equally
number one
it.
it
was
According to
British trade publication Record Retailer, the group's record sales for
1963 totalled
some 6,250,000.
On
in
topped the
bill
'I
Want
scene.
to
on Sunday Night at
And on
13
as well.
television
October,
the
London Palladium,
It
was
after
Beatlemania
'The Beatles?
England 1963
in
thought they
were wonderful
who
and cabaret
Marlene
appeared on
the
German
bill
Show
in
performance, with
On 4 November,
its
on what
who
same
this
star
Dietrich,
73
Command Variety
it
called Beatlemania.
when
Performance
the Beatles
at the Prince
fairly sedate
Me
to You',
1963.
last,
Lennon
'Till
And
and
stories.
And
Beatles, filling
manufacturers of trinkets
the
phenomenon.
critic,
William
if
your jewelry'
'Would the
Yet
Mann
amid
all
- cashed
in
on
74
By
The Beatles
late
1963 a merchand-
ising principle
had evolved:
names
or
likenesses on trinkets of
all
and
and people
will
buy them.
now
premium prices
sells for
at collectors'
conventions
head-shaking, screaming
found most
a
music
fascinating,
girls
more
to Beatlemania than
theorist's rhapsody,
Mann
celebrated
what he heard
as
pandi-
end of 'Not
poked fun
a
accurate).
what
With
their
first hits
tickled
what he
analysis
The
Mann
behind
it
at
harmonic
called
is
Beatles,
untutored
in
them
The
later,
care,
although
to be taken so seriously.
3,000 members
British
just
for
of their
Europe
as well,
them
enthusiastically.
They were
taking off in
Wimbledon
Palais,
London,
on 14 December 1963.
more
home. Their
greatest frustration,
Beatlemania
in
England 1963
75
76
The Beatles
final
failed to crack
television coverage,
singles
they scarcely
made
a ripple
on the
charts.
and albums.
And
as
EMFs
Jay
so America, the
world's largest record market and the source of their early inspiration,
to change.
ft
o
ft"
(A
o
3
-Q
C
ft
>
3
"
O
4^
The
what's
left to do,
our stuffdown
In
April
A Hard
essence, so
we
weren't
first
Rediffusion television
Around
the Beatles.
an
Day's Night,
special,
to
recorded commercially.
78
The Beatles
In the rich
enough
One myth
the retelling.
Beatles themselves,
they had a
started
in reality have
Beatles' story,
been magnified in
is
number one
USA until
As
turned out,
it
'I
Kennedy
Want
when
to
to bring
before
'I
Want
nearly two
on 7 February
its
finalized early in
months before
American
riding
renamed
International Airport
ments
USA.
November, weeks
released in Britain,
and
of December.
The
concert promoter
him
a fledgling
New York
autumn of 1963, he
newspapers. In the
shows
enterprisingly telephoned
in
to the
United States,
them
to travel
from
New
In
train.
York to Washington by
want
USA just
Opposite, inclement
What
Ed
in
England.
The
that
Sunday
nearest
show
broadcast by
also
31
October,
when
their
of fans
arrivals
who
attended
their
and departures.
When
Epstein visited
New York
in
billing
on three
79
80
The Beatles
consecutive shows, on
9, 16
perform
for a
fee.
Records,
who had
reduced
and
23
reconsidered their
group's recordings.
They may
resist:
still
details
pop music
Capitol
at
minute
initial
now had
band
into
much of a presumed
government
USA
in
make
his
mark
as
British journalist,
Rights
just as
was revealed
it
was getting
into.
young
promised
The major
political
scandal
John Profumo
[right)
and
his
relationship to a call-girl,
Christine Keeler (above)
to
in
undermine
began
popular music
to reflect.
And on
in Britain
to
22
USA,
the Civil
The
November
1963
-John E Kennedy,
to
Philby, a
Kim
of American
politics.
the day
the popu-
what had
A moment
that
shocked and
81
duced
the four
agent
in
seconds
this
all
their
fitted the
Kennedy
Dallas on
is
John
F.
assassinated
in
22 November
Conditions, after
1963.
all,
have not
racial
disasters
and environmental
why
if a
need
for diversion
attended the
That
said, there
is
style a clear
teachers.
The
no denying the
who saw
and tonsor-
Beatles were
seemed scandalous
in
1964 and
made
intergenerational friction.
More
reached one
Elvis
its
had been
like Steve
periodic troughs.
largely banished
popular music
at a
time
when
it
sexuality of early
Little Girl')
82
The Beatles
it
still
of the Singing Nun's 'Dominique', which was the number one record
USA for
in the
most of December
1963.
fairly
number one
'It's
falsetto
hits in 1963.
My Party'),
sound
that thrived
would be wel-
a revival of rock
group with
Stevie
'My
on vocal
Valli,
Wonder had
and
Boyfriend's Back')
Dean and
There was
Baez, Phil
also a
guitar-wielding folk-singers
And
rhythm and
blues, soul
USA, although
- had
the genres
- Motown,
they played
Chuck
these genres
who were
either too
not interested
young
at the time,
more mainstream.
who were
later in 1964,
when
'I
can't hide', in
'I
Want
to
pop
When
tour.
line
to
The
Bob Dylan
in the
charts.
The
this
'I
get high',
and
never
on amphetamines
smoked marijuana
in
There was
as well.
carefully
about the
a musical give
and
pop
fans
83
captivated by the
First
in
Want
'I
to
'I
get
Hold
is
'I
taste of marijuana,
influenced Lennon's
approach
and was
to lyric writing,
himself
from acoustic
to
electric instruments.
him
disinclined to follow
directly,
and
in 1965
than halfway, abandoning his folk guitar for an electric rock band.
It
'I
Want
to
USA late
much
same way
the
as the Beatles
James, a Washington
stewardess to bring
that
'I
Want
December
to
DC disk jockey,
him some
British
had asked
When James
It
Carroll
sailors,
a British
pop music.
1963.
in 1963. In
Airways
air,
him
in
the
American
With the
Hand'
in
much
Beatles,
earlier
Beatles.
'I
appearances. But by
There'.
mid-December
'I
An
sides of the
Want
to
tracks
on
Hold Your
were playing advance copies, and Swan and Veejay, sensing that their
investments
recordings might at
moved
legally against
moved up
its
own
release dates.
it
had
last
pay
off,
and
84
The Beatles
In
for
a London performance
the spring of
for
shared a
Lopez.
bill at
the
to.
more than
word
that
'I
USA,
the
Sylvie Vartan
and Trini
number one on
in the
them
in
1964
Want
to
On
day
their first
Film executives
tial
at
in late 1963,
with
a quick, inexpensive,
a contract offer.
to their
Their
mutual benefit -
British market.
The pop
and
film. Elvis
and other
early rockers
suit.
had made
Chuck
at least
pop music
like sausages,
and
in
cameo appearances
in films
85
Around
and of course,
Bill
call in
the early
days of rock. Plot lines and acting ability were not great concerns; the
was
less in
Not long
it
began to dawn on
United Artists that perhaps the Beatles might yield something better
who
And
the Beatles,
own commercial
ideas
clout,
had
made
to look foolish.
young American
expatriate director
Mainly, they
as well.
That was
fine
with Dick
who was
hired for
the project.
Lester was ideal for the Beatles: he
Sellers in
The
Beatles loved
handle their
it; its
offbeat
comedy suggested
Alun
Owen
was hired
And
Beatles
manic eleven-minute
as
what
it
was: a
band of dis-
Liverpool
briefly.
He completed
his
work by January,
he brought a draft
with him.
Besides looking over the script, the Beatles were committed to
some recording
in Paris. Electrola,
sang in German.
The
Want
'I
would not be
to
and
A livid
make
reluctantly,
at the
hits,
'She
lyrics, as
at their hotel a
the recordings.
and then
in a test
when he telephoned
Martin arrived
worked
unless they
they were.
Germany
and not
a hit in
to find out
where
few minutes
later,
Once
German
recordings, they
86
The Beatles
The
Buy
'Can't
- and
Me
Love'.
its
The
was
all
as the royalty
idealistic
buy me
The
money was
sentiment,
'I
Now, even
for
money, money
more
can't
love'.
session tapes
increasingly typical,
show
which
is
a finished
(but did
McCartney proposed
much
could
There,
Beatles.
in,
offsetting
lyrics
Lennon sang
bouncy arrangement
bright,
its
call
arrangement. At
they
first,
two
by
Lennon
takes,
to
And
McCartney,
after
is
he saw the
own
in the style
of
version.
tries,
Still,
there
was work
to
be done.
open
bing,
was deferred
The
until a
London
what
was
to
clear
do
in
from the
in the verse
two weeks
It
in the
USA, but
and
American
their
immediate
arrived in
New York
on 7 February,
From
trip.
the
moment
its
they
on
No
newspaper or magazine
all
let their
presence
87
limited the
And
charges.
offers
at
The
Beatles'
they landed at
own manipulation
Kennedy
American lounge
moments
to be quizzed
by
into the
after
some
Pan
fads
and did not expect much. But with snappy answers, wisecracks
and
there
Asked
sir
conferences were
by
a reporter
money
first'.
Asked why
their
all
defer-
drily,
who
said
'we need
'if
we
was continued
American concert,
at
at the
But
their first
hostile.
American
televisions
were tuned
Sullivan,
now
free
usual two.
Around
the Beatles,
of fans
was
sing
'We
in
of
statistics
plummeted.
He
A week later,
Miami Beach,
then the
They
an
enlisted to
and
Hotel
seen by seventy-three
Some
in,
army
their first
into the
in
At
Carnegie Hall the next day, they were preaching largely to the con-
verted.
proselytization.
Love You
were back
in
The
visit
left
on
tape.
adulatory
hit
from the
film
David Maysles,
the Beatles in
young team
New
of
documentary filmmakers,
trailed
88
The Beatles
89
90
The Beatles
pandemonium
vate footage
pri-
minute show
alas, is
March. Missing,
American Federation of
at the last
Washington
seg-
Visit.
original.
and
released
on videotape
as
The
Lennon,
sitting in his
room
at the Plaza,
Beatles:
left
is
uncanny resemblance
First
out of the
shown playing
The chord
The
to the introduc-
The
stylistic
Five,
Animals, the Yardbirds, the Hollies, Freddie and the Dreamers, Gerry
welcome not
itself in
fires
new
Beatles recordings,
which
it
draw on
released in the
EMI
a backlog
awaited
of early
as singles to
be
fair
game
for
album compilations,
buy
albums and
Beatles'
singles
should be kept separate; nor did they regard the Beatles' albums
Opposite, McCartney tuning
the left-handed Hofner bass
integral statements.
as
American
fans.
its
a slight
releases,
end
through
^MI
hodgepodge
collections like
91
92
The Beatles
Yesterday
several
and
Today,
American fans
months before
Capitol's reconfiguration,
Hearts Club
Beatles
Band in
new
material
which persisted
When EMI
However much
some
made
possible
1964,
when
by the American
label's
places
by
their
interesting statistics
own
on
Billboard's
And
in
album
made only
May
they held
chart, even
two.
though
Q
Q.
en
o
4^
battered like
ofip6j. Success
The Beatles
in
a portrait by
Astrid Kirchherr,
to
England
to
who came
photograph
A Hard
Day's Night
spring of 1964.
in
the
is
it is
George Martin,
198!
94
The Beatles
welcome upon
their return to
were
London on 22 February
crowd
awaiting the group, were filmed for both television and for Pathe
And
the Beatles.
visit,
'Can't
Buy
Do
Me
Now the
mates in
England triumphant on
22 Februaryl964,
two weeks of
pandemonium
in
on
that
after
utter
America.
to
storm
pop music
first visit
to the
resistance.
American
Abbey Road
its
On
That'.
whose Daily
comedy
Can't
several
Beatles
Hcftvl
stitches,
had more
Lennon,
95
Lennon's
of
collection
first
idiosyncratic drawings,
His
Own
published
March 1964;
in
the Beatles,
In
was
Write,
the velvet-
in
tours,
the style of
He
Joycean wordplay.
also
Carroll,
continued
filling scraps of
full
human-
sorts.
Beat,
some of his
met with
unanimous
virtually
During
Mersey
stories in
to interviewers. In
of
paper with
it.
Own
March, he
Write,
which
critical
the Atlantic.
trip
were
myth
years later,
Owen
licly.
Lennon was
he drew on the
and over-simplification
traits
was the
others.
Owen's
among
in
McCartney was
was
script
equals, the
comic
foil
And
for the
sion appearance,
and
some grandfather
is
tags along,
and Ringo
deserts the
group
for a
few
96
The Beatles
by
and
safe. Naturally,
them
songs.
a respite
but they
this period;
taped several television and radio appearances, and there was work
to
songs and
new
new songs
of the
record
all
in Paris,
and
as
it
They had
written most
composed
near the end of filming) in the week between their return from the
USA and
their first
were recorded
early
sessions
ended
in
first
The remaining
compositions.
J.
original,
'I
Little Richard's
'Long Tall
Sally',
session's three
Long
Tall Sally.
is
and assurance.
A transitional
moment
there
single, called
unquestionably the
had been
own
full
of energy
1964 and
late
Hard Day's
film, begins
Night', the
title
stark, bright-
edged, slightly dissonant guitar chord that lingers defiantly for a few
It
took several
less,
settled
it
tries to
distorted
and
on an
intriguingly
ambiguous configuration.
Lennon playing
D on his bass.
plain,
The
bright,
C - while
a six-
suspen-
McCartney
settled
on was
97
came up with
pending a better
Lennon and
called, variously,
title. It
the titled
was
Starr
who
versions of how that happened. Lester has said that Starr tended to
so they
that Starr,
after a
it
it
'it's
'night'.
been a
But
Starr
must have used the phrase well before the filming began, because
Lennon included
Write, published in
Whatever the
come up with
in 'Sad Michael',
it
was
it
left to
to begin
film.
process, such as
to,
at
Lennon and
was:
it
home
lyrics
title,
to
It is
Own
March.
origin,
book.
His
in In
match-
collaborative
woman
which
tell
he comes
to domestic bliss.
The
show
certain
classic traits.
first,
bluesy
melody
Lennon
cast,
to
lingers
move up
on the
F,
to
an F sharp,
giving the
know
it
melody
hits
It
when
the
an F natural
a temporarily
but then restores the F sharp, both in the melody and the
accompanying chords,
ment
is
to be in plain
feel alright')
on the word
And
Lennon
'feel'.
it
a bitter-sweet quality,
melody
you holding me
and
in a quirkily eleg-
hammers home
98
The Beatles
look back
was 'And
at the present in a
We
and long-lasting
first
Buy
Me
his
Love', there
in a line
And
there
symmetry and
here,
There
is
idyllic.
is,
in fact,
an appealing
Starr,
use nylon-
But
during the
he provides
verses,
accompaniment
a lovely, arpeggiated
strumming.
Known
Better', his
melody
is
bright
and
eager,
'I
Should Have
and so
some
is
his
harmon-
reluctance about
letting a flirtation
attentions, in fact,
And when
tell
you
me too.
And when I ask you to be mine, you're gonna say you love me too.'
Lennon urges her on: 'If this is love you've got to give me more, give
me more, hey, hey, hey, give me more.' But when the bridge comes
that
love you,'
Lennon
sings, 'you're
Fell'
a decidedly
more
is
just the
same
love
style
is
in
attracted to another.
He
is
disinclined
'When
Get Home,'
for a reunion
new
is
no business
being here with you,' he sings, and after a telling pause he adds,
way.' In
Any Time
as a
at All',
Lennon
'this
And
if
99
scene from
Night which,
A Hard Day's
like
the rest
produced
Happy Just
to
cousin to
Want
reasonably
realistic
view of
answering fan
edge. 'Tell
him
'I'm
to
In
in
'I
Dance With
Me Why',
for example,
its
is
a peculiar
a rougher
combination of ac-
ebullient surface.
The
first
thing
mail.
we
learn
is
that the
woman
the song
singer, treated
something that
that
is
Lennon used on
done,
tell
rockers,
me what and
I'll
is:
in the
'If
it's
As
apologize.'
until finally,
there anything
In
I've said or
left
is
'I'll
Cry
is
'Is
can do?'
Instead',
angry and
a line in falsetto:
he
is
not so accommodating.
him - but
The circumthis
time he
is
women. Or
at least, so
he threatens.
When
The
100
it
comes down
moment
is
cry.
to
it,
For
as pathetic as the
he confesses that
all its
one
macho
in 'Tell
all
posturing, the
in this collection
is
on,
woman
it is
continues to
of being ridiculed
music:
lines
Lennon
wronged
lover here
is
Me Why'.
he
flirt,
Do
That',
that
The
as a cuckold.
'You Can't
exasperation
is
captured in the
Be Back'
is
song,
Cant Do
'I'll
Be
That',
it, 'I'll
abandonment
are
to a
if
he
leaves,
he
will
confides that there has already been a pattern of punitive but clearly
ineffective departures.
his
requirements
to
sound technicians as he
prepares
to film the
performance of
'If
group's
Fell'. All
assembled
except Lennon,
who was
off
he used
in this
sequence.
as in 'Tell
&*"*
Me Why',
101
he
offers a
to break
my heart
again.'
on A Hard Day's
The
Beatles,
percussion battery.
