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ON THIS DAY : PARLOPHONE AUDITION

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ON THIS DAY 6 June,1962: Parlophone audition.

The Beatles #johnlennon #paulmcCartney #georgeharrison #PeteBest stepped into Abbey Road Studios for the first time and auditioned in Studio Two for George Martin and Parlophone Records.

6pm-8pm. Recording: ‘Besame Mucho’ (takes unknown); ‘Love Me Do’ (takes unknown); ‘P.S. I Love You’ (takes unknown).

Producer: Ron Richards and George Martin; Engineer: Norman Smith; 2nd Engineer: Chris Neal.


BEHIND THE SONG : “LET IT BE”

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Behind The Song: The Beatles, “Let It Be”
Written by Paul McCartney

The Beatles’ “Let It Be” evokes a majestic quality, from its serene and straight forward melody to its crescendo and eventual crash of instruments. Written by Paul McCartney, the iconic band recorded the song for their 1970 album (of the same name). A piano base stretches up to the sky, and soon electric guitars wail in unison, giving the enduring classic a soothing, cathartic quality.

“When I find myself in times of trouble, Mother Mary comes to me / Speaking words of wisdom, ‘Let it be,’” Paul sings on the first verse. Contrary to some beliefs, he is not making a reference to Virgin Mother Mary from the Bible here; instead, it’s a nod to his mother,  and came to him one night in a dream, thus inspiring the song’s early roots.
“And in my hour of darkness, she is standing right in front of me / Speaking words of wisdom, ‘Let it be.’”

At first somber, then enlightening and rich, “Let It Be” was directly inspired by a dream McCartney once had. “I think I was getting, like, a little bit over the top with [the party fashion] – getting pretty tired and pretty wasted. And I went to bed one night and had a kind of restless night. But I had a dream where my mother, who had been dead at that point for about 10 years, came to me in the dream and it was as if she could see that I was troubled,” he told The Salt Lake Tribune.

“And she sort of said to me, she said, ‘Let it be.’ And I remember quite clearly her saying, ‘Let it be,’ and, ‘It’s going to be OK. Don’t worry.’ You know, ‘Let it be.’ I woke up and I remembered the dream, and I thought, ‘Well, that’s a great idea,’” he recalled. “And I then sat down and wrote the song using the feeling from that dream and of my mum coming to me in the dream.”
Creative division during the album’s recording is well documented, and reportedly, fellow bandmate John Lennon hated the song. Accomplished journalist and author David Sheff quoted Lennon in his 2000 book, “All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono,” as seemingly shrugging the song away. “That’s Paul. What can you say? Nothing to do with the Beatles,” Lennon said. “It could’ve been Wings. I don’t know what he’s thinking when he writes ‘Let It Be.’”

Lennon later added how McCartney, from his perspective, wanted to evoke Simon & Garfunkel’s “Bridge Over Troubled Waters,” even though it was recorded 10 months after “Let It Be.” He said, “I think it was inspired by ‘Bridge Over Troubled Waters’ [sic]. That’s my feeling, although I have nothing to go on. I know that he wanted to write a ‘Bridge over Troubled Waters.’”

The single version of the song was produced by George Martin, but Phil Spector later remixed the song for the official album release. “Let It Be” was released March 1970 as the band’s final single before McCartney’s departure. It bowed at No. 6 on Billboard’s Hot 100, the highest debut for a song at the time, and later climbed to the summit.

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JOHN LOENGARD, LIFE PHOTOGRAPHER AND CHRONICLER, DIES AT 85

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He shot compelling portraits of the Beatles, Georgia O’Keeffe and many others and celebrated photography, and Life magazine, in books.

When Life magazine sent John Loengard to Miami to photograph the Beatles in February 1964, he had a quirky idea: Pose them in a swimming pool, as a Fab Four of bobbing heads. But on a very chilly day, he could find only an unheated pool.

