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It was half a century ago that Bury St Edmunds photographer Tom Murray was asked to drive another snapper to a Beatles photoshoot – now 50 years on he will see one of his images of the Fab Four made into a bronze statue.

Mr Murray, who is now a Bury town councillor, was working as The Sunday Times Magazine photographer when – on July 28, 1968 – he was asked to give a colleague a lift to a session in London.

He was told to bring his camera along and took 23 shots of the influential group, one of which is now being made into a statue by famous sculptor Andrew Edwards – who made the imposing Beatles statue in Liverpool.

Reflecting on the famous day – coined the ‘Mad Day Out’ by the photographer – Mr Murray said: “One of the other photographers said he was photographing a pop group and asked would I drive them around.

“He said, ‘bring your camera’, and we turned up at a rehearsal room and someone was playing Lady Madonna. I walked in and it was Paul McCartney.

“I only took 23 images, and threw out the ones I didn’t like. “I did almost nothing with them until John Lennon was shot in New York and I remembered the pictures. There was one of John lying pretending to be dead, but they thought it was a bit spooky.”

His image of Paul appearing to fall off the roof of a building as the group hold onto each other, which was taken as part of the session, will now be immortalised in bronze. A mini version of the statue has already been made and is in New York. It is hoped the full-size statue will be placed at the site the photograph was taken – near Old Street Station in central London.

Mr Murray, who lives in Bury, said: “I am very proud that the image will be made into a statue. Andrew really understood the depth and breadth of the picture.”

It may be two years before a decision is made to place the statue but a book detailing the ‘Mad Day Out’ is now available worldwide.

Mr Murray has supported a range of international, national, and local charities by auctioning his work, of which some has been signed by Sir Paul and Sir Ringo.
Mr Murray says around £9million has been raised for charity over a 20-year period with his own personal fundraising total at £1.5m.

The Beatles: Tom Murray’s Mad Day Out Hardcover – July 28, 2018
USA …  H E R E .

UK ….. H E R E . (FREE Delivery in the UK.)




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With Jane Asher in Switzerland, McCartney’s composed “For No One”. Instead of the third party comforting his friend he sadly informs him that there is “no sign of love” remaining.

As was his habit, Paul took advantage of a Beatle-less vacation out of the country and, while away, found the atmosphere perfect for writing a song. “I wrote that on a skiing holiday in Switzerland, in a hired chalet amongst the snow,” he remembered . This vacation took place in March of 1966 with girlfriend Jane Asher in Klosters, Switzerland where they rented a chalet about half a mile from town.

In the book “Anthology,” Paul goes into greater detail: “I was in Switzerland on my first skiing holiday. I’d done a bit of skiing in ‘Help!’ and quite liked it, so I went back and ended up in a little bathroom in a Swiss chalet writing ‘For No One.’ I remember the descending bass-line trick that it’s based on, and I remember the character in the song – the girl putting on her make-up.”

Paul said that it was all about his own experience of living with a woman when he was fresh from leaving home. Later he was less specific, saying that he was thinking only of the character of a typical working girl.” One may speculate that his three-year relationship with Dot Rhonewas the experience used as inspiration for “For No One,“I suspect it was about another argument. I don’t have easy relationships with women, I never have. I talk too much truth.”

Originally titled “Why Did It Die?,” it appears to have been written solely by Paul. John himself confirms this assumption in his 1972 “Hit Parader” magazine interview when asked about the authorship of the song. “Paul. Another of his I really liked,” he stated. “One of my favorite pieces of his, too. That and ‘Here, There And Everywhere.’ A nice piece of work, I think,”

At right around the half way mark of recording their “Revolver” album, Paul and Ringo entered EMI Studio Two on May 9th, 1966 at 7 pm for a four hour session devoted to beginning Paul’s “For No One.” A simple rhythm track was recorded with only Paul on piano and Ringo on drums, which were played very subtly mostly on the hi-hats. It took ten attempts to get it right; the tenth take now ready for overdubs.

Producer George Martin remembers: “On ‘For No One,’ the track was laid down on my own clavichord. I brought it in from my home, because I thought it had a nice sound. It was a very strange instrument to record, and Paul played it.” Mark Lewisohn, in his book “The Beatles Recording Sessions,” insists that the clavichord was “hired at a cost of five guineas from George Martin’s AIR Company.” In any event, George Martin was responsible for getting it in the studio on that day. At 11 pm, the two Beatles called a halt to the session which left the song as an instrumental, deciding to record the vocals on another day. “Occasionally we’d have an idea for some new kind of instrumentation, particularly for solos,” relates Paul.


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The algorithm divided songs into data sets and attributes qualities to John Lennon or Paul McCartney.”The probability that ‘In My Life’ was written by McCartney is .018.”“Which basically means it’s pretty convincingly a Lennon song.” And with that, Harvard researcher and passionate Beatles fan Mark Glickman made his telling contribution to one of the eternal pop music pub arguments – who wrote the Beatles’ best tracks?
The difference this time around is Glickman has science on his side.

Together with fellow Beatles fan Jason Brown – a professor of mathematics at Dalhousie University – Glickman, a senior lecturer in statistics, has handed the question of whether John Lennon or Paul McCartney wrote some of the Fab Four’s most memorable tunes over to cold data.
The process, for non-technical music lovers, is a lot more mundane than anything the Beatles – even Ringo – worked on.
You can read more about it here, but the quick version is the pair hooked in former Harvard statistics student Ryan Song and came up with a five-stage method of decomposing each Beatles song from 1962 to 1966.
The idea, Glickman says, was to convert the songs into sets of different data structures.
“Think of decomposing a colour into its constituent components of red, green and blue with different weights attached,” Glickman says.“We’re doing the same thing with Beatles songs, though with more than three components.