The main
Do That'
The
on With
the
and
'I
creased
if
listeners
tended to sense
it
it
appearance in
Any Time
at All'
is
lines, as if
it
and often
were an oboe.
a case in point.
A series
it
was
Its
of descend-
ing whole notes, played in the bass register under the frothy guitar
is
a piano in the
mix when
it
it is
only clear
The
adds significantly to
this
added
Most
it
changed
more
his
and when
name
to Roger)
guitarist,
McGuinn, used
Jim (who
the instrument
making bright-toned
arpeggia-
Someone'
his
own
'If
Needed
in 1965.
group had absorbed the various rock, rhythm and blues and country
styles in
ease with
Owens
moves
to their
entirely at
home on
to the guitarists
who backed
own
'I'll
and the
material.
Cry
a Carl Perkins or
something
Pickett
classic
Do
Instead',
Buck
That'
owed
Beatles' real
achievement here,
as in
Tk
102
backstage
at the
Theatre
London as the
in
Scala
A Hard
Day's Night.
it
was
teenage
to prevent
girls
from hurling
during their
first fully
in
the
summer
of
1964.
103
Me
Do' on,
is
in the
was identifiably
Days Night,
far
Beatles have
moved
more
striking
is
forward.
Hard Day's
and took
a brief holiday,
reconvening on
Long
Two
stage in
Copenhagen, the
first
Hong Kong,
Australia
11
let
Nicol
up
all
and
New
Zealand.
tonsillitis; until 15
filled in for
their next
album, which
EMI
wanted
for only
Though
USA and
it
British
television appearances.
June,
him.
concerts, as well as
And on
June
two
it
in the
sessions (during
was time
start
shops in time
which
to leave for a
Canada.
were already
were living a
triple
life,
new
textures.
At the
that they
had
bringing to
madness
all
the
the Beatles
the set
list
meant
had
Beatles never
witnessed
until
then
was
thousands of fans
the
Town
came
that there
performed on
was
to
than teen
idols. Early
their fans to
stage.
in
in concert they
after
The
rigidity
of
The
who thought
of themselves
as
more
Hall to catch a
But
restraint
of their
first
Paris concerts.
as
YtrritfiM
105
106
The Beatles
the
killed
any
of the Beatles
possibility
being heard.
hoping
their hotel,
for
nothing more
life
was
parade of backstage
at the endless
on
The
on
this aspect
young
girls
of touring
made
life,
tour'.
except in
a point of dragging
to
non-stop
Cynthia had
McCartney
split up.
his
reports that he
regularly denied
rumours
fish-
and
that he
The
set
Harrison's
romance with
Pattie
Boyd, an actress
evidence that
all
this
was taking
its toll
group's fourth album, Beatles For Sale, a collection that sounds dark
and autumnal
before the
North American
energy of A
resumed
Started
in late
Thing', both
like 'Eight
taste
Days
Lennon-McCartney
are
Little
In
The
begun
a process
of self
his findings.
For the fourteen songs included on the album, they reverted to the
balance of eight originals and six covers that had worked on Please
Please
'I
Me and
Feel Fine'
With the
- notable
Beatles.
for
its
Two more
originals,
Lennon's
107
introduction
That
single.
My
- and McCartney's
left
one recording,
'She's a
Woman', were
released as a
a cover
Contrasting the Beatles For Sale sessions with the burst of creativity
that yielded the all-original
it
it is
Feelgood's
that
in the
not to
repertory of
difficult
Hamburg
Liverpool and
its
Chuck
'Rock
Berry's
Dr
to
Little
track
is
'Everybody's Trying to Be
My
And
Hey Hey
a pair
The
thematic way.
roll
The new
complement the
originals in an almost
and
folk influences.
in a sense, the
a hint
'I'll
of a
style
standing
change.
as icons at
Chuck
each pole:
mood
of
are harbingers
and Dr
Feelgood hold the fort for rock; the Carl Perkins numbers argue the
case for rockabilly,
in
The
originals,
creativity.
McCartney
Lennon and
empty-handed
Know What
to Do',
to have
again,
'You'll
won encouragement
too,
was having
Quarry
Men
days.
It
'I'll
a dry spell.
He
it is
a hill-fledged
a bouncy,
The Beatles
108
in
1964
- or at
ballad.
One
A Hard Day's
Night.
strumming and
acoustic guitar
light percussion
accompaniment.
in
sequence
abandoning
cheerfully
no excuse except
that
it's
his love,
Still, it is
The
And
more
a
singer, after
time to go.
Lennonesque,
on the
as
relationship
to offer his
in 'Tell
own
Me Why'.
him
grief,
twelve-string guitar
riff
gression
Ride'
new
much
is
Do
it
The
'riff
That' used a
same
sessions,
a repeating
of the song.
and 'Day
in
and
similar device.
take
As
in 'Ticket to
was an approach
109
and
lyrically slight
catchy, danceable
of 'I Feel
Fine'.
- and
At
heart,
and
its
bridge
after the
is
it is
built
is
to rate
The Lennon-McCartney
a
- was
on
BBC
interview soon
released,
in the studio
its
song was
'rubbishy'
'She's a
to
the lyrics as
to argue.
collaborations afford
some
interesting
new
twist:
an alluringly
on
guitar's
top
string
is
McCartney underpins
There
triplets.
is
so
it
much going
open
guitars'
E's.
is
the
something of a
is
untroubled popsiness.
sive desire.
And
which
progression,
the ringing
its
E's,
Its lyric is
verse
stylistic
melody winds
gracefully
walking bass
The
in spirit
from 'From
Me To You'
melodic
momentum
stops, replaced
and
McCartney harmonize
verses
is
in a figure lifted
The
and
end
in thirds
in fourths
without
manship,
is
and with
Beatles touch
throwback, a burst of
little
in the
fifths,
Me
reprising a quintessential
Do'.
more than an
exercise in crafts-
But
if
the
his
and
songs were
for
fairly
'she
something new
But
in
'No
lied,
I'm
Do
The Beatles
10
Lennon's melody,
is
an
when
who
him
But
me,
'cos
higher:
'I
with another
man
in
retribution, switches
forgiveness
Lennon
The
face.'
my place.'
his
He
that
on
matched
light,'
you saw
in
hand
offers
a reconciliation.
in 'Baby's In Black', a
desire
else, to
on
saw the
'I
also uses a
well
know
predicated, of course,
'I
with
from
crashes
music
A minor,
major into
Starr, the
contact,
calls.
make
fill,
is
The
melody
leaning heavily
uses the
same technique
rubbery guitar
and he
a wonderfully
solo.
to spice
its
it
for
own
made him
Lennon, but
it
uneasy.
He
was another,
returning to the raw expressivity of his earlier songs, while also heading toward a combination of abstract imagery and social
McCartney,
oping an
in time,
would
far surpass
ample, Hollywood
starlets
him
as a
comment.
('Honey
Pie'),
off
The
For
Hammer').
Sale.
is
on
Beatles
Its
dressing room.
closest predecessor
that
among
Lennon's songs
is
a Loser'
is
more
revealing,
111
112
The Beatles
its
autobiographical aspect in
turing.
The second
which
verse
mask
is
I
telling:
am
'Although
laugh and
wearing a frown',
as
is
tex-
act like a
the chorus,
appear to
be.'
Lennon
of mind in
late 1964.
He was
beginning to
tire
flea.
summed up
of a
life
He had
his state
that he
some-
perfected the
to
life
be a mess.
a wife
he
life
called his
sage
'fat
was the
Beatle period'.
would be found
their first
first
life.
more
in the title
what he
song of the
Beatles'
second
later
mes-
film,
and
o
5"
Q
3
Q.
C
CD
o
o
Up
till
then,
bit
beginning
ofart on
And Rubber
to
their
ofsingles.
Now
we were
own, as
entities
to
of their own.
emerge
that way.
and
set,
1965.
114
The Beatles
a respite
and participated
London. After
a year that
comedy
saw two
skits
a film,
singles, a
long residency
at least
kept them
visits
at the
easy,
work.
Maureen Cox, on
11
America,
if dull,
in
fifth
or Eight Arms to
February. Lennon,
Hold
You,
known
it
would double
and eventually
called Help!
Shooting was
mimed
musical numbers
could be choreographed.
No.
2 at
later
Bahamas,
week
another Harrison
'I
later,
Need
You'.
By
Girl',
and Harrison's
first
con-
effort.
Another
The
stretch,
sessions
would resume
at the
end of
mid-June. All told, they recorded twenty songs, of which only three the
Buck Owens
classic
'Bad Boy' and 'Dizzy Miss Lizzy' - were covers. Although 'Dizzy Miss
Lizzy'
ended up
as the
its
Beatles
VI album,
American market,
to
115
1965
to fans
London airport
in
start
Help!
the
in
work on
Bahamas.
and material from the Help! sessions that was not des-
Sale leftovers
showed
Nor was
of late 1964.
Quarry
Men
quality.
example -
that they
era.
Yet the
new
little
originals
Before'
more than
and
pleasant
Me What You
'Tell
filler.
The
a Lot',
were
left
Two
collaboration, 'Wait',
others, 'If You've
Got
with
one
in fact, three
on the
of
One,
'If
You've
Means
Got Trouble'
finds references to a
shelf.
unissued.
left
See,' for
Beatles themselves
Lennon-McCartney
spell
from the
in
song
which he made
as
come up
his
Me
By',
rely either
for
him.
on covers or on what
And
in this case,
it
was
116
The Beatles
music was
Its
more than
little
a six-note lead
American soul
label, set
and
chunky rhythm
less
impressive
settled
on
track. Starr
which, given
seemed
film references
its
and
own
his
bad song.
and even
lyrics.
'Act Naturally,
to sing,
It
They completed
against
and
rhythm
steady, crackling
a version of
it
was that
it
it
as 'Ticket to Ride'
guitars. In
view of their
may have
'Ticket to Ride'.
They
ment
in
tried to
who
away songs
recorded
it
in early April.
in particular
it
had become
fit
on
to the
They were,
Again',
'Nobody
But
it.
American
in fact,
to record themselves.
You
a different arrange-
interest in
'I
was by
still
P.
McCartney
notably, he
Don't
Want
Peter
J.
giving
Most
(the last
duo
it
singer
to See
and Gordon,
worked
largely as they
in the
facilities this
way
they were
live
days, singing
performances.
When
they had
lines.
had
and
it
with
new approach
that involved
with basic guitars, bass and drums. Other instrumental touches were
then added, and then, once the complete backing was recorded, the
vocals
left
him
method:
free to concentrate
117
965
on
his vocals.
first
was
band were
first
drum
He
as well.
is
also said to
Later in the session, Harrison resumed his usual position, playing lead
on 'Another
guitar
first
McCartney dubbed
next day
McCartney continued
some of the
in
for the
'I
Feel Fine'.
appreciates her
'Ticket to Ride'
is
riff,
Of course,
woman who
The
man and
this
the text
earlier
one with
right.
The woman
progression
when
was
ear-catching
the guitar
riff,
Starr's
sion-building accenting
seem monotonous
and
but there
in the least. It
that
is
The
so
entire verse
much
going on
thirds,
that the
muse
slightly quirky.
is
A major chord,
in
me is
around.' And
The chord
of
paean to a
is
Feel
'I
a slight synco-
is
song
him
treats
to blame.
new
on the song.
as a
kind of ten-
is
changes chords.
McCartney's offering
Another
Girl',
seemed
trump
whom
'She's sweeter
than
quite a few,'
Which
explains
why
he could happily
all
the
in all the
girls,
and
flee.
I've
met
modified blues
it,
sounds
so remarkably cheerful.
his
songwriting
during the
first
three sessions.
The
songs,
'I
Need
You',
which was
118
The Beatles
Me Too
both naive declarations of love, with neither the conflict nor the
more
seem driven by
guitarist than
their
melodies.
and
work of a
the
are,
of a songwriter, in the
freely
work through
their best
They
and
new
Harrison brought a
allowed
used
him
to embellish
it
on
to fade in
Need
'I
Is',
Lennon
as the B-side
later
left
which
taking a solo
'This.
used
it
again
Boy was
moment
built
on
in
Its
There
it
was
little
are similar-
common
and adventurous.
on Lennon's
of 'Ticket to Ride'.
Lennon
pedal,
where
volume
A major chord. He
was released
ities:
it
at strategic
'Yes It
1950s'
It Is' is
chord progression,
actually
more
original
the rather
in
the
Bahamas,
engage
fully
as
the
A Hard
'if
lyric.
tonight',
Lennon, McCartney
a colour
coming
as
it
does
at the
to a
end of the
'red'
might be expected
'tonight',
to resolve
particularly interested
the
The
tension
The
next
script,
in
that they
were treated os
extras
their
in
own
film.
with
line,
'said'
As
is
and
when
'remember what
'tonight'
volume
harmony. But
increased just
it
it
too
is
set to a dissonance.
would normally be
dissipated.
emphasized.
were
after
new
textures,
sometimes
in
1965
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120
The Beatles
American
on
guiro,
The
more
would
also
'Tell
sessions
ture
Got
to
'You've
Got
to
It
may
'Yesterday'.
Its
now
considerable.
that
is
refers to Epstein's
it
closeted homosexuality.
On
Bob
Dylan's music.
and technique from anything Lennon had played before - and the
barbed
lyric.
and western
try
folkishly direct.
strain. 'You've
Still,
Got
to
coun-
is
more
It Is'.
the fact that the note clashes with the chord that accompanies
It
was
simple
guitar
clear to
affair
soft-focus acoustic
Martin brought
in
John
who
Scott, a flautist,
it.
tandem,
overdubbed
alto flutes,
months
that immediately
later
became
about
it is
most
that
conscious inspiration. As he
when McCartney
came
tells it,
in his head.
His
to
him
in a burst
Finding the
it
to people, asking
lyrics
was not
was
its
as easy.
most
of pure, un-
first
de-
them
if
they
place,
it
and
knew what
'Scrambled eggs,
was
for several
it
was.
oh baby how
McCartney
121
1965
melody was
about romantic
When
it
loss,
and the
his
own, he
fitted
desire to turn
it
out
as a
is,
sweet ballad
itself to a
first
saw what
treatment like
anything the Beatles had done hitherto. McCartney and the others
agreed, although they did fashion an electric guitar, bass
arrangement
guitar.
Harrison looks on as
director Dick Lester, with
megaphone,
make
the
to
and drums
The more he
listened
122
In
one
The Beatles
of the
interesting
more
sequences
in
surrounded by
British
1965
123
124
The Beatles
song needed
accompaniment.
McCartney
resisted at
first:
lugubrious
at best,
at
worst. Martin argued that a quartet, rather than a full string section,
it.
to try
it is
at the
piano, and
Martin has said that some of the most distinctive touches in the
quartet writing
McCartney's
- were
ideas.
Interestingly, at the
same
on
session
14 June that
it
produced
seemed tailor-made
as a
A blatant Little
Sally' as
withyl Hard
upon
moment
If 'Yesterday'
But
its
genesis
Day s Night,
it
dis-
the
later called
revealing
time out,
this
- songs he wrote
title
until filming
compose
to
song to
fit it.
in colour,
and
it
a grander budget.
would be shot
in the
pursued by the
Starr, the
priests
of an Eastern
and the
continuity
Beatles
film
the
was scheduled
cult.
Hence
the
Wood
pro-
sacrificial ring,
title.
For the
later
disciplined actors,
Charles
Behm and
unwitting owner of a
and tended
to begin at
first,
end the
in the story.
to stay out
all
film
They were
night, even
the
also
when
not
filming
In this
protection at
125
1965
peace and
to marijuana
through
The
fresh as they
ject
whose
six
months
in
earlier,
of the filming.
Buckingham
by a
much
own
were
in
them
left
them
if
not quite
as
perience in Help! they rejected one script after another, even one by
the talented and then-fashionable British playwright, Joe Orton.
When Lennon
was disinclined
in April,
reflect the
to
guitar figure
film. Instead,
he produced another
the introduction,
the last in falsetto
self-
vocal.
is
So
far, it
he
call
descending
could be a
126
In
The Beatles
one
of their
most famous
special.
24-year-old
who
is
completely
first verse,
we
get a glimpse of a
adrift:
55,600
New
at
Shea Stadium
York on 15 August
in
so
today
opened up the
The
bright,
door.
bouncy production
that
Few
listeners at the
time to
The productive
later,
is
Lennon
make
it
as
it
perfect
an auto-
sessions
came
to
until
127
1965
They had
early September.
that
the
new album,
in the Works,
on Queen
The
had
just
1965
in the
Most
summer
been published.
Elizabeth's Birthday
Membership
ritual.
Shea Stadium
Honours
List:
12
Spaniard
tour took
them
in
And on
and
listen-
finding the road a depressing, stifling place. Their fans seemed not
to have
changed
world
tour.
They con-
The
Beatles themselves
had changed
a great deal.
They were
experi-
world
politics,
They were
also
increasingly interested in
conferences.
their
Queen
Elizabeth
II
on
American war
the situation
in
in
Vietnam,
Biafra,
and
'Cold Turkey'.
