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By Posted on 0 , 11

The Beatles were in the studio working on Let It Be when engineer Glyn Johns alerted him to Jimmy Page’s new group with Harrison replying by asking: “Is he the one that was in The Yardbirds?” Harrison sounds intrigued by the new band that Johns is recommending and you can feel an excitement in his voice when talking about his love of psychedelic music.

When Johns says that John Paul Jones plays bass in the group that raises an eyebrow from Harrison who is bemused by his name and the similarities with his bandmates, simply replying: “John Paul?” Johns’ assessment on the ‘bass god’ is perfect and is testament to his eye for raw talent, describing him as: “He’s like the guv’nor. He’s very young, he’s about 24. The guv’nor bass player. Really good.”

He then goes on to talk about the incredible John Bonham who may be the most talented person to ever get behind a drum kit who Johns said this of: “A kid called John Bonham on drums who is unbelievable.” Harrison then revealed the following: “I think he was in a session with Paul [McCartney] last year with some of the other people there.”

Harrison was hooked on Led Zep and began a great fruitful friendship with the band, the other members of The Beatles also became acquaintances with Zeppelin but Harrison was the one who spent the most time in their company.

One wild story from Harrison’s friendship with the band comes from John Bonham’s 25th birthday party in 1973. Harrison knew that the evening was going to be full-on and he expected to be on the receiving end of pranks from the drumming maestro so, instead, he decided to get things going himself. Not long after arriving, Harrison grabbed the top tier of Bonham’s birthday cake and shoved it in the face of the birthday boy which led to the drummer launching everybody he could into the swimming pool including Harrison.

Harrison was also the inspiration behind one of Led Zeppelin’s most well-loved song’s ‘Rain Song’. Jimmy Page revealed to biographer Brad Tolinski: “George was talking to Bonzo one evening and said, ‘The problem with you guys is that you never do ballads,’ I said, ‘I’ll give him a ballad,’ and I wrote ‘Rain Song,’ which appears Houses of the Holy. In fact, you’ll notice I even quote ‘Something’ in the song’s first two chords.”

If it wasn’t for Johns turning Harrison one to Led Zeppelin who knows whether this friendship would have been born and we would have the gift that is the magnificent ‘Rain Song’, listen to the remarkable audio below of George first hearing of Led Zeppelin.

Audio HERE.



By Posted on 0 11

Check it out The Beatles duvet sets.


There are other Beatles duvet covers (click on the images ) with wonderful collage.

There are various sizes too. Those are single, double, king and super king, which should cover most bed sizes.


Each one a duvet cover and two pillowcases (apart from the single which has just one), with the design digitally printed on both.