The Beatles were reluctant to take the dip, but their manager, Brian Epstein, urged them in, citing Life’s importance. “It was very, very cold, and they were turning blue, so after a minute or two we let them get out,” Mr. Loengard told The Guardian in 2005.

The picture caught John, Paul, George and Ringo smiling and singing in the water during their introduction to the United States. To Mr. Loengard, it was his most American picture in 11 years as one of Life’s leading photographers.

Mr. Loengard considered this 1964 shot of the Beatles (clockwise from back: George Harrison, Ringo Starr, John Lennon and Paul McCartney) his most American picture in 11 years as one of Life’s leading photographers.Credit…John Loengard

Mr. Loengard died on May 24 at his home in Manhattan at 85. His daughter Anna Loengard said the cause was heart failure.

NYTimes


THE BALLAD OF JOHN AND YOKO

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George Martin used to quibble over whether “The Ballad of John and Yoko” was even a Beatles song. “It was hardly a Beatle track,” Martin said in Anthology. “It was a kind of thin end of the wedge, as far as they were concerned. John [Lennon] had already mentally left the group anyway, and I think that was just the beginning of it all.”

Something happened on April 14, 1969, however, as Lennon and Paul McCartney worked feverishly to complete this new track: The scars from their most recent sessions began to heal. Martin was back at the helm, though he’d ultimately step aside for Phil Spector on Let It Be. Engineer Geoff Emerick also returned after having departed during sessions for 1968’s White Album.

Neither George Harrison nor Ringo Starr took part. George was on vacation, while Ringo was still filming Magic Christian. But Harrison laughed it off. “I didn’t mind not being on the record, because it was none of my business,” he said in Anthology. “If it had been the ‘The Ballad of John, George and Yoko,’ then I would have been on it.”

In their place, Lennon and McCartney improvised. McCartney played piano, bass, drums and maracas, while Lennon handled guitars and additional percussion. “John was in an impatient mood, so I was happy to help,” McCartney told Barry Miles in Many Years From Now. “It’s quite a good song; it has always surprised me how with just the two of us on it, it ended up sounding like the Beatles.”

More importantly, it ended up feeling like the Beatles to these former warring factions. At one point, the guitar-wielding Lennon turned to a drumming McCartney and said, “Go a bit faster, Ringo.” McCartney quipped, “OK, George!”

The beating heart at the center of the Beatles was whole again.
“The story came out that only Paul and I were on the record, but I wouldn’t have bothered publicizing that,” Lennon said in Anthology. “It doesn’t mean anything; it just so happened that there were only us two there. George was abroad, and Ringo was on the film and he couldn’t come that night. Because of that, it was a choice of either re-mixing or doing a new one – and you always go for doing a new one instead of fiddling about with an old one. So we did, and it turned out well.”

Everything unfolded in a single afternoon. Lennon brought the still-unfinished song over to McCartney’s London home on April 14, then they headed off to Abbey Road’s Studio Three at around 2:30PM. By 9, they were done.

“‘The Ballad of John and Yoko’ was a very fast session,” Emerick says in Mark Lewisohn’s The Complete Beatles Recording Sessions. “It was a really good record too, helped by Paul’s great drumming and the speed in which they did it all.”

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THE BEATLES ARE TECHNICALLY PART OF THE MARVEL UNIVERSE

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The Beatles showed up in the pages of the Fantastic Four, as one of the most iconic bands in music history crossed over with Marvel Comics.
The Fantastic Four have encountered all kinds of heroes and villains during their nearly 60 years in the pages of Marvel Comics. However, one of their strangest adventures was the time they ran into the popular British rock band, The Beatles.

The Beatles have continuously crossed over in pop culture ever since debuting in the mid-60s. Besides their extensive music catalog, the band has appeared in everything from television, movies, novels, and comic books. Batman even broke up a parody version of the Beatles in the DC Universe. In the Marvel Universe, the real-life band made an appearance in an issue that featured a double-date gone wrong.

