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LILL-BABS with the Beatles during their appearance on the Swedish TV-show «Drop In» in 1963.

Barbro “Lill-Babs” Margareta Svensson, (9 March 1938 – 3 April 2018) was a Swedish singer and actress. Lill-Babs was from the 1950s and until her death in 2018 one of Swedens best known singers. She represented Sweden in the Eurovision Song Contest 1961 in Cannes, and was also known for the song “Är du kär i mej ännu Klas-Göran?”.

She also sang the Swedish version of 1960s hit ‘Itsty Bitsy Teenie Weenie Yellow Polkadot Bikini’ and performed with The Beatles, then still relatively unknown in Sweden, during their visit to Stockholm in 1963. Last year she was inducted into the Swedish Music Hall of Fame. The artist passed away on April 3rd after being admitted to hospital due to heart problems just before her 80th birthday.

Lill-Babs died on 3 April 2018 after suffering from cancer and heart failure.




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A set of Beatles autographs goes under the hammer in the Cotswolds next month.

The signatures of John, Paul, George and Ringo all appear on a double-page photograph in a copy of The Beatles Book. It is included at Moore Allen & Innocent’s auction on April 6.

Despite being in poor condition, the signatures are estimated at £1000-1500. The pages were unevenly cut from the magazine and are scarred with sticky-tape marks, but a full set of signatures from the Fab Four are increasingly difficult to come by. This is the first full set offered by the auction house since 2013, when an autograph book sold for £3800.

The magazine was given to the vendor in the mid-1980s as a 21st birthday present. It was his aunt who had originally obtained the signatures around 20 years earlier.


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Mojo presents The Beatles The Red Issue 1962-1966, The definitive story of the Beatles’ early years by the world’s finest music writers.

In 1973, three years after their split, The Beatles were the subject of the legendary ‘Red’ and ‘Blue’ albums, compiling the most iconic songs of their early and later periods. To salute those historic collections, MOJO is bringing together its finest writing on the group in two special deluxe ‘Red’ and ‘Blue’ volumes. The Red Issue 1962-1966, on sale March 29, comes in a glossy gatefold sleeve which also has room for The Blue Issue, too.The Red Issue tells the stor y of The Beatles’ extraordinary transformation from a struggling Liverpool beat group to the mop-topped superstars who sparked Beatlemania around the world, all the while elevating their songwriting and music to ever-more extravagant and mind-blowing heights.






Illustrated with rare and classic photographs, the 132-page magazine includes the stories of: Their EMI Audition by Mark Lewisohn,Beatlemania by Jon Savage,The A Hard Day’s Night film by Paul Du Noyer,Help! by Peter Doggett,The Beatles and LSD by Ian MacDonald,Revolver by Barry Miles,George In India by Neil Spencer and more.

The Red Issue will be followed by The Blue Issue 1967-1970, on sale from June 30, 2018, which will chart the group’s adventures in psychedelia, political awakening, their last-ever concert and dramatic split.








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Before becaming the Beatles Press office, Derek Taylor was a columnist of the Daily Express.
Taylor describes him as “a very talkative man, with as much interest in expressing himself as anyone else and maybe more than most”. But he’d always been a bit of a clown – there was the time in a hotel when he offered his foot, rather than hand.

One day i went to see Brian Epstein, Derek recalls, becasue i wanted to publish on the newspaper a weekly article wrote by one of the Beatles personally.  I tought George could have been the right one.
And i told epestein : “ he doesn’t really ha sto write, i will instead of him, we just will have some talking about whatever, and i will write the article. The weird idea went on and successfully.
With The Beatles’ profile in the ascendant, Taylor’s editors floated the idea of a column supposedly authored by a Beatle, to be ghostwritten by Taylor. George Harrison was chosen, and was initially given approval of Taylor’s copy. However, the first installment didn’t go quite as well as planned.
And with Taylor’s proddings, George talks about his childhood in a decent, “upper-working-class” Liverpool family. There were the usual privations