128
The Beatles
Left,
during the
Lennon played
1965
and down
the
tours,
electric
piano as well as
129
1965
another Royal
the
elbows up
keyboard
of ebullience.
group
They agreed
to tour
guitar,
to
Britain in
When
As
work on
their sixth
were numbered.
measure
Command
with the
year,
second out in time for the holiday market. Their scheduling in 1965
cut close to the second deadline. But by working into the early hours
and
3
12
case, until
dawn between
sistent
and
satisfying of
their albums.
all
12
October
in the shops
finally
turned their backs on cover versions. All the songs are originals,
they would be for the
of their recording
rest
by
Soul,
career.
Of the
as
fourteen
to the
Quarry
Men
days.
of
its
Now he finished
it,
referring to
its
it
accompany
original use
by including a
line in
as pretty
as 'Yesterday'.
stylistic
it
was not
spirit
and
'It's
Only
new
Love'
rest
'I've
and complexity
Just Seen a
in
common
some
Face', 'Yesterday'
new
as collections
to toy
What
a record
of un-
release as a
130
The Beatles
as a
kind of song
picture, even
if
cycle, in
shows
it
greater thematic unity than Sgt. Peppers Lonely Hearts Club Band,
which
is
first
is
at love
from a
but
as a universal concept.
regard.
love,
same
pop
One
distinct perspective.
'All
as
You Need
Is
Love' as
an interpersonal emotion,
and
is
tradi-
the songs
a
romantic
all
uncommon on
hardly
at a frustrating
relationship, but
disengaged partner.
Servility
and
My Car',
which
would-be
is
declared and
demanded
in
Its title
is
woman's
that the
flat
title is
Lennon
Singing
'Girl',
he sounds
he would love
on the
record,
measure, Lennon
recalls
the threats of
Cry
Your
'I'll
Yet
Life'.
touchingly
Lennon
song, and
is
know what
and me?'
Do
also contributes
My Life',
That' and
'Run For
a reflective
song
in
which the
more than
ination series,
not
is
For good
likely
at least
he's
and
a love
about, but
Lennon
sings, 'isn't
he
a bit like
may
you
965
around
to see
but
is
it.
The two
theme
take
he'll
down
the
He
superficially
'If
the
'trip'
It
Out'
Hard Day's
is
is
and
give
entirely, at the
take: life
about trying
in
is
shirts into
too short
and although
seems. But
it
some of it.
Its
origin
it
in a
who were
(specifically, the
never
triple time.
title
had plenty
was
it
a triplet figure
The
are
first
It Rubber
song
a classic
is
to save a relationship
soul'.
is
most
fit
McCartney's
It
is
he
lover,
just in case.
for that.
waiting
isn't
Needed Someone',
drug-culture meaning.
the
absence:
its
phone number
is
as well.
tells
less
is
to
have to
do with
phrase McCartney
describing British
title in
The
'rubber' aspect
was
One
title
Booker
left
T.
and
off the
album. But there were other tracks with decided Motown, Stax, and
even muted Gospel influences. McCartney's 'You Won't See Me' and
Lennon's 'The Word' borrow textures and chord voicings from soul
records.
And
My Car'
The
rifT
are
would continue
its
travels: in
The Beatles
132
In
November 1965,
Granada
Television
an hour-long programme
devoted
to the thriving
songwriting partnership,
with performances by the
Beatles
musicians and
stylish
for
965
33
1968 Jimi Hendrix used almost exactly the same figure as the basis of
'Crosstown
his
'Drive
Traffic', a
McCartney song
at ties to the
It
is
My Car',
car horn.
And
On
open
new
to
which
minor second,
line, creates a
ever
harmonium
ing
original.
Redding
on
several songs,
and
Needed
common on
heard
is
'Think
My Car'
and 'Run
for
Your
Life'.
And
counter-
The newest
is
the
the
sitar,
800-year-old Indian classical instrument that Harrison became fascinated with after encountering one on the set of Help! Harrison began
sitar
though, he was
clearly a beginner,
and
still
to doubling the
melody
line
and adding
slight
limited
is
embellishments to
Lennon
is
when McCartney
several
is
close at hand.
grace. 'Girl'
also
the
first
is
'In
My Life'.
Its
is
not
one of
melodic
at least
recording, too,
is
latter
among Lennon's
masterful,
finest
and one of
stadium.
this
is
is
opens the
134
The Beatles
rhythm
The
guitar,
and
surprise
drum
is
An
listed
it is
attractive burst
on the album
punchier than
of neo-
a piano,
Martin
fact,
recorded the solo with the tapes running at half speed, a trick that not
only
let
him
more
play
its
odd timbre
when
done
in real time,
speed.
full
When
the Beatles
first
Abbey Road's
entered
earlier,
The musicians
saw
to the sound.
Lennon made
to be emphasized,
sufficiently,
The same
they
to
demanded
get
that a
way be found
typically
wanted
to filter
it
it
further.
- challenged by
'ahs'
and repeated
lyrics
on which they
'tit-tit-tit-tit'
When
dawn on
the Beatles
12
and Martin
filed
would make
in 1966,
that the
it
just fin-
when backwards
tapes, electron-
and
In the
Glasgow on
in Cardiff
on
12
December.
to be
two days
later,
and
o
o
I
VI
We
were getting a
little
and make up an
bit fed
up of being
Make
identity,
up a name for
make up
it
alter egos,
McCartney
in
the point
Band
early 1967,
just pretend, so
from
this
was
psychedelic caravan,
Pepper drumhead.
Sgt.
Paul
McCartney on
Sgt. Pepper,
1989
136
The Beatles
Towards
Sgf.
Pepper 1966-7
They were
way
to court trouble.
it
was
time to speak out against the war in Vietnam, and although they
couched
their
comments
in
mented with
McCartney admitted
And
drugs.
to top
rise to
it all
off,
that the
band had
experi-
would
1966 was also the year of Revolver, an album with which they would
increase the creative distance
in
pop.
It
Forever',
else
the defining
Club Band,
first
four
months of the
year.
they would spend these months making a film, as they had done the
previous two years. But he had not counted on the Beatles' increasing
wilfulness. After Help!, they
demanded
script approval,
and then
During
Lennon and
this break,
Boyd on
influences.
He
in
21
attended concerts of
music.
new
He
developed a
listening habits,
and
Surrealists.
And
he helped
start the
International Times, a
All the Beatles set
started collecting
tinker with
make demonstration
And when
they gathered at
Towards
Sgf.
George Harrison
after his
wedding
Boyd, a
to Pattie
A Hard Day's
had
137
Pepper 1966-7
left
the
Night.
in
1977
Harrison for
1974),
and Harrison
Abbey Road on 6
ideas. In fact the
April, they
far stranger
first
was another
night, Lennon's
Starr malapropism),
come. Lennon's
lyric
was
brought to the studio. Inspired by The Psychedelic Experience, a reinterpretation of the Tibetan
LSD
proponents
recommends:
not dying,
Lay down
it is
It is shining, it
In 1965,
not dying.
shining.
lyrics; here,
Reduced
to
its
momentary
essentials,
simple melody
floats
'Tomorrow Never
over a single
11
138
The Beatles
change
at the
sculpture
end of each
it is.
Harrison's sitar
collaborate
cally
and
repetitive,
ritualistic bass
from
McCartney and
on an almost
pounding and
verse.
and drum
Starr
figure, steady,
visceral feel.
There
are splashes
bits
of recording tape
at
is
that
Lennon
Lennon's hauntingly
Two new techniques were used to create the peculiar vocal sound.
One was Artificial Double Tracking, invented by Ken Townsend, an
Abbey Road
it
this
found other
uses.
an
effect for
so
which the
Towards
Sgf.
Pepper 1966-7
139
Lama
the Dalai
radical.
as that
his voice
organ
its
the
'like
Doing
so
meant
Hammond
dissecting
the organ and rewiring the speaker. But at that point, the Beatles'
two and
a half
new
yielding
techniques.
The
backward vocal
to the
coda of 'Rain'
and
recorder,
liking
home
after taking
in interviews
of the
a tape
backwards on
it
his tape
his idea.
carefully planned.
To
pro-
Only
Sleeping', Harrison
wrote them
play,
down
in reverse order,
wanted them
solos he
to
wanted
to
combine
sets
of backward
and
The
solos.
operation took a
full
six hours.
'I'm
Only
Sleeping'
was
also
'In
My Life',
the
When
facilities
in
which
Martin recorded
and
his
half-
was
flexible.
with tape speeds yielded, they began recording songs with machines
running
at
versa.
sounded
faster
when
played back
No
One'.
in search
of sound
effects.
With
EMI's
bathtub
filled
140
The Beatles
Towards
Starting
[left)
Sgt.
in
Pepper 1966-7
141
1965, McCartney
and he
is
heard
in
that
Pepper
tracks. Harrison,
and indeed
his
McCartney's
'Fixing a Hole'.
demands on
Starr's
once complained
seemed
to
that they
want a drummer
1967
and indeed,
session,
McCartney loaned
to the task in
hand.
his
two
142
The Beatles
more overdubs:
and
a brass
And
sorts.
added
away.
fell
to 'Yellow Submarine',
Alan
was brought
Two weeks
on
Bhagwat
known
'For
that trumpets
No
My
in classical circles,
One'. Harrison
to
You
soloist well
during
fallen
Soul.
McCartney requested
to his soulful
French horn
Civil, a
there were
To'.
And no
longer needing
Some of the
demanded more
songs
McCartney, whose
facility
had
record,
is
a plain rocker,
of the band's
and drums
lighter,
bouncier, piano-based
effect.
McCartney's
free
of fancy
gor-
effects
and
orchestral overdubs.
as a single, also
'Rain', the
songs
was a knock-out.
Its
far.
On
first
out of which
spills
title in
McCartney and
an energetic guitar
riff.
There
is
no
bridge, merely
two
It
has
This
is,
letter
some
verses, a reprise
for once,
from an
structural
of the intro-
and
a coda.
Towards
Sgf.
Pepper 1966-7
143
on
rests
a single chord,
at the chorus.
is
not
'to
too
much
of a melodist to accomplish
more
this simplicity
layered percussion
distract the ear
that,
melody
his
virtuosic
all
common
all
line, tactile
of which
variety.
snare bursts, and then continues with one of the most energetic,
is
an introductory guitar
riff
that
by a bagpipe-
like drone.
McCartney's
bass, placed
him
an ingenious
is
when
all
Lennon and
McCartney harmonize
a slightly
Eastern tinge,
F natural
just
cessive beats.
a high
below
The
on
in fourths
McCartney
by hammering on
it),
it
little, it
first
melody with
Middle
playing
it
steadily
on the beat
slide
for
from the
twenty suc-
shelter
is
from both
The remarkable
singles,
all
rain
and
thing, of course,
is
mind
either way.
of it, Lennon
this, their
to sing
woman
The
Be
no one hears - haunt 'Eleanor Rigby'. And Lennon's 'And Your Bird
Can
Sing'
is
much
through
nearly as vivid as
moment
when
Fonda were
around
sitting
a pool,
who
physician
opening
song's
was
it
And
line.
work
describes a
like to
'Doctor Robert'
about a
is
McCartney
Sunshine',
blithely chirps
about
how wonderful
No
McCartney
working
at a
first is
hair,
idyllic, idealized
romance
is
we
know
'There, running
how good
is
my
can be;
it
he's there'
One',
both of us thinking
portrait of abandonment:
to
Its lyrics
evocation of
that the
level,
harmonies.
in pristine triadic
someone
higher
articulate
sung
is
it is
are a perfect
a dual-focus
woman,
off with
someone
else
come
a long
way
composer.
as a
He
has three
is
its
lyric
'I
Want
And
in 'Love
You
he breaks
To',
Indian
Hamburg
friend Klaus
British singer
a telling collage
Moptops of the
past.
The
of their eyes
inset.
Their hair
it
is
it,
Towards
Sgt.
145
Pepper 1966-
in
returned to
the
first
Germany
for
band
Hamburg
inspired by the
style).
As soon
as the
So
little
Germany
live
did not bother to rehearse, nor did they attempt to produce stage
versions of any of the material they
had
from
that their
terrible performers,
and
that with
all
Budokan Hall
in
booked
to play at
arts devotees,
its
came
who
desecration by a
safe
but
They soon
146
The Beatles
After the
1966 world
Lennon flew
tour,
to Almeria,
Gripweed
in
Richard
Won
that
War.
the
How
was
It
there
of his most
complex and
largest
crowd of their
career.
A schedul-
media worked
Beatles
port,
and
their entourage
The
at the air-
officials
before
on
15
of tracks
in store in the
left
off the
It
Soul, plus
still
in progress.
of raw meat and the separate bodies and bloodied heads of decapitated baby dolls.
casioned no
The
comment
soon
as
it
was
in Britain,
Nor was
issued, Capitol
harm
where
it
had
it
widely criticized
a
oc-
in advertisements
in
America. But
as
it,
album with
Towards
Sgf.
147
Pepper 1966-7
McCartney
A few weeks
Lennon
Standard on 4 March,
be proved
which
in
and shrink.
will vanish
go
that
which Lennon
in the
rock and
first,
Evening
roll
don't
know
his disciples
Vietnam.'
right.
will
as relevant as
'it's
later,
portrait.
replied,
It's
them
that ruin
it
for me.'
when
first
it
was published
Magazine
in
England.
Nor was
part of the
article
published on 29
on
New
3 July.
July,
in a
article
which
Beatles' concerts.
The
and
was
listeners
could
tour,
the
burn
when
York Times
Beatles
and
on with the
Lennon explained
that he he
fact that
popular culture carried more weight with young people than religion,
adding,
'I
wasn't saying that the Beatles are bigger, or better than Jesus
Christ as a person, or
what
this.'
And, more or
The
when
and
said
tour had
made
it
God
as a thing,
was wrong, or
its
a firecracker
Beatles looked
they
it
less,
it
or whatever
it is. I
just said
it's all
he apologized.
tense
moments, including
a concert in
Memphis
around
to see if
shot.
But
at
- they had
Lennon had
How I Won
was shooting
help,
composed
in
a filmscore for
and
in
Germany
of short
148
The Beatles
more about
the
And
sitar.
Lennon.
They reconvened
Abbey Road
at
run of
sessions
The
berry Fields'.
arrangements, and
is
brilliant collaborations
and
melody
understanding
on
all
you
see.'
On
ideas.
the
and fourth
alright;
first pass,
in the verse:
mean,
it's
He
'That
is
is
between
demonstration
gression
earliest
you
complete
can't,
The
lines
third line
was expanded
made
to 'that
first:
and discarding
starting
in but
think
is, I
it's
to the
it
it's
By
Lennon returned
the time
built
around the
sion,
which functioned
take
you down,
and nothing
to
verses
accompanying the
lines 'Let
to get
hung
about.'
He would add
me
is real,
styles,
in-
a mellotron,
an electronic
The
and has
though
panied by an
Lennon singing
eerie, slightly
mellotron gives
bass line from
way
There
the 'Living
reedy mellotron.
On
is
is
is
a beauty,
no introduction:
easy' verse,
the second
accom-
verse, the
McCartney and
clearly unpolished,
verse.
me
take
light
drumming from
you down'
Starr.
When
is
Towards
Sgt.
Pepper 1966-7
149
And
most
then, in the
alluring
moment
it's
me,
is
accompanied by
the exquisite three-part vocal harmonies the Beatles had used so effectively in 'Here,
again,
Four days
later,
more
Starr's
The mellotron
radically reconfigured.
introduction,
the 'Let
me
at the start
But
its
take
after
mulling
it
Two
work
days'
song
to
its
And now
logical place
Lennon decided
He
to
asked Martin to
new
itself
And
December
line.
crucially, the
finale
of the song.
electric
was
it.
on
and
sound of a swordmandel,
week
Martin brought
later,
an arrangement
in
in four
which the
cellos offer
When Lennon
cellos to play
an arching counterpoint to
overdubbed
his forceful,
nuanced
Or
so
Martin believed.
On
reflection,
orchestral guise.
He was
not about to
Lennon thought
its
start
anew;
it
might
his suggestion to
doubted
it
three.
Martin
in different keys
was both
it
faster
and
down and
The
point where the rock band texture metamorphoses into the tapestry
of brass, strings, backwards sounds
150
The Beatles
hung
Army
refers to a Salvation
more an expression of
is
its title
uses the
name
purely for
Said' played
its
'Tomorrow
imagery.
literary sense,
and
music that seems to spring naturally from the wordplay (even though,
music came
A few
first).
McCartney brought
'Penny Lane',
in
a lighter
its
Though more
made
one plain -
harmonium and
method
tracks
that
named.
Fields'.
McCartney, working
one recorded
a
it is
counterpart, describes
which
would become
typical in the
months
to
up the
rest for
to a single
overdubs.
Before the song was finished, there would be more piano, guitar
and
and harmony
bass, lead
brass.
The most
Baroque instrument
burg Concerto No.
Mason
sound
in a televised
2,
to play
a vaudeville-style
on
Opposite, McCartney
like the
'When
complete
I'm Sixty-Four',
his catalogue
at the start
when
began
become
quite adept.
for
George
reminded
and
them from
was slow
at first. In
Here
song
EMI
of
of 1967, and
new
use the
his song.
looked
effects
invite
vocals,
Martin.
early January,
song with
Lennon came
lyrics that
in
with
touched on
a friend's recent
Towards
Sgf.