In Strange Tales #130 by Stan Lee, Bob Powell, Chic Stone, and Sam Rosen, one of the stories called “Meet The Beatles!” featured Johnny Storm and Ben Grimm getting ready to go to a concert with Dorrie, and Alicia Masters. The group takes a taxi and after some traffic delays (which Ben promptly avoids after lifting the taxi), they make it to the concert. Dorrie and Alicia actually run into The Beatles. But, before Johnny and Ben can join them, a man bursts in the concert hall and tells them something terrible just happened.
The Human Torch and The Thing are called into action after being informed the money that was going to The Beatles for the concert was stolen – and if it wasn’t recovered, there would be no way to pay them. The criminals, wearing Beatles wigs, are chased by Johnny and Ben. The robbers put up a decent fight against them, but after chasing them to a carnival and causing some destruction, they manage to dispatch of them. The duo quickly jump in the Fantasticar and head back to the concert. However, once they’re about to enter the doors, a group of fans come bursting through and tell them the show is over. Johnny and Ben ultimately miss the concert and can’t do dinner afterward because they have to clean up the mess from the robbery. Johnny laments “maybe someday I’ll understand why anyone would want to be a superhero.”

Sadly, Johnny and Ben missed the once and a lifetime chance to see The Beatles live. However, they had a perfectly good excuse as they had to chase the robbers down and do their duties as heroes of the Fantastic Four. But, it’s doubtful that makes either of them feel better about missing the iconic rock band in concert.

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WHY PAUL MCCARTNEY SANG THE “LOVE ME DO” LEAD VOCAL INSTEAD OF JOHN LENNON

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On the late albums by The Beatles, you could tell who wrote which song by who was singing. If Paul McCartney had the lead vocal, there was a 100% chance he wrote the track. (On The White Album, Paul might be playing drums and guitar, too.)

The same applied to songs by John and George. Even Ringo sang the one tune he wrote on Abbey Road, the Fab Four’s last recorded album. But in the early days, when John and Paul wrote so many songs “eyeball to eyeball,” it was much trickier.

When then band recorded its first two albums, John and Paul were writing songs that might feature any of the four Beatles singing the lead. And Paul might step in to sing a section even when John wrote the entire track himself.

At The Beatles’ first recording session, one of these switches happened suddenly in the studio. It came during the recording of “Love Me Do,” a track Paul had written mostly on his own but John had grown accustomed to singing.
John Lennon always took the lead vocal on ‘Love Me Do’ before its recording
The first Beatles record date had an impact on the band in several ways. For starters, the group entered the studio originally with Pete Best on drums. After Parlophone head George Martin thought they’d use a session drummer instead, The Beatles fired Best and brought in Ringo Starr.

The second time around, Ringo came along to the studio but sat out the session due to Martin’s hiring of that same session drummer. And that wasn’t the only change Martin made to the band’s breakout single.

Though Paul remembered “Love Me Do” as one of the “50-50” songs between him and John, Paul had come up with the idea and structure years earlier. Later on, John considered it entirely Paul’s song.

Either way, they sang most of the tune together when they played it at shows. But when the music stopped and it came to sing, “Love me do” at the break, John took that lead vocal. However, Martin thought a different arrangement would work better.
Paul McCartney got the lead after John was given the harmonica part
Looking back at that session for Many Years From Now (1997), Paul remembered George Martin hearing John’s harmonica and asking him to play something “bluesy” on “Love Me Do.” So John took over that instrumental part on the track.

Of course, that meant John couldn’t keep singing the lead vocal at the break. (With minimal studio tracks available, he’d have to do one or the other.) So Martin told Paul to take the lead there, even though he didn’t feel ready. “I didn’t even know how to sing it,” Paul said.

Regardless, Martin thought Paul sang it great, and The Beatles soon saw their debut single on the charts. (It hit an impressive No. 17 in the UK.) But when Paul got back to Liverpool, he got harsh feedback from a friend in another band. “‘It was so much better when John sang that,’” Paul recalled him saying.

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