“It was cold in those times, cold. We only had one fire and we had to warm up the the beds with a bottle of hot water”. But his only real complaints were about school, which he hated (“awful … That’s when the darkness came in”). He left early, with no qualifications, his musical talents unnoticed by teachers. But he’d met Paul McCartney on the school bus and, by the time he was 17, the group they had formed was taking off.
What happened next, the years of the Beatles, is a story George more or less omits to tell. One minute he’s playing gigs with Paul, John and Stuart Sutcliffe in Hoylake; the next it’s 1969, the group has broken up. I play a little guitar, write a few tunes, make a few movies, but none of that’s really me,” George Harrison once said. “The real me is something else.” He preached piety and simple pleasures, yet he lived in a 120-room mansion and collected ultra high-end cars.
“I am not really Beatle George. Beatle George is like a suit or shirt that I once wore on occasion, and until the end of my life people may see that shirt and mistake it for me.”
“My Sweet Lord” “I thought a lot about whether to do ‘My Sweet Lord’ or not, because I would be committing myself publicly (to my beliefs) and I anticipated that a lot of people might get weird about it. Many people fear the words ‘Lord’ and ‘God.’  makes them angry for some reason.
When beatles plit up Phil Spector went to see him  “’Y’know, you ought to consider making an album.’ Spector recalls, and he said, ‘I have a few ditties’ for you to hear.’ It was endless! He literally had hundreds of songs — and each one was better than the rest. He had all this emotion built up when it released to me.”


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A musician has told how he was paid just £40 for his work turning The Beatles’ The Long and Winding Road into a number one hit.

Richard Hewson, 74, who was born in Norton, Stockton, helped add soaring orchestration to the track in 1969 – much to the annoyance of Paul McCartney.

“My Love” , 1973.

The producer, who now lives in Washington, West Sussex, went on to work with Diana Ross, Chris Rea and many others.


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Released three weeks before the Beatles’ monolithic White Album in November 1968, Wonderwall Music marked a number of “firsts” in the world of Beatledom: It was the first solo album by a member of the band, as well as the inaugural LP to be issued on the Apple record label.

For his part, George had conducted several of the recording sessions for the soundtrack in the heart of India, where he had access to an array of exotic sounds and instruments. Directed by Massot, Wonderwall was unabashedly an art film with high-minded storytelling pretensions. The movie traces the life and work of an introverted scientist named Oscar Collins (played by Jack MacGowran), who becomes obsessed with his neighbors, especially the aptly named Penny Lane (Jane Birkin), a delectable model. The “wonderwall” of the film’s title refers to a shaft of light that streams through a hole in the wall that separates their apartments, illuminating Penny while she poses during a photo session. As time passes, Oscar’s obsession begins to overwhelm him, and soon he drills even more holes in order to observe Penny’s every move.

George understood implicitly that the film’s success depended upon a deftly constructed soundtrack that captured the nuances of Oscar’s runaway mounting obsession. At EMI’s Bombay facility, George recorded a series of ragas for the Wonderwall Music soundtrack, while also preparing the instrumental track for a new composition — destined to be the B-side of the Beatles’ “Lady Madonna” single — entitled “The Inner Light.”

As Massot later recalled during an interview with Spencer Leigh, “I asked George at the opening of the Beatles’ boutique if he would like to do the music for Wonderwall. I told him that it was a silent film and his music would provide the emotion for the characters. Quincy Jones told me that it was the greatest soundtrack he had heard, but the movie was too far out for some audiences. It did well in London, though.”

While Massot’s Wonderwall had difficulty finding an audience, Harrison’s Wonderwall Music established new inroads for World Music as a rapidly evolving genre. As Mojo’s Michael Simmons observed, Harrison’s LP was a “groundbreaking blend of Bombay and London.” Working alongside the likes of John Coltrane and Yehudi Menuhin, the Quiet Beatle had succeeded in transforming authentic Indian sounds into commercial success.

As The White Album dominated the global LP charts into the winter months of 1969, Wonderwall Music succeeded in cracking the American Top 40, a remarkable feat for a genre that was all but invisible to Western audiences only a few scant years earlier. Having successfully imported Indian music and philosophy to the West, George proved that the Beatles were world-breakers in more ways than the fans watching The Ed Sullivan Show on a fabled Sunday night back in February 1964 could even possibly have imagined.