Pepper 1966-7
151
The Beatles
152
dent, a
recent film,
How I Won
song, but
it
the War.
It
in Lancashire,
was a
and on Lennon's
McCartney
also
had
fragment -
song about waking up, catching a bus and slipping into dream - that
was
easily joined to
McCartney
tried his
hand
at
is
smoked.
And
after the
you
on'.
the line,
'I'd
love to turn
his side,
he explains
his
Starr's
drum
parts
vamp
album's
title
track.
McCartney
bassline with
discursive.
Towards
Sgt.
Pepper 1966-7
153
McCartney
Early in February,
song's
hit
upon
(ideally
as his
masks,
false noses,
London
of a
bits
who
orchestras,
costume -
gorilla
to
taking
Martin has said that the musicians, drawn mostly from the Royal
Philharmonic and London Philharmonic, had never before been
asked to play music in which only their lowest and highest notes
in
musicians. Yet in classical music circles, the idea was hardly new.
among
Cage
listed
And Krzysztof
had won considerable
chamber and
orchestral
problem how
on
its
hum
demand
a follow-up.
E major
chord. But a few days later they decided they wanted some-
The
hummed
and
three pianos
was overdubbed on
all
was
to
the final
board faders were slowly raised so that the sound would be sustained
as the
seconds - a
fifth
the length of
A Day in
the Life'
fifty-three
was
finished,
It
had occurred
from
to
its
its
the
'Sgt. Pepper's
focus.
The song
intro-
McCartney
their
A Day in
album
the
154
The Beatles
the rest
the
the
end of the
it
model of sorts
in the
its
part,
toward, and
record.
McCartney had
the
if-
its
principal composer,
Its lyrics,
for the
effects, to say
When
McCartney heard
As
the
'how
reaction was,
album
are
at the
we going
it
most
to top this?'
Pet Sounds after hearing the Beatles' Rubber Soul. But Sgt. Pepper
brought
Pet Sounds,
and meant
lyrically
and musically
to be as daring as Sgt.
Pepper.
when he had
lasted, the
a nervous
as
long as
McCartney
eclipsed
Lennon
Sgt.
art.
dominant
as the
The
aspects of studio
last
work
that he
moment when
sit
found tedious
as well.
To
a great
If
nothing
else, a residual
sense of
He
was, in
Beatles'
fact, at a
turning point
in his
songwriting.
now seemed
The
early
pointless to him.
the beginning of a
new
direction,
and
during the current sessions he had already come up with two masterpieces.
The
this:
Towards
Sgt.
Pepper
966 - 7
155
writing about?
The
Fields Forever'
worked
Some
model.
cal
of
it
it.
If
was no count-
in the Life'
and transformed,
Day
as the
songs
first
filtered,
line says,
toyed with
from
were
all
inspired by seemingly
lyric for
Mr
Corn
from
And
Flakes.
'Lucy
in the
a scene in Alices
mundane
was
lifted
Lennon found
Kite!'
items.
The
almost verbatim
an antique shop.
in
inspired by an advertisement
its title
Julian,
clearly,
by
What Lennon
and
his engineer,
snipped
at
Kite!'
To produce
a tape
of calliope music,
it
air,
reassembled them
Cage was
a predecessor,
his 'Williams
band
Mix'
in 1952,
theatre organ,
work
itself,
and musical
in a
texture. Its
boat on a
river,
imagery
is
with tangerine
is
also
remarkably
trees
and marmalade
skies'.
On
newspaper
who
taxis
appears at the beginning and the end of the song. Lennon later
described the
girl
as a
the kindred spirit he had by then determined that his wife Cynthia
was not.
The
bars by
song's other-worldly
Hammond
cross
atmosphere
is
between
it
figure
sounds
on
like a
first
ver-
156
The
first
the organ,
move
into a
first
verse
beats in a bar)
of the
in
first
two
which the
drum
bass
change
in
melody
present a second
beats
but
from
'single note'
as the
second
Starr lead
way
verses gives
song's title
is
sung
proclamation.
had pursued so
in the
McCartney's
on
'She's
is
and
Revolver,
his subjects.
like
A story
McCartney
effectively
newspapers for
in
Home'
ical lines,
struggled
all
and
left
home
at the
itself
His other
is
which McCartney
his
independence
mellowing with
age, while
Lennon,
and claims
to be over
it.
confesses to wife-beating
McCartney
celebrates his
also collaborated
on 'With
a Little
is
interestingly,
Lennon and
Help From
My
Sgt.
Towards
Sgf.
157
Pepper 1966-7
-</<U^
<.
Submarine, the
George Martin
did. This
autographed by
Beatles, contains
score
all
four
Martins
dictated by
McCartney
looked, but in
effects that
Benefit of
fact,
make
Mr
it
it is
often over-
its
own way
as
Kite!'
- for the
hill-
Pepper's Lonely
Harrison's
more
significant effort
in
dialogue
with a vibrant string score by Martin. At the time the album was
released, this five-minute apotheosis
patch of laughter
hindsight,
it
at the
much by
including a self-deprecating
it
The Beatles
158
At a party to introduce
Sgf.
Club Band
been
their
suits
had
trademark
through their
last
word
'Lucy in
unveil the
new album's
gatefold sleeve.
up the
sums
feeli ng
trickery
and instrumental
colour, they
is
were
at their
down
public
to the press,
and
the
and
as centre-pieces.
'Fixing a Hole'.
both the
title
There
cut and
The
on
'She's
Day
cham-
in the Life'.
tape effects are ambitious too. Besides the collage in 'Being for
the Benefit of
Mr
electronic menagerie to
at the
end of
a cat's
title
song and
its
reprise,
applause
Towards
Sgt.
Pepper 1966-7
159
appended
final
There was
also a final
chatter.
On
explosion of noise was cut into a continuous groove around the label,
so that the Beatles could be heard chortling continuously until the
listener lifted the stylus
from the
disc.
was
art,
and
artist Peter
Blake about
fictional
Pepper band
as
playing a concert in a park. Blake's idea was that the band should be
surrounded by
its
each.
The
artists,
a life-size
list
of
cardboard representation of
a bass
drum with
drum
stood
wax
left
were
Released on
June 1967,
Sgt.
In truth,
real
its
home
in the
set. Still,
the concept
album
Who,
idea quickly
for example,
October.
A year
later the
who
its
The
Who
Sell Out,
guitarist
recorded
first
of
catchy hit singles from 1964 to 1966, had also matured, and were
about to
start a
and
several operettas.
in
160
The Beatles
Sgt.
counterculture,
report from
it
was
less fanciful:
things to
a manifesto
all
people.
relax
and
float
in
a place
the budding
one could
downstream'. But
and composers.
To
all
it
was
also
find
to 'turn off
something
as poets
2
(D
o
c
Q
3
Q.
A
O
Q.
o
00
had a huge
to record.
the
same
one, because at
By
this
done
all at
and entourage
to
of the other
meet
Transcendental Meditation
who promised
assistance
Bangor, Wales,
Mahesh
to
show
of
162
The Beatles
Even
used to refer to
No
it
off
by playing
And
pronouncements.
it
had
music
safe in their
indeed,
when
'the downfall'
did come,
public
it
was
at the
moment
artistic success.
Early on,
elled
when
band but
a brotherhood.
up
plenty
in the
else.
lives,
interests
else.
single, lived- in
man
still
about town.
was
still
He had
new
obsession to
which he could
some
extent, but he
he
among
felt like
other
Lennon's
For Lennon
bored with
live
this
was
making
the routine of
performance
Having grown
Still,
brillance
when
asked to
come up with
pressed.
'All
weeks
You Need
is
Love'
is
a perfect example:
a live global
163
the Zeitgeist
anthem
perfect
power summer.
had no particular ambitions outside the group, although
Starr
word out
would be
that he
in the Beatles'
By
the end
drumming provided
suggested
demanded
little,
and
a distinctive
less,
come
but he
essential element,
into his
to serve as required.
own on
the
last
few
had
Beatles
new
ideas.
started.
And
One
see
all
this point,
difficult to get
future.
At
who came up
would
find
it
with
increasingly
of the Beatles'
from merchandising
artists.
was incorporated
in
to sponsoring projects
by
May, and by
early 1969
company and
it
Pepper.
in
The company
was running
a fashion
a record label.
management
ship
his
basis
would be renewed.
work was
nil:
a recording session,
leave the
Lennon
During
it
with plenty of
America
a suggestion
during
h e objected
and
fill it
Pepper
television film.
extras,
The
room
for improvisation.
would be devoted
England with
the relation-
recently,
clear that
film
him
first
a trip to
sessions,
told
Beatles
irrelevant.
when he made
early on,
on 30 September,
expire
or even whether
creative
would
He had
to
And
performances of their
on the plane
already settled
trip
latest songs.
His
title,
164
The Beatles
and had the theme song written by the time he presented the idea
the others
a
sequence
on
at
25 April.
to
stripper,
woman and
list
a small
man.
the film.
filled
title
song
brass flourishes
They were
juggling
it
another project too: the soundtrack for the Yellow Submarine anim-
and cruised
script,
and elegant
effects
hoping that
would go
script
spontaneous adventure
It
their
didn't.
*'
*2,
new
,ns
^WR^fr
^&m$*
yMH
ViitM
ffr
N^
It^Jj
.
EL&rJ
-1
SJMiiL
\JKkc:i
IjtejyV-
P*
Ski
~il
*\
-
jg*y
"
165
'I
Am
the
donned animal
costumes:
left
to right:
Lennon, as the
walrus, front
and
centre.
make
and turned
would be
popsy
'All
left
When
appearance
May and
Lennon-McCartney
early
Up
'It's
All
Whether
was released on
The
All
Pepper
a single
with 'Let
show gone
is
Love', the
until 1970,
it
when
It Be'.
You Need
also
Know My Name
Sgt.
collaboration; McCartney's
(Look
at the end.
ficently dense,
haywire.
the production
a screen
on the soundtrack.
to
to preparing
to date,
on
25 June.
And
live
during
as a single.
Needing
a B-side, they
166
The Beatles
Rich Man'.
year,
and
all
India,
in
proved a
February 1968,
failure.
By May,
and Yellow
until 22 August.
Even
announced
and
their
their
separate ways.
for
Magical
Mahesh
Yogi.
The Maharishi
tion techniques
repeated chant
- mainly, focusing
one's thoughts
on
a mantra, or a
167
what the Maharishi had told them about the Hindu concept of soul
transmigration. Putting off the question of whether or
how
to replace
Epstein, the Beatles threw themselves fully into Magical Mystery Tour,
for
on
ii
set to
begin
would be used
in the show.
The
first
in the
all
new
'I
Am
the Walrus'.
Lennon's
lyric
prankster in
less to
him wanted
ponder.
me and we
insight,
are
all
fairly clear.
Eiffel
line,
'I
am
he
as
you
he
are
you
as
are
and 'Crabalocker
been a naughty
to give analysts
The opening
girl,
you
But what
to
let
boy you
make of 'Semolina
up the
pilchard climbing
Tower'?
European police
'I
am
siren,
and builds
to
again, the
combination of the
Beatles'
am
the walrus'.
once
basic track,
And
Over
a fairly bland
which was
asked to produce a variety of effects, ranging from carefully orchestrated sardonic laughter to chanting 'oompah,
oompah,
stick
it
up
touch, the Beatles decided, during the mixing sessions, to bring in the
BBC
and unusual
Maharishi
is
after four
and
Bangor
you down,
The
Hill',
an easygoing
after
instrumental credited to
all
gloomy evocation
ends with
his
across frequencies,
(abetted
'Sit
168
The Beatles
by organ,
and backwards
cellos
for friends
who
have
lost their
The
way
visit to
one
Los Angeles).
when
on an
26 December,
it
inappropriate holiday
by screening
it
When
fare.
in black
the
one thing,
BBC stacked
But the
BBC
aired
it
on
entirely
its
it
and
vivid hues
double
EP
in
make
England and
their effect.
as
an LP
The
in the
recording, released as a
USA
(the
first
snapped up
enthusiastically.
side
singles)
was
was
single, 'Hello
year,
He
1968 he flew to
there,
some
Bombay
he recorded
his
to
This
on
may seem
his soundtrack,
complete
as Beatles songs.
approach to
composition; indeed, for the one that was used, 'The Inner Light',
Harrison's approach to the text
was
similarly freehanded. In
Novem-
Harrison a
his
letter praising
religion, sent
sources.
and
specifically
The
set
some of these
melody
his Indian
to music,
slight changes,
Harrison
fitted this
The
and
first
released
it
as the B-side
of
Harrison composition to
text.
169
McCartney
thumbs up,
In February,
their studies
all
left,
animated
Ye//ow Submarine.
film
new
Domino-inspired
and com-
Madonna' was
by McCartney's ener-
track, driven
scatsinging by Lennon,
taped during these sessions was 'Hey Bulldog', destined for Yellow
Submarine and
The
real
two
was composed
Lennon explained
it,
in a
The
first lines
sudden burst of
McCartney's
inspiration.
As
this
fell
came
to
him
all at
170
The Beatles
IHINN1I!
171
animated
good
bad guys
left,
and
the
(various species of
right.
172
The Beatles
They
slither
away
they slip
To accommodate
melody,
lyrical
McCartney's
with 'Lady
the
as beautiful
and wrenching
But he was
ballads.
in
its
way
uses a gently
as the best
of
dissatisfied
was shelved.
like a restless
- wind
was
inside a letterbox,'
in a letterbox
wind
to
Yoko
Ono
Higgins, the
artists
earlier,
in her writings
and
'instruc-
collective
of conceptual
at least a
a preview
Lennon
artists that
in the lyric.
art
who
were
influ-
of Marcel Duchamp.
of Ono's show
at the
Indica Gallery
deliberately
more
times,
a peculiar correspondence,
feet in Rishikesh.
The
Beatles
a few
The
others lasted
women
Mia
Farrow.
They announced
their
break with the Maharishi, but continued to say - though with muted
after their
Indian
prolific,
173
and even
Starr finished a
known
popularly
Harrison's
in
these were
single
'Hey Jude'.
bungalow
twenty-three
set
antithesis ofSgt.
Work began
as the
in Esher, to rehearse
Kinfauns,
at
and make
test
official sessions
began
recordings of
songs. Four of
at
Abbey Road
later that
two were
left
unreleased.
That
left
May
to October,
lyrical
up
and by
new
songs.
in other forms.
and appeared on
his
sessions,
leftovers.
first artists
He
signed
and
in 1979,
'Circles'
in 1982.
Only
Back from
India, they
talk
would
artists to
it
but
New York to
that
real
'Western
to
of television interviews,
Communism'
company
lasted long
largesse
as
in a series
enough
to turn
Apple into
money
drain, as
There were
to be a
its
artists.
The
174
The Beatles
One
of the
public
first
production and
merchandising company
that the Beatles
in
1967,
boutique.
from the
formed
was a London
It
was
start:
disastrous
neighbouring
businesses complained
and
the
shop
haemorrhaged money
the Beatles
gave away
until
its
and although
it
proved
to
be a fad,
Harrison continued
his
some years
Shankar,
with Ravi
right,
world's master
one
of the
sitarists.
its
doors.
175
spectrum.
The Modern
young
British
Jazz Quartet,
late 1980s.
well as the
pantheon.
What
two
its first
in the
sitar
in praise
stylistic
Hindu
of the
breadth within
years?
Meanwhile,
in
after
i:
Two
Virgins, a collection
of
This too would find an outlet on Apple, in a jacket showing the collaborators entirely nude, front
and back.
late
in the
Ono
final.
forthwith,
when
A month
it
were inseparable,
cover
its
earlier
Starr.
and
after
London
apartment owned by
was
art,
a miscarriage in
as part
With
2: Life
the Lions.
The
inseparability of
who
blame
Ono
for the
to Beatles record-
It is
collaborators
of a new
Ono
stumbled into
it
this
that way,
Lennon
far
more
in the
musi-
artistic sensibility.
might see
absurd to
lead
and
also apparently
avail
themselves
thought they
later
became
of his
life.
on
176
in
The Beatles
Ono, soon
wife,
to
be
second
his
by posing nude
cover of
Two
for the
their controversial
Virgins album, a
collection of avant-garde
collages.
Banned
places,
was
it
brown paper
sold
in
in
many
a
sleeve.
Still, it is
band worked
particularly
when
first
own
when
songs.
together,
and
fact
is,
work began,
continued to do so periodically,
started, or
week, a
Beatles could be
When
Ono. The
this
charge of his
tributing
where
own
two
worked elsewhere
in the building.
Each was
and
out, con-
necessary.
efficient, yet
the
During the
Harrison were
at
a bluesy
answer-
ing figure between the vocal lines. Harrison ended up sitting out the
session,
was
spending
his
Lennon song
released as the
177
wanted
Lennon
first
to release
it
it
as a single.
Lennon
team since
And
ous.
later
producer)
found the
Geoff
Martin's
Starr
sessions.
on 22 August he
quit the band, convinced that he was not needed. In a way, he was
right.