By Posted on 0 10

Craig Brown’s One Two Three Four: The Beatles in Time explores how, in less than a decade, the band redefined not just pop music but fame.
The Beatles walked into EMI’s studio at Abbey Road via the goods entrance in 1962. They left it through the front door and across the zebra in 1969. That’s a mere seven years, during which time they redefined not just pop music but also fame.
They walked in as nonentities. Two years later they were the most famous people on Earth. Two years after that they were so famous they could no longer function in normal life. Much as Craig Brown’s previous book about Princess Margaret dealt with the impossibility of being royal, One Two Three Four, which follows a similar structure of viewing its subject largely through other people’s eyes, deals with the impact of fame arriving with fearful suddenness.
If you meet one of the two surviving Beatles today he may act as though you’ve met before. This is natural for a Beatle because they seemed to meet everybody in the world. One Two Three Four leans heavily on the fact that everybody who ever met the Beatles wrote about it. Thus it seems that every icon of the age flits across its pages, from Muhammad Ali, who pretended to knock them out in Miami in 1964 despite not knowing who they were, from Brigitte Bardot, whose lunch date with John Lennon was spoiled by his having swallowed some acid to calm his nerves, to Elvis Presley, in whose presence even they could only stand and gawp. Some of these meetings, such as the time in 1961 they looked down from the stage of the Top Ten Club in Hamburg and saw Malcolm Muggeridge in the audience, seem more like gags from the parodic Rutles film, but apparently they took place.
Brown writes perceptively on how famous people behave when they’re suddenly in the presence of somebody whose fame outranks theirs. There’s a good section on the Beatles tour with the 16-year-old Helen Shapiro in 1963. As their career takes off hers is to all intents and purposes over. When they meet Bob Dylan it’s to exchange their blithe energy for his calculated cool and vice versa. Then there are the civilians whose lives could never be the same again after they were caught up in the Beatles’ fearful headlights; people such as the girl whose story inspired “She’s Leaving Home”, the man whose car killed Lennon’s mother Julia, and the drummer who replaced Ringo for a week and never recovered.
Brown is as reliable as anyone who’s reliant on already-published sources can be. In recounting the incident in 1963 when Lennon attacked Liverpool DJ Bob Wooler for teasing him about his holiday a deux with Brian Epstein, he lays out the widely differing accounts of even those who were eyewitnesses. As Paul McCartney says, “in an earthquake you get many different versions… and they’re all true”.
Even at 600-plus pages this is a condensed version of a uniquely fascinating story. It’s characterised by a nicely British dryness. Brown refers to Lenny the Lion as “the distinguished glove puppet” and makes the trenchant observation of Yoko Ono that “her own particular talents were more difficult to pinpoint”.
If you want a one-volume primer that explains the fuss and what it was all about, this does the job. It hits the appropriate notes of wonder, tragedy and, particularly in the Apple days, farce.

Brown’s book is a diverting reminder of seven years that will never be matched and what they did to the people who lived through them.



By Posted on 0 5

When Paul McCartney looked back at his work in The Beatles, “And I Love Her” stood out to him as a milestone. At that point (early 1964), Paul hadn’t yet earned his reputation as a brilliant balladeer. That started to change after he wrote “And I Love Her.”

“It was the first ballad I impressed myself with,” Paul said in his biography Many Years From Now (1997). And John Lennon agreed with him. Thinking back on their rise as songwriters, John described Paul’s Hard Day’s Night gem as a warmup for “Yesterday.”

While John and Paul collaborated on many songs in those days, John had only minimal involvement in the writing of “And I Love Her.” (He probably helped with the middle section.) But Paul definitely hadn’t completed the track when he brought it into the studio.

In fact, he hadn’t written the famous four-note riff that opens the song. On the day of the recording session, George Harrison came up with that on the spot. Paul thought the hook made the song what it is.
Paul McCartney said George Harrison came up with the ‘And I Love Her’ riff in the studio.

While Paul played guitar,he couldn’t do everything. And when he walked into the studio to show George and Ringo Starr “And I Love Her,” he hadn’t come up with an opening bit.

In the documentary Living in the Material World, Paul explained how the process would often go in the early days. “We’d go in the studio, 10 in the morning, and this was the first time George and Ringo had heard any of the songs,” Paul said.

After showing George the chords and working through the arrangement for both he and Ringo, The Beatles would start to construct the song, bit by bit. As Paul explained, sometimes they’d come up with great parts in a heartbeat.

“This is how good they were,” Paul said. “On my song, ‘And I Love Her,’ I had ‘I give her all my love.’ But then George comes in with, [humming the opening riff] ‘doo-doo-doo-doo.’” To Paul, that lick made all the difference.
Paul said, ‘THAT’S the song!’ about George’s riff. Paul marveled at George’s impact on “And I Love Her.” “Now you think about that [riff]: THAT’s the song!” he said. “You know, he made that up at the session. He nicked the chords and we just said, ‘It needs a riff.’ I didn’t write that!”

George nailed down many famous Beatles guitar parts that way. In Rolling Stone, Tom Petty recalled a conversation he had with George one day when “You Can’t Do That” came on the radio. After George told him he created that signature riff on the spot, Petty asked how.