“In total, our method divides songs into a total of 149 constituent components.” The data sets included frequencies of commonly played chords, notes sung by the lead singer, what chords followed each other, consecutive melodic note pairs and whether melodic sequences were “ups and downs” or “stays the same”.“Consider the Lennon song, ‘Help!’,” says Glickman. “It basically goes, ‘When I was younger, so much younger than today,’ where the pitch doesn’t change very much. It stays at the same note repeatedly, and only changes in short steps.“Whereas with Paul McCartney, you take a song like ‘Michelle,’ and it goes, ‘Michelle, ma belle. Sont les mots qui vont très bien ensemble.’“In terms of pitch, it’s all over the place.”

From all that, the team had enough information to apply another three-step process to build a model for the probability of whether Lennon or McCartney wrote a song. And the first victim? “In My Life”, from the the 1965 album Rubber Soul – a song ranked 23 on Rolling Stone’s The 500 Greatest Songs of All Time. While it’s listed as a classic “Lennon-McCartney” track, which infers Lennon did most of the work, McCartney has disputed that in the past. But the Glickman model suggests McCartney “misremembers”.“We don’t claim that we think Paul was mistaken – rather, our model merely suggests that the patterns of musical idioms in In My Life matches more with Lennon’s writing style, relative to the patterns we recorded,” Glickman says.McCartney may, however, be able to claim “The Word”, which Glickman thought was certain to be a Lennon song. Glickman will reveal more details about the study at a talk at the 2018 Joint Statistical Meetings on August 1 in Vancouver.

And at some stage after the team has finalized its models, Glickman says it may release a fuller list of songs it decomposed and what author the model attributed them to.Glickman says there’s more to it than solving bitter pop debates.“This technology can be extended,” Glickman says. “We can look at pop history and chart the flow of stylistic influence.”“We are also considering using lyric content to fine-tune the probability predictions. Ultimately, we’d like to automate the data collection process (which for this project was all hand-coded by my co-author Jason) so we can characterize musical composition styles of different musical artists.”

And after “a few years” of fine-tuning the model, Glickman says he’s still Team McCartney.

“Generally, I tend to gravitate more to McCartney songs, which in my view tend to be richer in musical detail,” he says.“On the other hand, the music that Lennon wrote over the 1966-67 period in particular is probably some of the best pop music of all time (A Day in the Life, Strawberry Fields, I am the Walrus, etc.).”



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Two new children’s books will add pictures to the words of John Lennon and Paul McCartney.

Simon & Schuster Children’s Publishing announced Thursday that the series will begin with “All You Need Is Love,” featuring illustrations by Marc Rosenthal. It comes out in January through the imprint Little Simon. The second book will be announced at a future date.

The books will be released through a licensing agreement with Sony/ATV Music Publishing and Sony/ATV’s Global Licensing Agent, Epic Rights. Other picture books have been based on Beatles songs. In 2014, Ringo Starr collaborated with illustrator Ben Cort on an adaptation of “Octopus’s Garden.”



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John and Paul’s show of solidarity was a measure of the outrage felt about Jagger and Richards’ imprisonment.

The albeit fleeting incarceration of Mick Jagger and Keith Richards after their drug convictions of 1967 was one of the biggest stories of what became known — ironically, in their case — as the Summer of Love.
This extraordinary entry in the history of the Rolling Stones was soon illustrated by the band’s own memorable single inspired by the affair, ‘We Love You.’ At a nighttime recording session at Olympic Studios on 19 July that year, backing vocals and percussion for the upcoming Decca release were laid down by Paul McCartney and John Lennon.
The gesture by the two Beatles was a show of solidarity for their friends and a measure of the outrage felt about Jagger and Richards’ imprisonment. Even as the case was ongoing, an earlier such gesture had been made by The Who, when they recorded swiftly-convened covers of ‘The Last Time’ and ‘Under My Thumb.’

The Stones were at Olympic recording what became Their Satanic Majesties Request, their sixth British album, which followed in December. ‘We Love You’ wasn’t on it, which gives it an even more distinct place in the events of that year. Opening to the sound of prison doors banging shut, it then featured an imposing piano riff by Nicky Hopkins, and defiant Jagger-Richards lyrics that both showed appreciation for their fans’ support during the ordeal, and disdain for the establishment that, in their eyes, condoned it. To make the point even more powerfully, there was a striking promotional film directed by Peter Whitehead.
‘We Love You’ was released on 18 August in the UK and two weeks later in America. It spent most of September in the British top ten, with a No. 8 peak. In the US, ‘Dandelion’ was promoted as the A-side of the single and reached No. 14, but interest and airplay for ‘We Love You’ was enough to earn it a No. 50 peak of its own.



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The Beatles made an appearance on the live ABC Television show Blackpool Night Out, the summer edition of Big Night Out. It was broadcast throughout the ITV network from 8.25-9.25pm.

The show was hosted by brothers Mike and Bernie Winters, and took place at Blackpool’s ABC Theatre.The Beatles had arrived in Blackpool the previous day. They performed five songs: A Hard Day’s Night, Things We Said Today, You Can’t Do That, If I Fell and Long Tall Sally.

The Beatles also took part in comedy sketches for the show, for which they dressed up as characters including refuse collectors and medical surgeons.