During
to film
Still,
promotional
single
first
on
his nearly
drumming.
the
its
they coaxed
clips for
new Apple
in time
label, these
a glimpse
at
orchestra assistance
trickery,
implica-
Beatles as
backwards
twists.
pop
single,
at over
it
better')
last
avun-
is
his
a tuneful
his
Beatles
had included
and supported by
and
a rollicking piano.
Europe. Lennon
felt
he had
common
in the
USA
when you
me
out.'
talk
all
want
to
and
to be his audience.
all
He
for
But
in
know
that
178
The Beatles
Although he acquiesced
That
version.
remake 'Revolution'
in the decision to
a rocker,
version,
renamed 'Revolution
as
album, and with the single and another recording from the album,
'Revolution
made
9', it
acoustic version
ambiguously: here,
make
out
when
In the
more
you know
'don't
It is
The
The
basis
Over
as a heroic
of a
that, in
texture.
It is
a gritty look
in the finished
several days,
Day
do
society.
orchestral,. choral
'A
his protests
denouement,
made
But
out.
production,
that
triology's
a little
unable to
9', is
and
is
tainty,
he
up. his
in'.
Lennon
sound
own
effects recordings
1'.
at
was
was
All this
a tape loop
of a
ing the words 'number nine'. This repeating 'number nine', panned
across the stereo
in
work
that
was
as well.
alternately comical
What
and
all
this
added up
to
was
an incoherent mass
terrifying,
man
for
peace
- that
was
\
Lennon's job
- Starr
in
still,
final side)
1968
by Richard Avedon.
on the album
poses
is
is
final
shouts of Revolution 9
,
.
The
juxta-
179
180
The Beatles
music.
electronic
of electronic
work during
the early
and
Roundhouse Theatre
London. But
in
Starr, too,
new ground
broke
had.
And
at a 'Carnival
in fact,
would record
in the
much
9',
way
the
now
Starr,
there was
on The
little
that tracks
at the
disc.
Beatles that
on Revolver or
Pepper
Sgt.
said of the
Beatles
a public
were composing
had
same can be
in 1969, Let It
Harrison, and
work
it
actually
of Light' concert
Me
Do'
Yet
first-rate material.
to
if
the
'I
phase was
this final
one of consolidation.
The
Beatles, in fact,
and performance
is
a fascinating
styles that
and
There
arrangers.
are
compendium of compositional
title
off on the
is
calypso. 'Martha
has
its
My Dear',
tributes here,
style.
is
actually a take-
'Ob-La-Di, Ob-La-Da'
is
McCartney has
in
said that he
just
show
by the
that the
coming up;
in fact,
Who
group had
just
recorded the heaviest, most firebreathing piece of rock ever committed to record.
McCartney wanted
Gun' begins
eerie,
as
less
to
pre-empt them.
straightforward. 'Happiness
vocal style.
song that
He
way
series,
is
Warm
but a dark,
to pure blues,
and then
doo-wop
and
181
includes the kind of red herrings (the claim that Paul was the walrus,
for
And just
years.
as
McCartney's 'Honey
1920s, Lennon's
Pie'
easily pass as
from current
He
styles.
itself
Me
and
borrowings
Got Something
Except
his
My Monkey',
Of course,
is
referential.
Of the
Hide
to
in 'Yer Blues',
Lennon
at the Alice in
Bill' is
name and
an acidic assessment
is
on an
sensitive side
of Lennon's songwriting
plaintive
a
'Julia',
is
memory
The more
refers to
guitar,
and
sings
Ono.
'Why
expectations
Don't
We Do
It
uncharacteristic that
if
'I
Will',
he toyed with
In the Road?;
many
Honey
his
Pie'
and
listeners at first
'Don't Pass
on
its
Me
By', the
Rubber
Soul,
guitars.
it
Had
it
Hammond
is
texture are sleigh bells, an eccentric touch for a country song. Yet the
least
182
The Beatles
Of the
seven
new songs
it
differ-
The
strings.
is
which
heavy-handed. 'Savoy
made
good-natured throwaway
Long'
is
in a
shown
to
sweet tooth
of the
hard rock
style.
And
is
basically
'Long, Long,
in texture as to
seem ready
to implode.
The
inviting
best of Harrison's
moments,
is
new
'While
As members
Eric
of
Cream,
Jack Bruce
(left)
were
British
1965
Show.
1968, he contributed an
'While
My
Guitar Gently
year, co-writing
and playing
on Cream's 'Badge'.
most
Both the
it
at
as a gentle,
183
on
slightly
ideas
textural details.
Its
sessions,
rhythm
guitar
up featuring
drum
a piano repeating
and
his
thrives
this
is
strummed
acoustic
is
lets a guitarist
added
a line that
vocal, perfectly
conveying
member of the
Clapton, once a
in the
rock world
power
trio
as a virtuoso soloist.
For the Beatles and other pop bands of the 1960s, virtuosity in
its
solos
lines
right kinds of
were certainly
virtuosic.
But the extended jamming that Clapton and Cream were known
for
as
were musicians
like
it
in 1969, in a
that
as interesting. In
He worked
hard on
it,
at the
subject.
jam
to
in
Harrison sings
it,
recording
more than
hundred takes
layered guitars
doomed
it: it
for Harrison to
band's
own
for
Lennon
skewer bourgeois
to criticize the
society,
of solo projects
been forged
lyrics
Maharishi or
dirty laundry.
There was
The
in the
same
whose musical
crucible, but
And
in
any
But then,
case,
was not
this
was the
personalities
intent
until
had
on explor-
Lennon began
184
The
Be
publicly airing the group's internal battles, in 1970, that anyone outside the
To
all
far
appearances,
life
was
still
how
fine in Beatle-land,
to support
and The
Beatles,
it.
_i
version
of our
lives in
it
Hard
look fun
and
were
By 1969, Lennon was
interested
in
in
that
if
the notion
people climbed
bags so
into
be
so important. That's
doomed because we
own
why we
George Harrison,
promoting
tongue-in-cheek philosophies
such as Bagism
it's
less
the Beatles'
projects than
man,
in I
Me Mine,
1980
186
The Beatles
The
Year 1969
Final
For the most part, Harrison, Lennon and Starr were content with the
state the Beatles
the
as
pop music
royalty. Yet at
fall
Moog
tronic music
tion,
other collaborators.
After his
cameo
in Candy,
Sellers, in
in a controlled
the
moment, were
had liberated
spirit.
their imaginations,
which the
The
recording
discipline of rehears-
The
others
- perhaps
role in
had
and
February 1969.
studio, he believed,
cover)
in film.
early days,
to his consterna-
The Beatles was finished, the group would work up some of the new
songs for a television taping, and would then perform them
Soon
the
there
was
talk
of a three-day booking
in
sale
live.
mid-December
at
to charity.
a slippery concept
by
that
new
date
rehearsals
(but
had
The
Final
187
Year 1969
Ever since
his
walkabout
in
Starr
group's
final
turned to
the
months he
film for
outlet. After
among
and during
a solo
a bit-part
in
Magic
Christian,
in
The
1969.
preparing
would
new
material.
television special,
Roman
The
rehearsals
would be filmed
to
some
begin
for a
exotic location
concert,
still
which would
also
their
endeavour from
start to finish.
To an
to be the roof
of
188
The Beatles
their
on
new Apple
their
in Savile
Row, London,
January afternoon.
a cold
With
offices
Album'
sessions
fresh in
still
them around,
Twickenham
were no
sessions, there
and
We hear them,
interaction.
less oldies.
Drifters,
make
extraordinary
Bob Dylan,
Carl Perkins,
and even
Smokey Robinson,
a few of their
methods
up on count-
own
the Rolling
hits are
touched
The
there
if
real
was
every
work
plenty,
new song
out
tried
be recorded
first
material, of which
four Beatles. In
all
at these sessions
yielded the
new
at
filled
to
sessions
Road
including
Came
Darling', 'She
fact,
In
Through
the
Starr's
Hammer', 'Oh!
'Something' -
Mr Mustard'
and
as well as quite a
few
The
reference tapes
made by
development of several of the new songs, from the moment the composer played
McCartney
it
is
to the others
heard sitting
at the
the chords to his songs while the others follow along, or scat-singing
sections that lack lyrics,
tions
and acoustic
and
versions,
Songs are
and with
tried
slow and
fast, in
solos.
Often, the
lyrics
come
band
is
life as
churn-
'No
The
Final
189
Year 1969
The
British' stance
'get
back to where you once belonged' - became the peg around which
McCartney
There
him,
tells
'Is
Tucson
left his
home
in Arizona?' 'Yeah,'
monologues by Lennon,
And
telling
lific
asks,
at
'it's
also plenty
is
And
were spun.
fantasies
list
of grievances.
to play.
And
He
objected to McCartney's
Clapton
future, Harrison
made
it
The
when
clear that
four
all
met
programme about
the
if
Studios,
to the group's
in favour
of a theatrical
television idea
film.
All that
clear-cut than
it
was. In
was summarily
making of a new
film
Beatles album,
new Apple
to negotiate their
redefined as a television
others continued
fact, it
easy.
had announced
that their
was a
By
disaster,
although in concept,
moved
stage,
live, this
was
to Apple,
recorded
live in
form
it
And
the album's
after
title,
all,
per-
at this
to be Get Back.
To make
later
did
some
slight
when he was
met
Little Richard's
at the Star
Club
touch-up overdub-
in 1962,
part of
artist in
The Beatles
190
Will
it
be a
live
McCartney,
leads
film?
at the piano,
his fractious
colleagues
in
a rehearsal
Be
in
concert?
television special?
January 1969.
It
The
Final
Year 1969
191
192
The Beatles
own
his
sessions,
The formal
almost a
He
fifth Beatle.
played on
instance),
and
now he was
but for
right,
most of the
were
sessions
oldies performances
unruly
as
as those at
Twickenham: jams
new
songs,
sound
live,
day, in the
roof-top and gave a concert for the cameras while crowds gathered on
the street and
on adjacent
The
roof-tops.
the performance, but the Beatles did get forty-two minutes of taping
Back
three
in their
more
washed
songs,
their
last
basement studio, on
31
hands of the
It
Be film.
their
project, leaving
make
his
way through
He produced
to
Or
on
it,
and
his
chat-
so he thought. In
Except for some minor tinkering, the tapes were untouched for the
rest
of the
year.
are
One was
which fades
new
Dance
in
on
its final
thirty seconds
titled
and then,
after a
for Me',
which pivots
Me
briefly into
one of Lennon's
follows,
one
set.
At
he
hums
his
it
way through
in
it.
And
then there
is
Lennon's 'Dig
a slowly evolving
It',
vamp
The
Final
193
Year 1969
lyrics.
included on Get Back was shown in the film, only a few seconds of
the song
as
was,
it
showed
its
onto the
it
album -
final
new songs
skiffle classic,
909', a
Lennon
antiquity,
composed
to
work
with, plus
He opened
'One After
it
was
that the
right.
made
to record
album with
the
in the 1950s
it
and
in 1963.
Lennon's other contributions were 'Dig a Pony', a page of streamof-consciousness lyrics set to a bluesy melody in three-quarter time,
and
has
Me
insecurities
some
more
he had explored
in 'If
vacillating
tion,
Down',
Fell'.
Its
Me Down'
'Don't Let
around
lyric's
a representa-
is
And
as in 'All
You Need
lyric,
is
not by convenfive-
Blue', a straight
Lennon and an
McCartney dominated
formations ended up
McCartney used
its spirit.
which
as a pleasant
to describe
it
set.
mid-tempo
- 'music
was grafted
as a
after
all its
rocker.
'I've
Got
immediate standards,
lilting
'Let
It
Be'
The image
- captures
a Feeling', to
hearkened back to
trans-
to rollercoast by'
a late 1968
which
Hard
a folksy
And McCartney
Year',
tune that
sang two
194
The Beatles
As the
Back
first
a single with
due fanfare on n
April. In
Me Down'
were released
as
advertisements, Apple
its
would be
as
available in the
it
to
was announced,
summer.
distributed.
balcony
at
in exactly
EMI's headquarters
in
Complications thwarted
Manchester Square)
Lennon's original idea of
marrying Yoko
Ono
in Paris,
no
better,
its
release.
release date
home
in
Gibraltar.
They
flew to
Peace' honeymoon.
Lennon catalogued
their
McCartney
is
wedding
Marylebone
in
A revamped version
at the
Registry Office
fared
The
Final
195
Year 1969
Ono
Lennon and
celebrity -
and
campaign
for
peace.
Beatles, actually,
began a
series
Montreal from 26
to 2 June, during
May
find
its
way onto
the Abbey
Road album.
On
12
March, McCartney
whom
met
campaign
for
he had
The
too.
world peace,
which
and decided
was
likely to
written
its
The
believed
and recorded.
wedding was
draw
as a
Amsterdam
new
for their
Lennon documented
in
it
the
this in
wedding and
peace campaigning,
Montreal
in late
May.
all
as
an offshoot of his
as a
kind
was on
to
his
be his
first
try at that,
although
as
it
turned out,
release
stores.
six
of the
disc.
released five
weeks
later.
The
This was
weeks elapsed
'Give Peace
room and
196
The Beatles
1970,
it
on
available
ready to record
(Lennon played
all
McCartney played
was
motion
refrain. Surely
its
The
still
his 'bigger
them
drums,
bass,
it
can be.
lines, 'Christ
The way
you know
it
they're
an edited version.
For the
of the
flip side
tunity to shine,
single,
Two
sessions.
had
McCartney
and guitar
'Ballad'
line.
release as a single.
and
it
was not
What
is
not
clear.
Heavy)'.
specifically for
was up
to at
its
other
it
on 22 February, the
They worked on
it
more
in April,
'I
and
Beatles
Want You
and
(She's
finally finished
So
it
in August.
it is
nevertheless
owed something
to
and
ideas:
far
beyond
it. It is,
it
in a way,
The
warm
introductory figure
is
a rising
and
organ chord.
stops,
It
The
it
simply
verse
is
an
The
Final
197
Year 1969
expansion of the
sung
title line,
to a blues
increasing virtuosity,
and
few
repetitions,
into the
in
it
with
Lennon
shifts
',
two
over four and a half minutes, eventually leaving the final 'She's
so'
intro-
repeated
is
rhythmic
possibilities
each time.
And
harmonic and
different
white noise create the sound of arctic winds. After three minutes,
The
implication
is
making
for
an abrupt ending.
new
children's
Lennon's 'You
since 1967,
and
Know My Name
it
The
was released
in
for
(Look
some
final
1970
Up
was
his
as the B-side
first
still
of the 'Let
Starr's
considered unfinished.
later,
and
his
most
It
way
Be' single.
in
May.
successful, being
until July.
a gently plaintive
The
Me Your
a peculiar
title,
Money'.
house
hiatus,
for freeloaders,
and
that
it
Lennon
told the
it.
McCartney
insisted that
198
The Beatle
firm
instance, the
The
catch,
his
in
Beatles' point
of
by collectors.
all
as general
Starr,
who had
New
London
soon
as
down
and
as his
Starr
backed Klein
too.
McCartney
did not. So the others, with typical naivety, decided that both John
first
joint
Enterprises, Epstein's
management
firm,
which took
NEMS
a twenty-five
now
The
Final
199
Year 1969
it
would
Yet just as
rather
sell
the
company
to the
managed
to
buy the
NEMS
contract.
publisher
who
signed
principal shareholder of
in 1963,
to
their
He had
also
March, he sold
company
to
Lew
company
But
at the last
ATV
Music.
consortium that
It
and by
late
May, Grade
Grade's
He
began dismantling
200
The Beatles
widening
creative gulf
making
it
clear that
And
ways
in
When
May.
was, at
to be called Everest.
first,
was
it
who
had been
Sgt. Pepper,
went
so they
inevitable.
and Harrison had already quit and come back. Lennon was
their separate
to record
their final
what
album.
the brand
of cigarettes that one of the engineers smoked, but the Beatles soon
seized
on the idea
in itself a
statement.
They even
photo. But
at their peak,
agreed to be flown to
when
the time
came
to
towering over
all
their
popular phenomenon.
as a
Mount
make arrangements
In the end,
going out into the road to shoot the cover. McCartney sketched out
a cover design, the photographer Iain Macmillan was commissioned
to shoot the Beatles traversing the
Abbey Road
suddenly the album became Abbey Road. Actually, the album was not
even recorded entirely
Back sessions
at
at
London
would work
as
as a producer,
May
He
sessions unbearable.
who
not
him
as a lackey.
to
Pepper and Revolver, but every track was laboured over in great
detail.
EMI
doubled the
this relative
eight tracks,
had upgraded
Beatles'
to eight-track facilities,
opulence was
insufficient,
to
and
which again
flexibility.
Yet even
filled
freely,
The
Final
201
Year 1969
Starr's
electronic instrument,
Moog
newly famous
for the
instrument on which
as the
Switched-On Bach.
The
McCartney alone
in the studio,
recorded
although
it
That Weight',
Thomas
of a
a setting
poem by
on how
to proceed.
wanted
in
January sessions.
huge
with stretches
suite,
Tommy,
unified, dramatic
The main
Around
whole
Lennon thought
Who
the
in
of the term, a
McCartney Martin
suite idea
many
'Mean
Mr
Came
in
further.