“I was just standing there and thought, ‘I’ve got to do something!’” Petty recalled George saying. Obviously, Paul had a few of these stories to tell. So did Ringo, for whom George cranked out the memorable opening to “Octopus’s Garden” at the end of the Beatles’ run.


By Posted on 0 5

The Monkees were inspired by the Beatles. The Monkees had a song where they used the phrase “I want to hold your hand” . This raises a fascinating question: What did the Beatles think of the Monkees?

John Lennon said: “[The Monkees have] their own scene, and I won’t send them down for it, John Lennon said, according to Mental Floss. “You try a weekly television show and see if you can manage one half as good!” John was an extremely cultured and talented man, so his endorsement of the Monkees’ sitcom meant a lot. In addition, Mickey Dolenz told Westword that John correctly said the Monkees were more like the Marx Brothers than the Fab Four. Certainly, the humor in the Monkees’ sitcom was more similar to the Marx Brothers’ humor than it was to the Beatles’ dry wit.

Meanwhile, George Harrison liked some of the songs the Monkees produced themselves. According to NME, he said “It’s obvious what’s happening, there’s talent there… when they get it all sorted out, they might turn out to be the best.” That’s quite the statement, coming from a member of rock ‘n’ roll’s most acclaimed band.

Ringo Starr got along well with Dolenz.
Dolenz told Cleveland Scene he spent more time with Ringo than any other member of the Beatles, though he did spend time with John and Paul. He recalls hanging out with Ringo after Ringo moved to Los Angles in the 1970s. During that time, Dolenz and Ringo were mutual friends with Harry Nilsson.

Tork shared a similar sentiment, saying “[Ringo] is my favorite Beatle. It truly was Ringo that I found to be the most open and human.” According to The Hollywood Reporter, Ringo sent his condolences when Davy Jones died, saying “God bless Davy. Peace & love to his family, Ringo.”

In fact, Rolling Stone reports that Ringo and George once jammed together with Tork back in the 1960s. Tork felt blessed to be able to hear Ringo on the drums. Sadly, the jam session was not recorded. If it was, it would be a quintessential encapsulation of an era.

Dolenz befriended Paul during the recording of Sgt. Peppers’ Lonely Hearts Club Band. Dolenz was there for the recording of “Good Morning Good Morning.”







By Posted on 0 6

Liverpool attraction The Beatles Story, which celebrates its 30th anniversary this year, is set to reopen its doors today, after being awarded Visit Britain’s ‘We’re Good To Go’ certification.

The certification means it has the relevant safety measures in place and a process tomaintain cleanliness and aid social distancing.

The awarding-winning attraction welcomes record-breaking numbers of visitors each year from all around the world, and being based in the hometown of The Beatles is considered a ‘must-visit’ pilgrimage for many Beatles’ fans.
The attraction will reopen with the launch of a number of upgrades including new artefacts, exhibits and exciting immersive animations in the replica Cavern Club and John Lennon’s White Room.

Mary Chadwick, General Manager, said: “We have been carefully planning ahead to ensure the safety of our customers and staff, whilst continuing to meet the high standards we set ourselves. We are delighted to receive Visit Britain’s ‘We’re Good To Go’ certification meaning we can confidently reopen our doors from 20th July. There will of course be restrictions in place and we must all still do everything wecan to limit the spread of the virus. This includes extra handwash facilities, queuemanagement systems, restricted admission numbers and signage clearly displayedthroughout our attraction. As part of our 30th anniversary celebrations we will be launching a number of newexhibits and immersive upgrades one of which is a new Ringo exhibit featuring apersonal message to The Beatles Story from Ringo and articles from his personalcollection to commemorate his 80 h birthday. The whole team are now raring to go and can’t wait to ‘Get Back’, reopen the doorsand welcome our visitors once again.”