Through
the
Bathroom Window',
at
for
example - were
to merit full-
own
them together
minded joining
'Happiness
mise.
narrative.
was nonsense.
The
is
first
Warm
who had
not
in the Life' or
side of the
Day
suite
as
start
the
final
202
The Beatles
203
Year 1969
The
Final
Left,
Bag One
collection of erotic
and
it
out,
was
good
later.
The compromise,
it
turned
thing.
lithographs, a project
which,
like
the
Two
love for
Ono
in
Virgins
way
that
Besides
'I
Want You
courted controversy.
istic
imagery and
first rate.
(She's
woven around
light puns.
a stun-
with natural-
a lyric filled
Ono
true,
is
other harmonic alterations took place along the way, but certainly the
to the
Timothy
Leary, the
around
his
Together', began
LSD
guru. Visiting
life
Lennon
at the
said that he
to write a
was
song
'Come
American
political office
Beethoven work.
'Come
it
word
hissing the
what he
in legal
is
'shoot',
typical
another song
as a template.
actually saying
hot water.
it
launches the
followed by a rising
'shoot me'.
Lennon
lyric,
it
and Utopian
This time
it
was Chuck
with
only slight alterations. Berry's publisher sued, and the case dragged on
to the mid-1970s,
when Lennon
a few
Roll, his
Also
Me' and
among
publisher's catalogue
lyric
about
Silver
of spring
after a
variations of a
I
bass,
melody supports
The second
Comes
a lyric
and
a trick
about the
he
side
the Sun', in
drums,
Hammer', an
which
'n
on Rock
last
is
arrival
based on
used on
'If
all
making
for
204
The Beatles
The melody
is
My Guitar
found
at last
his voice,
and
could write songs easily on a par with those Lennon and McCartney
There
suite
something
is
Comes
the Sun'
far
is
more
Hammer'.
to Lennon's
is
Through
the
Mr Mustard,'
cases ('Sun
Came
in
was
without
it.
Mr
when McCartney
out
sliced
of a jigsaw
And where
smoothed
But what
begins with
McCartney rooted
The
set
Me Your Money'.
A drum
said to be laughing
Starr introduces
'Mean
into 'She
Came
McCartney
brings the
in
after a
first
Through
the
kilt).
it
quickly
a mildly dissonant
and happy.
Mr
Mustard', a harmless
eccentric,
(a
from
fill
is
But
sartorial specialities
A guitar solo
leads
And
which
reprises the
The
tory.
final section,
As such,
it
its
extension, 'Carry
That Weight',
Me Your
Money',
this
lyrics.
'The End',
is
The
Final
Year 1969
which each
McCartney's playing
Harrisons
osic,
and Lennon
and more
simpler, slinkier
is
and
would seem
to
embody
virtu-
and Lennon's
And
as the
is
song comes
to a close,
line that
solo.
fleet
is
bluesy,
a single
come
through since 1962, and a sentiment they had promoted since 1965:
And in
the
end
equal
to the lore
you
make
It
is
clear
real life
not so
engineer affixed
it
to the
after
lopping
end of the
reel.
is
Together', so
if
side
'Here
'I
Want You
is
is
the Sun',
which
it is is
way
it
was
and so ends
the
in
same key
(She's
starts
note,
sudden
Comes
it
there.
its final
turns out,
it
album
the
and
it
Its
it
'Come
long
as
after a
he decided to leave
it
Beatles' recognition
It
The
tidy.
on
is
side
When
for
what he
Road Lennon
from the
called a divorce
The
Beatles.
were negotiating
them with
EMI
to
a revision
greater royalties
know
of their contract,
on
in his
It
would not do
no longer be
the time
own
left
Klein
albums.
earlier
and Klein,
EMI and
for
a ^oine, concern.
206
The Beatles
The Beatles
1969,
in
in
one
the spring of
of their last
publicity photos as a
band.
The
Final
207
Year 1969
when McCartney
suggested
to
it,
perform
He
at a
brought the
rock and
Plastic
Clapton on
guitar,
drums. The
set
show
roll oldies
Ono
Klaus
Toronto on
in
Band, which in
Voorman on
bass
this case
13
September.
included Eric
'Dizzy Miss Lizzy'), Lennon's 1968 'Yer Blues', a new, as yet unreleased
song, 'Cold Turkey', and the anthemic 'Give Peace a Chance', along
year's
end
as Live
Peace
in Toronto.
Meanwhile,
it
was time
When
Be.
it,
called Let It
on - Harrison's
'I
Me
Mine' and Lennon's 'Across the Universe' - and that recordings would
be needed for the soundtrack album. For the Lennon song, the 1968
recording was taken off the
Lennon gathered
last
at
shelf.
Abbey Road
And on
to record
new
January 1970,
'I
loose, as they
wanted
it
but
it
was
the
also sloppy.
elements, but
it;
but
Beatles material.
all
of sound' production
the tapes
and given
reflect the
it
had
wisely
free to use
would be an improvement.
was
ment
to
handed
Be album had
Be a
disaster
from
it is
an overstate-
start to finish.
Spector
'Get Back', 'For You Blue', 'Two of Us' and 'One After
909' alone, simply creating clean, crisp mixes from the eight-track
sessions tapes. Like
And by
doing some
208
The Beatles
version of
'I
Me
January
half, into a
full-length song.
On
was reduced
It'
He added
it.
echo to
him from
And
Far
guitar
single
and
verses.
his
Hewson
With two
entirely
Starr's
of one of the
several songs
recasting
And
of the original.
spirit
to create
new arrangements,
in the orchestrator
Richard
up
Lennon
liked,
'I
Lennon thought
when he heard
it,
Spector's
and was
And
Me
it
work was
fine.
particularly incensed
for release
is
its release,
when
In any case,
the
album was
disappointingly anticlimactic.
known, thanks
ers
agreed with
McCartney
appallingly un-Beatles-like.
released, the
said as
much
had played
The
to bootlegs of the
released
material
on
on
May
it
1970,
was
it
listen-
And
in fact,
official.
On
10 April,
McCartney
all
the instruments
on
this record,
and
as
He
an added display
He
The
Final
209
Year 1969
Lennon McCartney
partnership might
rest,
he
tell'.
And
split
he
most of all
because
ent?
Temporary or perman-
don't know.'
my family.
'I
don't
will
answer was
Only
in Toronto
clear.
imagination.
They logged
own
compositions.
art,
and between
felt
on
tour,
tradi-
And
pop
was
over.
the
genres,
now, because
and
EMI - more
different
they
and
210
The
Epilogue
has produced
more
it
many
who
have sold
no group or
solo
which others
By
all
are
McCartney had
posed the soundtrack music for The Family Way, and Harrison pro-
and by
of
or
really,
collaborations with
Ono. Their
first
at solo
joint project
Drawings exhibition
called Yoko Plus
November
in
Me in
1966, he sponsored a
Two
1:
Virgins,
and
later
released
it
London show
they recorded
now demanding
In spring 1968,
began
their
campaign
for
at
Coventry Cathedral
in
London
as the inaugural
year,
stay,
during
her miscarriage, for one side of Unfinished Music No. 2: Life With the
Lions.
The
an accompanist to
Scenes from their
Ono
first
at a
first
concert in Cambridge in
performance
March
as
1969.
21
Epilogue
all this,
- was
left
of
unissued.
films in 1969
Your Legs Forever, they had visitors drop their trousers to be filmed.
Fly,
fly
around a woman's
a.
camera followed
woman
through the
more
streets
and
Yet for
all
the
humour
at
intrusive.
home remained
a
at
'Give Peace
it.
Chance' emerged from the Montreal Bed-In of May and June 1969.
fact that
make
released these
two songs
tech-
Lennon had
In 1970, after
in the
went
the Plastic
his denial
Plastic
its
list
of the world's
and production
idols,
on
from Buddha
to the Beatles.
an
idealist
My Love',
'I
Don't
is
Want
across the
to
lyrical.
Be a
bow of the
But there
Soldier'
is
establishment, and
'How Do You
are shots
Sleep?'
is
an
212
The Beatles
somewhat
subtler attack
on McCartney's
and forged
Ram album).
to
after
Imagine was
fin-
underground. This
proved imprudent: once the Nixon administration got the idea that
Lennon would be
it
moved
to have
Lennon
journalist persona,
Memory
Thus began
justification.
During
him
as his
and with
Elephant's
City, a collection
USA.
New
York
least inspired
had run
dry.
was an attempt
inspiration
helped.
this.
if
the creative
Mind Games,
But here
in 1973,
too, his
While he fended
his relationship
and
for a year
and
off the
Ono
with
foundered.
The two
separated in 1973,
between
New York
The
first
was Rock
in the
V Roll,
'Come
The
and Bridges,
self-analytical
He and Ono
virtually
a.
this
Together' plagiarism
suit.
collection of autobiographical
and
Mind Games.
son Sean outside the public eye. But Lennon continued to compose,
and
he and
Ono
stresses
of marital
world even
Beatles
it Double
music on
tive interviews,
it.
life
life,
arranged as a dialogue.
some of his
at nearly
at
work on
n pm on
best post-
a follow-up, to be called
December,
as
he and
Ono
213
Epilogue
walked from
demented
fan for
whom
Lennon's death, and the manner of it, shocked the world. But
did not silence him, entirely. In 1984,
progress,
Ono
it
first
working tapes
and
Tapes,
John Lennon,
documentary
a 1988
Paul McCartney's
about
its
seemed
maker.
Its
first
comment on
a wistful
all
own
as a
already,
with songs
this facility
made
it
less certain.
He
blessing.
Too
air
this
to separate the
problem.
and the
First rate
he was extraord-
on demand. But
was unable
By
he was pre-
had, of course,
was a mixed
tranquillity.
clear that
bowl of cherries,
spilled
done so
its
playing
film.
chaff.
critical voice,
he
McCartney points up
The
albums,
more acute
both recorded
in his
with
Laine, a guitarist
changed frequently
in 1973,
was a
distinct
improvement,
And
the
full
'My
of
Love').
and
214
The Beatles
Band on
of McCartney's solo
album
career.
that
Bond
would become
Band on
the
Run was
film,
and
a high-water
mark
triumph snatched
from the jaws of disaster. Half of Wings resigned the day Paul and
Linda McCartney and Denny Laine
Its
and most
consistent,
successor, Venus
left for
recording.
and Mars,
in 1975,
spirited, since
similar cloth.
With
release,
its
undertook
world
of Sound'in 1976.
McCartney and
tour,
The
The
McCartney
tour gave
of Sound and
the bright
its
sound of Band on
the
Now
were
'My
Love', but he
As
is
McCartney
One
for
all
in
many
McCartney undertook
Japan
1980
all
to the
it
as
had
his
to 1940s'
received.
He
to tour
Wings
fell
performing
jail,
apart then.
grown,
Egg'm 1979,
thrashing
practical purposes,
Want
styles,
critical
a tour of England,
when he was
'I
pastiche.
far: in 'Silly
he had earned so
who
ability, yet
the
album had
arsenal
little
to
had
215
Epilogue
recommend
and
it,
would
it
tracks, here
embodied
in
The Japanese
fiasco,
at the
end
time
him
Tug of War.
ofPeace, released in
some
1983,
and
Stevie
efforts,
lyrical
first
off
But
as consistent.
of
Pipes
too had
it
$47 million
for the
The McCartney-
of his fame.
at the height
when Jackson
Lennon-McCartney publishing
paid
catalogue,
Regards
and
to
ing Press
star in a film.
sound yet
made up
again,
to
By now
failure,
he refashioned
My
to both write
his
fleetingly satisfy-
the
to other things.
A core of
some younger
even
when
1989,
was a
his
work was
solid,
Nor
listeners too;
it
but mostly,
at its best.
make
he approached
his
as
Band on
the
Run
or
Yet his 1989 and 1993 world tours proved that he could
big audiences, even
songs.
if
tour produced
album
in 1990,'
still
film
film
and
live
interest
among McCartney's
of rock
oldies,
releases are
Back
draw
Wings
album each
in the U.S.S.R.,
Also of
an album
216
The Beatles
Soviet Union,
the
There
are several
Beatles works.
MTV,
for
station in 1991.
is
Paul McCartney s Liverpool Oratorio, a collaboration with the Londonbased American filmscore composer and conductor Carl Davis.
Liverpool Philharmonic commissioned
ary celebration, and
overture.
it
as part
The
a ten
minute
composed
a quasi-operatic
work
movements
mixed
choir, boys
ninety minutes.
to be sure, a straightforwardly tonal piece,
It is,
heel
is
as
is
a Liverpool
to terms with
brated,
Everyman who
it.
before
And
coming
are cele-
truly beautiful
a concerto in him.
A more
released by
hero
text. Its
is its
Muse
Achilles
its
at the
and
work -
name
is
EMI's
classical
arm.
known
as
or, actually,
nine versions of a
and
effects.
He had come
of age
as a songwriter,
tions to
become
quite prolific,
and
his contribu-
highlights.
He had
his songs
a triple
album - two
also
without
first
discs of
col-
new
to be
triviality
of mundane
about more worldly matters were interspersed, and the album was
217
Epilogue
first single,
'My Sweet
Lord', landed
him
Berry's
publisher for lifting a line from 'You Can't Catch Me', the publisher
hit, 'He's
So
Fine',
melodic
the suit,
which dragged on
for
lost
two decades.
in
New York,
to raise relief
money
Starr, Billy
in this precursor
for
Preston
and
a film,
from distribution
relief effort.
World'm
album
reached the top of the American charts, there was growing resistance
to
what many
All Things
Me Sue You
'Sue
itual:
listeners
legal infighting
among
Harrison's slide
material was by
Blues', for
Still, as
on
exclusively spir-
1974,
no means
as
in
A tour
more than
a song or
two
in
an evening,
did nothing to prepare himself vocally, and had sung himself hoarse
before the
show got on
Three
and a
the
Fine' lawsuit,
and
trial. Stylistically,
comment on
a video clip
made
to
commented on
the 'He's
own
ruminative
satirical
So
in the
jazz,
recognizable style.
Harrison took a three-year break from the music world after Thirty
Three
and a
Third.
He had
218
The Beatles
some
Clapton,
whom
and
ized in 1977,
began to dabble
The
first
Monty
out
Films,
He
also
Python's
HandMade
Eric
his
own company,
than
its
from
a
rework-
ing of 'Not Guilty', his defensive response to the inter-Beatle squabbling during the 'White Album' sessions. But his audience, like
when he submitted
his
something unthinkable
demanded
changes.
He
for a
company
swat
The
at disco.
an opportunity to add
tribute to
'All
a touching,
upbeat
overdubbed
Starr
instrumental contributions.
By 1982
seemed
it
as
in the charts
When
dispiriting.
promote
to
it
was
until 1987,
from
refreshingly spirited,
'When
Starr
star,
Tom
Once
We Was
and
it
barely registered
again, he stepped
away
at his
home
and included
Fab'.
it,
of bright, humorous,
album was
full
a nostalgic
Now back
1950s' legend
Petty, to record
skewering of
in the limelight,
in
he
a
219
Epilogue
The album,
1988.
order,
soon
collaboratively
in short
was
named Volume 3,
Wilburvs
alive,
in 1990.
made
but in 1991 he
and
his
his Beatles-era
Japan with
his solo
work.
album, released
It
seemed
in 1992.
likely that
Ringo
Starr
films
after the
several films
ambitions too. In
late
in
had musical
directing. Yet he
He worked
arrangers
He
had
better luck
when he
making
it
who
in 19 -3.
as close to a
He
relations
The
talents
others played
reunion project
had an appeal.
warm
enjoyed
as the
As the
roll.
with
all
of all three
on the recording
Starr's plaintive
baritone
stars,
fell
apart,
its
predecessor.
and he began
a jet-setting life-
developed during
offices
enough
to
on
its
buoy up
cover.
and although
But by
a badly-sung,
in 19
promotional television
220
The Beatles
Poor record
time.
He
sales
to
unsaleable.
at this
few months
later his
Lennon's death also hit him hard. By early 1981, he had recorded most
of a
contributions from
new
Roses
was surprisingly
upbeat, and had something that had been missing since Ringo: a sense
of humour.
But although
whom
wedding
Starr's
he had starred
in
Bach (with
album
1983, suffered a
tries,
worse
USA and
the
fate: it
was released
Britain not
Starr in a
in
McCartney
jam
session),
in
on
benefit
television
and on
stage,
for various
life.
He
solid,
for a
comeback.
He
He
Time.
Ringo,
his
The
it
showed him
as
more
Takes
set
to
persuade the rock world of the 1990s that his work merited attention,
When
largely ignored.
and
at the height
of their fame,
imminent. Once the Beatles did separate, the press reversed polarity
The former
in
and year
would
get back
221
Epilogue
at
reconciliation
time.
all
them hinted
logically
Julian
Lennon supposedly
Then
other
Beatles began to
lawsuits
that perhaps a
seem
the Beatles
- was
plausible.
That November,
complex web of
settled after
project that
tell
film footage
start,
from
to record
story.
documentary
years,
Apple collected
It
in
television archives
bandmates
own
their
a film
took him
persuade the
five years to
McCartneys studio
in
What
in
On
a visit to
1994,
on two
lines
moments,
if
and
'Real Love."
They
Lennon had
home-made
left
unfinished, utterly
the Beatles
222
The Beatles
Further Reading
Blake,
The Beatles
J.
(New York,
Perigee, 1981)
Biographies
I:
Baker, G. A. The
Australia
Beatles
(Glebe,
Wild and
(New
York, Paragon
House, 1992)
Wooley, 1982)
Coleman,
Braun, M. Love
Me Do:
The
Beatles' Progress
(London,
McGraw
R. John
Hill, 1984)
Penguin, 1964)
Brian Epstein
Davies, H. The
Beatles
Hill, 1989)
Norman,
P. Shout!
(New York,
Fireside, 1981)
Robertson,
(New York,
Pa wlowski, G.
L.
Definitive History
How
and A. Clayson
Sutcliffe, P.
Cameron House,
Wiener,
J.
Come
Wof f inden,
around England
Proteus, 1981)
in late 1963
biography
text,
to Paris in
January
realistic portrait
success. Davies
when he wrote
in 1967, so
expurgated his
and
and
this
authorized
Together: John
at the
Lennon
in
His Time
1984)
(New York,
of
had complete
offers eyewitness
1977)
1964,
Pennsylvania,
J.
some
more
group than
Lennon
is
the
who had
biographer Coleman
as a general
Ono -
available.
is
the most
Wiener
Robertson
offers a
Coleman
also
paper, magazine
jealously,
These
and
all
life
of
rely heavily
television interviews
on newsand other
223
Further Reading
A Hard Day's
Turner, S.
Perennial, 1994)
Wiener, A. The
Discographies, Chronologies
Reference Works
and
Beatles:
Write
(New
York, Harper
Inc., 1994)
Castleman, H. and W.
J.
Podrazik All
Together
and
lavishly illustrated
Beatles were,
Press, 1977)
sessions,
The
End of the
Beatles?
Press, 1985)
J. Beatlesongs
(New
their innovations
in their recording
came about.
and
television appearances
and recording
York,
finer detail.
Fireside, 1989)
Beatles Encyclopedia
(New
reaching
Beatles Live!
Be sessions. The
Lewisohn, M. The
much
Chronicle,
Dowdling, W.
how
(New
York,
Henry
all
compendiums
Holt, 1986)
Harmony,
1988)
is
handy
for identifying
The
Turner,
Harmony, 1990)
insights,
from the
and
in
Dowdling's
case, relevant
quotations
Beatles.
Harmony,
1992)
Analysis
Robertson,
Beatles
J.
to the
Music of the
Hertsgaard, M.
Artistry
A Day
in the Life,
MacDonald,
Virgin, 1982)
Henry
Sulpy, D.
and
R.
Schweighardt
Drugs, Divorce
The
910, 1994)
Revolution in the
Head (New
York,
and
I.
Holt, 1994)
New Jersey,
Mellers,
W.
the Beatles
Viking, 1973)
New York,
224
The Beatles
O'Grady,
Martin, G. with
T.
The
1994)
Knopf, 1988)
Beatles in Their
Own
The most
of these
Hertsgaard,
is
who had
access to
working tapes
Beatles'
music
as
an older academic
how
observations about
work
and
is
more
on the music
work
1981)
BBC,
in purely
technical, Riley's
Own
His
1981)
in
not to
the songs
who seems
John Lennon
handy
to the political
is
are
for
analysis
Sheff, D.
and
B.
Interviews
York, Playboy
Press, 1981)
charts
and
cultural
Sixties
(New
Doncaster
Beatle!
J.
Library, 1971)
Williams, A. with
DiLello, R. The Longest Cocktail Party:
An
Press, 1972;
Ann
Insider's
The
Cellarfid
ofNoise
(New
and
on the
P.
self-analytical.
also to
The Wenner,
be expansive
Gambaccini,
Who Gave
interviews,
The Man
W. Marshall
(New
Own
Words
Fox, 1976).
reflects
as
an
on
his songwriting.
Me Mine,
Derek
Taylor,
and
Harrison
who worked
later as
head of
Harrison's
favour in Taylor's
Editorial
comments
in
D. Taylor.
Fifty Years
Adrif
own
information to impart,
Martin, G. with
(New
York,
St.
J.
Hornsby
All You
Need is Ears
Of the
drummer during
its
1970 and
who
do Pete
essential
as
who worked
paints a vivid
at
its first
company
225
Further Reading
Guides to Locations
as are observations
Beatles' England
(San
Tynan and
or
Forsyth,
I.
The
Beatles' Merseyside
(Market Dravton.
Jones, R. The
Beatles' Lii'erpool
Lewisohn, M.,
Beatles'
P.
St.
Martins
Press. 1994)
Beatles
worked and
where the
lived.
Miscellaneous
The Beatles Complete Scores (New York.
EMI
- with
all
vocal harmonies
by Tetsuya
Goro
transcribed in
full
drum
score
parts,
Fujita. Yuji
Sato.
E.
and
D.
Gutman
eds.)
The Lennon
articles,
and even
criticism
on Christianity
How
Does a Beatle
Live?
that caused
Lennon
others.
Tom
Wolfe. Kenneth
script
226
The Beatles
Part
I:
Single
Love
Selective Discography
(5
Me Do
4 September version
PS. I Love You (John Lennon/Paul McCartney)
Parlophone
Part
R 4949
made
Beatles
for
EMI
Single
Britain
which bore
different titles
January 1963)
(11
Please Please
Ask
releases,
covers
II
interest that
are
The
EMI
after
Boys (Luther
available
on
Farrell)
11
Baby,
Do
You Want To
Know A
Secret (John
Lennon/
Paul McCartney)
intact. Similarly,
Lt's
Barney Williams)
of presenting the
September version
Dixon/Wes
Ask
on albums
(Arthur Alexander)
albums and
1963)
Paul McCartney)
discs,
March
(22
in various
on 45rpm
I Saw
Me
Please Please
Taste
There's
material.
Parlophone LP:
For each
and
numbers
Compact
on
Singles Collection
(Parlophone
Compact
and extended-play
The non-album
The
C2 0777
disc
discs are
CD
Beatles
7 15901 2
2),
(Parlophone
discs. Past
CDP 7 90043
2)
covers
CDP 7 90044
and 1970.
2)
46435
Single
From
Me
McCartney)
Parlophone R
5015
Collection (Parlophone
CD: CDP7
disc catalogue
catalogue numbers
Single
(23
August 1963)
Parlophone R
Lennon/Paul McCartney)
5055
227
Selective Discography
November
(22
Single
1963)
to
Do
Lennon/Paul McCartney)
Things
Parlophone R
5160
Please Mister
/ Should
Postman
Hold Me
On Me
McCartney)
Happy Just
I'm
Tell
Can't
What I Want)
(Berry Gordy/
Parlophone LP:
PMC 1206/PCS
3045
We Said
Things
You Can't
I'll
Do
PMC 1230/PCS
Parlophone LP:
Paul McCartney)
Parlophone
Janie Bradford)
To
Paul McCartney)
(William Robinson)
(That's
McCartney)
Lennon/
Better (John
Money
Have Known
Paul McCartney)
Garrett)
(Chuck Berry)
3058
Lennon/Paul McCartney)
R 5084
Single (Germany,
Komm,
March
1964)
Hand
She's
Woman
Parlophone
R 5200
(Lennon-McCartney-Nicolas-Hellmer)
Beatles For Sale
(Lennon-McCartney-Nicolas-Montague)
Odeon
No
22 671
(4
Can't
You Can't
Do
Parlophone R
I'll
long
June 1964)
Johnson/
Down
Lennon/Paul McCartney)
5114
Long
Slow
1964)
Lennon/Paul McCartney)
December
Stoller/Richard Penniman).
Words
Of Love (Buddy
Holly)
(Larry Williams)
/ Don't
8913
Want
to
Paul McCartney)
Lennon/
228
The Beatles
What
You're
My Baby (Carl
Everybody's Trying to Be
Parlophone LP:
Perkins)
Rubber Soul
Drive
My
Lennon/Paul McCartney)
Parlophone
Me {}o\\n
Lennon/Paul McCartney)
(9 April 1965)
Yes It Is
1965)
Single
December
(3
5265
(14
June 1965),
Bad Boy
compilation album
of:
(Larry Williams)
Single
Down
Parlophone R
My Life (John
Lennon/Paul McCartney)
If I Needed
Parlophone LP:
5305
Lennon/
Paul McCartney)
August 1965)
(6
Single
You've
June 1966)
Parlophone R
Paul McCartney)
/
(10
5452
Going
to
Lennon/
Yellow
(5
August 1966)
Paul McCartney)
Ticket to Ride (John
Single
Lennon/Paul McCartney)
Parlophone R
5493
You Like
Me
Too
Me What
Tell
Much (George
Harrison)
I've Just
Yesterday (John
Lennon/Paul McCartney)
Parlophone LP:
CD:
PMC
CDP 7 46439
1255/PCS 3071
Revolver
(5
August 1966)
Paul McCartney)
Yellow
Single
(3
December
We Can Work
Day
It
Parlophone R
1965)
5389
McCartney)
And
Paul McCartney)
{]o\\r\
Lennon/
229
Selective Discography
No One
For
Got
to
Tell
My Life (John
Lennon/
Am the
Parlophone R
5655
Paul McCartney)
(17
December 1967)
Single
(8
Paul McCartney)
Am the
February 1967)
McCartney)
Penny Lane (John Lennon/Paul McCartney)
Parlophone R 5570
Parlophone 2-EP
[Note: In the
Sgt.
(1
Band
Little
Capitol
With a
MMT/SMMT
singles
Help From
My Friends (John
MAL/SMAL
were issued
November
2835).
Lennon/
Parlophone
48062
PCTC
255)
an
as
1967,
Paul McCartney)
June 1967)
Sgt.
set:
USA,
November
and on CD:
later
1976,
CDP7
2]
Single
Lennon/Paul McCartney)
Leaving
(15
March
1968)
Parlophone R
5675
When Fm
McCartney)
Apple
5722
Paul McCartney)
Sgt.
Band (reprise)
A Day in
Lennon/Paul McCartney)
(22
Back
November
1968)
Lennon/Paul McCartney)
(7 July 1967)
All You
Man
Paul McCartney)
Parlophone R 5620
(John Lennon/
Bill
While
My
Happiness
Paul
Martha
Warm Gun
(John Lennon/
McCartney)
My Dear (John
Lennon/Paul McCartney)
230
The Beatles
McCartney)
Paul McCartney)
Me By (Richard
Why Don't We Do
It in the
Starkey)
McCartney)
Lennon/Paul McCartney)
Mother
Nature's
My Monkey (John
Lennon/Paul McCartney)
Come
September 1969)
(26
McCartney)
Paul McCartney)
/ Want You
long, long,
R 5786
Apple
Abbey Road
Paul McCartney)
Everybody's
1969)
(George Harrison)
Piggies
May
Single (30
(She's
Paul McCartney)
Me
Paul McCartney)
Polythene
She
Apple 2-LP
set:
PMC/PCS
7067-8
Pam
Came
in through
Paul McCartney)
Yellow Submarine
(17
January 1969)
Now (John
Lennon/Paul McCartney)
All Too
All You
Much (George
rest
Submarine
Harrison)
[The
The
Single
PMC/PCS 7070
CD: CDP7 46445 2
October 1969)
film]
(31
5814
Apple LP:
Apple
Me Down (John
5777
December
Wildlife
Lennon/Paul McCartney)
1969), a benefit
Fund including
album
the release
EMI
for the
World
of:
McCartney)
231
Selective Discography
Single
Let
'
You
It
(6
March
Take
1970):
Know My Name
(Look
Up
the
Out Some
Insurance
On Me Baby (Charles
Number)
Apple
5833
The
Let
It
Be
(8
May
1970)
Decca, on
The
the 1980s.
labels in
session included:
I Me
Lennon/Paul McCartney)
Like Dreamers
Do
Money
What I Want)
It
Frances Wheeler)
(Berry Gordy/
Till
Maggie
Janie Bradford)
(That's
To
Know Her is
Take
to
Carole King)
Memphis (Chuck
Berry)
Sure
Perkins/William Cantrell/
to Fall (Carl
Quinton Claunch)
Crying, Waiting,
Part
II:
Archival Recordings
Shaftel)
Hamburg
recorded
six
in
more on
their
Tony
were
first
31
December
released in 1977,
most recently
version
as
The
1984,
which
also includes
non-
arr.
Sheridan/Bill
in
Tony Sheridan)
Crompton)
Paul McCartney)
I'm
Gonna
(Joe
Kenneth Casey)
Beatles Live at
Why (Tony
The
My Bonnie (Charles
is
Sit Right
Thomas/Howard
You
Biggs)
(Chuck Berry)
Little Sixteen
(Chuck Berry)
(Carl Perkins)
CD
'
'
'
'
232
The Beatles
Life:
(Barry
Mann/
Live at the
BBC
Cynthia Weill)
and Shout
Twist
and
Medley/Bert Russell)
(Phil
Taste
BBC
(30
November
1994)
1965.
From Us
Lennon/Paul McCartney)
To You (John
On a Bus (spoken)
/ Got a Woman (Ray Charles)
Too Much Monkey Business (Chuck
Shaftel)
Till
Mike
Stoller/Richard Penniman)
Know Her is
to
I'll
Be
Shot ofRhythm
Sure
(Sammy
Berry)
Carole King)
Little
Riding
to Fall (Carl
Quinton Claunch)
Lerner/
Frederick Hollander)
Leiber/Mike
(Jerry
Stoller/
(Tommy Roe)
Ask Me Why (John Lennon/Paul McCartney)
Ritchie Barrett)
Sheila
Hallelujah I Love
Red Sails
in the Sunset
Everybody's Trying to
Matchbox (Carl
Be
My Baby (Carl
(Chuck Berry)
It's
Barney Williams)
That's All Right
Perkins)
Perkins)
Long
Baby
Johnson/Richard Penniman/
Robert Blackwell)
Soldier
Of Love (Cason/Moon)
Rhyme (spoken)
Little
Clarabella (Pingatore)
Gonna
I'm
(Joe
Sit Right
Crying, Waiting,
23
August
(6
May
iy6<\{*)
1977)
and
30 August 1965(f)
Twist
She's
Woman
Russell)'
Buy
Things
Roll
Lennon/Paul McCartney)
Me Love (John
Know Her
Taste
Long
Boys (Luther
Dixon-Wes
My Loving (John
to
On Me (William
Johnson/Richard Penniman/
Johnny
B Goode (Chuck
Berry)
Lennon/Paul McCartney)'
Lennon/Paul McCartney)*
Can't
Buy
Me Love (John
Long
Johnson/Richard Penniman/
Robert Blackwell)*
LP:
Parlophone
EMTV 4
Penniman)
Lennon/Paul McCartney)
Robinson)
Farrell)*
is
Robert Blackwell)
Lennon/Paul McCartney)
Can't
You
Biggs)
To
Thomas/Howard
Discography/Videography
Selective
233
Videography
(Chuck Berry)
Things
She's
Sweet
Woman
Little Sixteen
Filr
(Chuck Berry)
1822! (spoken)
Lonesome Tears in
My Eyes (Johnny
Burnette/
Dorsey Burnette/Burlison/Mortimer)
It
Be
(1969-70)
also available
on
CD-ROM
complete
Bruce Eder.
So
How Come
and an essay by
McCartney)
Documentaries
Lennon/Paul McCartney)
Everybody's Trying to
Be
My Baby (Carl
Perkins)
Lennon/Paul McCartney)
The Compleat
Beatles (1982)
good
career
clips,
but with
- An
effective
Mike
Stoller/Richard Penniman)
to
Remember
to
The
Beatles:
The
Sullivan
USA and
Show and
the
to
Slow
Down
(Larry Williams)
Me Do
CDP 8
31796 2
It's
Barney Williams)
I'll
Dixon/Wes
EMI/Apple 7243
82073
Farrell)
2
1964 television
CDs: EMI/Apple
included in the
is
been released
Budokan Hall
has
'
'
Z34
---;-
\:
A-v.;-
.:
-.-
-.
''.
?.;.".-'
:>
::,':.<:.
programme)
Index
Ai:.:,s:
77*
Baby, If*
"A
"A
:::.
'.^y:
-i.
'>':?<:
ioi
.',.
103,107
'.'i.-.-.t
4*
AA'
Axcr, A.:x*
,.: .::
y.
-.
:-,
hi .;-
~:,-\-\
A;.::
'-.-,:<-
A.:.;* ;:
:\\
:\\
1:
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"
A;:
-.
r.i.-:-'
\ ..."
..-
'
--;/;-
'.
I.-.-
':.-
::_i
:-:
.-:
c-ry ,::,",.
'
.
AD Tve Got 10 Do
AD JMy Loving 39, 41, 69, 70
AL
: '.':?:
.'>/>.;; ,\z;;
.~
.-.
'-
i', v
r.-.
r-
.~;
AD
i.-.-
':: 1
-.;.-.
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r.
'
'.;-
ii
',
to Ride,
114
TheBm US.
:-:
/;>.
Visit
.rr.-:' -.,.'
;.;
';.e-.
;.
'.
'.":.;>>>:
-;
:-
l",
A:.-t lA
a,
A-
a---
.-
-^,::-
:'.
:
A;
-;
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A'
r.
'.:
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4.1
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-:
:\\
,'.-.
.'.<
:;
- .__-.-
-:
1.--.A
-;
^.
:-
>
.-..
55 68 103
-
: -
'
.1
.'..;-.
Brown, James
101
Byrds ioj,
133, 154
A;.l^ .v;
.-
.,-,
/'.
Beatles
h-;--.-
.i
h-
161,
180-4
?>:
114
Apple
a-..-.
-'.-..-
(BBC)
106-10,
..-..-
;-.--..
>. --:
-.
;.
The:
'-.
:-.
r...
-.
f-t-.tr .--;
:-,-.-.:
A^-.-A.:
;:
.--..
1:
154,180
::.;
--:
.".cr.;.
A:;::
BeatH
-
---
-;.t
.,;:
;.;,:
:.-y
.:
-:
173, 176-8,
Love Her* 98
.".
0:,;
;,.? j
r.
"--=
!
Love* (telecast)
^.
-:=:
.a.:
ii
Air.-:
You Need
And I
:y
214
Beatles
A:
"."--:
-<:<:.
"
'
a.. -t-.-.x-z
r.
h^-A-.:-iA,...;
;:
A-
Bbckpcks
h.
':.
ODa 67
-<-
?.
A^:;y: A:;*
.--;--
<i
:i
u..
:-
r.
".:.:.-.
A.: ;.;:,-
>' "-
i"
':.:-:
:-.:':
,:-: -r
180
r-'-
.'.
USSR, (album)
A;..--: A;-.:-
x.
-.
-;.::
..r.-.i-
-;
--:---:
Black,
Aii-7. ;-/-
114, 116
''.-..i
.V:;
'Badge' /#2
Act Naturally
A-r.-
^-
-.:.-.>.:
USSMS
,k
'
'.-...'
'-.---.
'
.1
1
"
Best, Pete
-.
.<
215-16
'
i_l
-'-
'/.*.-
:.-
A.^
&&:k in the
:y
.AA
M^
,.
--.-.--:-.'
~rs:
:, :.
.A
-.."'..;._.
.-.-
-.-
...;;.--..
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r,"':
-:
59
.:*.*?
'Back in the
-;
--.-
.',;-
'-,:
:- i -
/.-
.<::
<..-.
A;.'.
.'-:
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87
picture captions,
~rs.
.-.
',;.r.t.
'.,Ai:..--.
A:
A.'.'
'A-:
~r-.:.--.
9^146-7
l',:
'.
Cage, John
.;
.jr.
1',;
172
:^
.'..v.-:
-
.
\<
V.
y
'.-
/'.
y,
235
Indc
(Wendy)
Carlos, Walter
201
Davies,
'Catswalk' 42
Caveman
220
(film)
Rod
Davis,
9, 57, 41,
67
Ray
Thomas
'Devil in
Her
'Dig
'Circles' 173
Alan 142
Clapton, Eric
90
to
Know
a Secret'
'Coming Up'
215
(album) 217
Bill,
The'
'Don't
181
Cooke, Deryck
12,
74
Cookies 59
18, 21
193,
194
Dr Feelgood 107
'Fool
My Car'
Duchamp, Marcel
172
No
'For
You
Hill' 167
One'
139, 142,
Blue' 193,
Dufay, Guillaume 24
Four Seasons 82
Four most 67
Eastman, Linda
see
McCartney,
'From
Linda
Eddy,
Duane
30, 42
Cox, Tony
'Eight
Days
Week'
Me
From Us
198
to
Fury, Billy 30
106, 109
Cream
Gentle, Johnny
182, 183
Crickets 27
'Crosstown
Electronic
Traffic' 133
181
144
207
on the
'For
Peace 210
Fluxus 172
12
Costello, Elvis 14
Swann 46
Flanders and
Me Down' 192,
Pass Me By' 115, 181
217, 218-19
Copland, Aaron
220
69
'Drive
172
Fisher, Carrie
'Don't Let
'Come
Mia
Domino,
Cochran, Eddie
Donegan, Lonnie
4s
My
207
'Cold Turkey'
to
Me and My
Year' 193
181
Fireman 216
59,
Hard
Baby' 10"
192-3, 208
Colman, Sid
Monkey'
Donays
'Everybody's Trying to Be
^4- 59. 61
2n
Hide Except
Heart' 61, 69
Civil,
107
Got Something
'Everybody's
201
Dietrich, Marlene 73
It'
43,
19, 61,
Had
'Everybody
Chapman, Norman
31
42-6,
9%
'Every Night'
Decca Records 4s
Despres, Josquin 24
30
Everly Brothers
13,
,'7,
20
'Day Tripper'
55, 58,
Dekker,
Ray
14
'Chains' 59
Charles,
219
217
Elephant's
Sound'(album)
Memory
Emerick, Geoff
EMI
record
155,
[73; 218
German language
177
9, 55,
70-1,
recordings 85
?o,
90
200
31
212, 213
company
186, 210
201,
Get
207
Huh (album/film)
see Let It
He
236
The Beatles
'If
'Gimme Some
Hendrix, Jimi
133, 183
'If
Needed Someone'
'Her Majesty'
188, 201,
Truth' 211
Give
My Regards to
Broad Street
Hi> 144
Got
You've
Trouble'
115
On My Way'
'I'll
Be
'I'll
Cry
Herman's Hermits 90
Onion' 180-1
'Glass
Comes
'Here
'If
'I'll
207, 211
203-4
205
and Everywhere'
'Here, There
(film) 215
100
68
107, 130
So Fine' 217
'He's
'God'
Goffin-King, 'Chains' 59
'Hey Bulldog'
'I'm
Down'
'Heyjude'
'I'm
Happy Just
211
173, 218
'Hold
142, 144
'Good Night'
169, 172
Me Tight'
Buddy
Goons, The 46
'Honeymoon Song'
Gore, Lesley 82
Hopkin, Mary
Lew
My Life'
142
no, 180,
Pie'
How I Won
the
Haley,
Hamburg
35, 41,
War
(film) 146,
Love Her
So' 30
59
Warm
Gun'
180, 201
Am
the Walrus'
12, 163,
Name'
Call Your
Don't
Want
to
Don't
Want
to See
167
Be
a Soldier' 211
Lost
My Little
Girl'
n7
23-4
Need You'
114, 117-18,
122
59, 61,
Should Have
Known
Better' 98
'Heartbreak Hotel'
Want
Want You
18
67
Help! (f\\m)
14-21, 129
11^
136
211
newspaper) 136
'It
Brothers
59, 62,
77
Won't Be Long' 69
Too Much'
'It's
All
'It's
Only
'It's
for You'
165
Love' 129
67
'I've
Got
'I've
a Feeling' 193
So Heavy)'
Will' 181
Jagger,
Mick 67
James, Carroll 83
Karma' 196,
63,83
(mother) 22
39
Isley
Help! (album)
You Again'
Hello
film) 213
10
'In Spite
'Instant
101
Harrison, George
Mood'
116
Hanton, Colin 22
is
173, 211
'In
'In
46-7, 58
Happiness
About You' 62
21
Bill 17, 85
'Hallelujah!
Sleeping' 139
(documentary
Gunter, Arthur
Only
'I'm Talking
'In the
It'
'Greensleeves' 10
'I'm
68
173
Graves, Harry 48
'I'm
181
147, 152
199
Dance With
to
Imagine (album)
'Honey
Grade,
107, 188
69
59,
178, 181
124
You' 99
Hollies 90
Holly,
155, 158
'I'll
Janov,
Dr Arthur
'Jealous
Guy'
211
173, 211
With
18
25
237
Index
Quincy
Jones,
219
'Julia' 181
Let
It
Be {Get Back)
207-9
107
Humphrey 46
Lyttelton,
(film) 188-9,
'Kansas City/Hey
Levis, Carol 25
McCartney
Keeler, Christine 80
'Like
Dreamers Do' 45
McCartney, Jim
Hans
Lilly,
Beatrice 43
McCartney, Linda
Keller,
Kennedy
12
Lindsay-Hogg, Michael
Jacqueline 81
Kennedy, John
F.
80, 81
Little
Mark
J.
John 107
(mother)
Live in
67, 68
New
Liverpool
Liverpool Institute
Le Carre, John 80
School
Timothy
'Leave
My Kitten Alone'
Lennon, Alfred
Lennon
137,
(first
18
169
Own
Skywriting by
97
Word ofMouth
Lennon
ps,
17,
17
127
16-17,
18,
50, 112,
163-8, 164, 1 6s
12,
73-4
'Martha
'Long Tall
Sally' 18, 21
Martin, George
EP
103
208
My
jo1,
La
10
Dear' 180
14,
46-7, 48,
Lopez, Trini 84
157, JJ7,
Me
Do'
61, 103,
series) 213
Marvellettes 59
Mason, David
109
'Matchbox' 30
150
'Maxwell's Silver
Low, Jackson
Lester,
177, 221
Richard
'Let
It
50,
155,
161, 166,
'Marseillaise,
193,
Mann, William
173
Tall Sally
207
The
Long
124
193,
Christian,
The'
Howl 94
85,
In His
Grammar
26
(album) 217
Daily
26
Liverpool Philharmonic
Lomax, Jackie
Cynthia
no, i2p,
17,
107
Lennon, John
21, 22,
(Roger) 101
Magic
30, 31
Orchestra 216
203
(father) 1617, 18
(Powell),
214
213,
McKern, Leo
'Maggie Mae'
209, 211
Denny
18, 25
Laine,
IP4
McGuinn, Jim
14
Richard
Little Willie
Knopfler,
207
192,
Kinks 159
(father) 18
McCartney, Paul
187,
2I 3
II (album) 214-15
Mac
172
22, 25
Lucier, Alvin 12
'Lucy
in the
I55> 158
12
Hammer' no,
204
Mr
Mustard'
213
188, 201,
204
238
The Beatles
Meet
Pop Go
215
Mellers, Wilfrid 12
My Love'
'Oh
213
jp, 43, 95
show)
68
211
Cynthia
documentary) 72
55,
207
87
81, 84,
Press to Play
Ono, Yoko
212
'Misery' 61-2
Pritchard,
210-12, 221
Proby
Monty Python
Owen, Alun
218
Moore,
Tommy
'Moovin'
'n'
'P.S. I
Paolozzi,
Parlophone Records
Path
'My
programme)
NEMS
Lord' 217
Enterprises 198-9
115
Pakistanis' 188-9
'Nobody
Know'
116
'Norwegian Wood'
'Not Guilty'
130, 133
Nowhere man'
hs, Phil
opus's
-
82
Garden'
203
Ram
(album)
Rape
(film) 211
212, 213
Rebels 22
Peter
and Gordon
Redding, Otis
Petty,
Tom
'Respect'
116
218-19
Pickett,
Wilson
131, 133
131, 133
'Revolution'
Kim 80
13,
101
Rifkin, Joshua 12
'Piggies' 182
ofPeace (album)
Riley, Terry 12
215
Plastic
Ono Band
Plastic
207
25,
209, 211
'Please Mister
'Please Please
Postman
Me'
59,
109
Me (album)
103, 194
Rock
'n
17, 85
18
175
Please Please
Pipes
Raving Texans 48
Phillips, Percy 25
103
Men
Philby,
Boys
Rattles 14$
215
Newly, Anthony 43
Jimmy
46-7
9,
News 94
Oratorio 216
41, 43
'My Sweet
'No
132
Quarry
for
20
Murray, Mitch 47
'My Bonnie'
(television
The 137
Style' 21
Eduardo 34
146, 187
on the
101, 114
17,
181
116
'Puttin'
19
31
Groovin" 30
John 42
J.
85, 95
Owens, Buck
Motown
P.
Psychedelic Experience,
Blues 213
218-19
Moody
Orbison, Roy
175
McCartney, Mary
see
(album) 215
18,
107
203, 212
'Rocker' 192
239
Inae
Over Beethoven 69
'Roll
131,
Silver Beats 2
188, 198
Rorem, Ned
Sinatra,
Command Variety
Performance (1963)
73, 73
Frank
Smith,
Man-
Takemitsu, Toru
Elizabeth (Mimi)
(Lennon's aunt)
Snoiv White
(film)
12
20-2
16,
Tavener, John
'Taxman'
and the
Seven Dwarfs
Taylor,
24
Some Time
York City
Dance
for
Me' 192
'Something'
Somewhere
James
173
Teddy Bears
61
'Teddy Boy'
192, 193
'Tell
188, 197
'Tell
England i\%
in
_
i
(album) 212
18
New
in
12
Tao Te Chingi6S
Takako 172
San Francisco
47
Takahashi, Aki 12
43
13,
Smith, Mike 45
Rzewski, Frederic
Saito,
31, 32,
12
Roval
Fergusson Victor
Sutclifte, Stuart
'Silly
120
Temptations 188
John 120
'That
'Searchin' 4s
Stanley,
Band' 153-4
Elizabeth
Band (album)
152-60,
Starke}',
mother) 4""-8
Richard
see Starr,
Ringo
Steele,
Shankar, Ravi
Came
In
Through
room Window'
the Bath-
188, 201,
204
New York
Shenson, Walter 97
'She's
Tony
Leaving
'She's a
Home'
Woman'
156, 158
107, 109
Till There
(album) 220
show
'Summertime'
Shotton, Pete 20
'Sun King'
'Shout' 77
Sunday Night
204
at the
London
gramme) 72-3
Love Him'
to
61
137-9,
160
49
87
138,
Townshend, Pete
31
71, 188,
"
Shi relies 59
Strong, Barrett 69
Me
Was
To Know Him
49
Sullivan, Ed,
Deadly
70, 73- 98
'Sue
117, 118
Roses
31
and a Third
(album) 216
Man Theme'
67
'Third
'Think
197
73> 85
Sheridan,
131,
no
Said Today' 98
(album) 217
4-
Tommy 46
Ringo
We
Thiry- Three
Shadows 41-2
'She
62, 189
(Starr's
Theodorakis, Mikis 68
'Things
58,
Sgt.
213
Julia
Mary
Mary
Lennon,
115, 116
Would Be Something'
59
14, 159,
180
218-19
i
240
NO
*5
'When
'When
'While
131
21
'Twist
and Shout'
'Two of Us'
White,
107
197, 201,
210
We Do
It
In the Road'
to
Going
to
Know' 166
Lose That
'You've
Got
to
Away' 120
146-7
Wilson, Harold j/
Photographic
Up Your Legs
Willson, Meredith 45
Acknowledgements
Wings 213-14
Ustinov, Peter 46
Vaughan, Ivan
'With a
Vincent,
Little
Help From
Woman'
Wonder,
30
21,
My
Wood, Charles
Vollmer, Jurgen 32
'Word, The'
Walls
115,
BFI/United
124
Rex
4 8t,
170
Artists:
Features:
43,
2, 15, 37,
51,
38-39, 40,
122-123, I2 7- 140-41,
116
129, 130
It
Webb, Bernard
116
Out'
212
131,
146
157, 161,
166-7,
74>
no
87,
82,
206
33, 34, 35,
'Yes
190-91
90
'When
'When
I'm Sixty-Four'
13, 14,
169, 213
Yesterday
207
92, 146
173
Get Home' 98
Quoted
Lyrics
'Yesterday'
(television
documentary)
'What's the
79'
129, 130
USA
151, 152,
J
the
146,
194
'Wait'
64-65,
116
Vipers 46
207
55, 57,
157, 168
Wonderwall (film)
32, 144,
Voorman, Klaus
23,
214
Gene
Apple/Hulton Deutsch:
Friends' 156
21
Vietnam war
39, 59,
Vartan, Sylvie 84
Venus
Girl'
Youth 216
113
Valli,
131
Do' 107
66
Pie' 181
Know What
204
127,
The
see Beatles,
181
175,
50
'Wild Honey
Up
(Look
'You'll
Don't
n
icro, 101,
165, 197
2:
Number)'
'White Christmas' 19
'Why
Life
Know My Name
the
Who
Two
1:
Andy
'You
'You Like
204
'White Album'
Do Tkaf94,
94,
182-3, 182,
59, 73,
''Yofi Can't
In' 41
207
193,
Go
the 'Saints
Marching
215
Lennon-McCartney,
Me',
'Please Please
1963
Lennon-McCartney,
20th-century Composers
Series Editor:
Norman
Lebrecht
20th-century Composers
is
reader
and
and engaging
texts
and musical
enthusiast.
plemented by
Composers
series a vital
A selection
further information
is
titles
appears below;
Barber;
American Pioneers
The Beatles,
Broadway
Maxwell Da vies and
Birtwistle, Claude Debussy, Manuel de Falla, Gabriel Faure,
George Gershwin; Hindemith, Hartmann and Henze;
Italian
Modernists
Britten,
Sondheim;
Dallapiccola, Maderna,
Nono,
Berio;
Jazz
Ligeti
New Russians
Polish
Giacomo
Puccini,
Sergey
Sibelius,
Vaughan
ISBN 0-7148-3203-0
780714"832036
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