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By Posted on 0 5

The Beatles are currently leading the UK Vinyl Singles Chart. Yellow Submarine has jumped up the Top 20 to chart at #1. Reflecting their surge in popularity, dedicated vinyl album and singles charts were launched in 2016 with the singles chart compiled from sales of 7″ and 12″ records. The Beatles’ Long Tall Sally came in on the list at #20.





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The world premiere of The Beatles’ animated feature film, Yellow Submarine, took place on this evening at the London Pavilion on Piccadilly Circus
Although the group had largely retreated from the public eye in recent months, with their trip to India and the recording of the White Album, their popularity remained undiminished. As with their previous film openings, large crowds turned out, blocking streets and bringing traffic to a standstill.

The only Beatle to arrive alone was Paul McCartney, whose fiancée Jane Asher was absent. Three days later she announced the end of their relationship on BBC television.
News spread when Asher had failed to attend the world première of Yellow Submarine three days earlier; all the other Beatles’ partners were there.
“I always feel very wary including Jane in The Beatles’ history. She’s never gone into print about our relationship, whilst everyone on earth has sold their story. So I’d feel weird being the one to kiss and tell. (Paul)
Among the other guests were The Rolling Stones’ Keith Richards, plus members of The Who, Status Quo and Grapefruit.
Yellow Submarine which premiered on July 17 1968 will return to cinemas across the United States, Britain and Ireland this summer marking its fiftieth anniversary.
The audio, which features Beatles songs like A Day in the Life and Lucy in the Sky with Diamonds was remixed in 5.1 stereo sound at Abbey Road Studios, where the Beatles recorded most of their work.
An unmissable cinema event, this momentous big-screen revival will give generations of audiences the golden opportunity to revisit Pepperland for the 50th anniversary of the film’s original release.
The visionary feature film designed by the great art director Heinz Edelmann can now be experienced in glorious surround sound with the groundbreaking animation presented in stunningly-remastered 4k. Looking and sounding better than ever before, join John, Paul, George and Ringo on the technicolour adventure of a lifetime.
Illustrated with mind-bending moving images, YELLOW SUBMARINE tells the story of how The Beatles battle the music-hating Blue Meanies armed only with the power of love.From Lucy In The Sky With Diamonds to Nowhere Man, and Eleanor Rigby to All You Need Is Love, YELLOW SUBMARINE features some of the most-loved songs from the greatest band the world has ever known.


By Posted on 0 17

To commemorate its 50th anniversary, “Yellow Submarine” is being re-released, in a startling new 4K print (it was cleaned and restored by hand, one frame at a time), by Abramorama, the distribution company that had a success two years ago with Ron Howard’s deft and revealing early-Beatles-on-tour documentary “Eight Days a Week.” The “Yellow Submarine” revival kicked off on Monday, July 9, and the movie, which is playing in 79 theaters, will be expanding throughout the summer. It’s a delight to go back to, or to see for the first time, and what unites those two experiences is that even now, in the middle of the renaissance age of animation, “Yellow Submarine” stands apart, reminding you of what a cartoon feature can truly be: a miraculous mutating object that keeps flipping reality inside out.

In 1968, the movie definitely felt “different,” but that was only to be expected. “Yellow Submarine” was a fairy-tale extension of the Beatles’ brand, and one had come to count on a certain singularity from the Beatles, who lent that quality to everything they touched. (Around the same time, they were inventing music video, pioneering the notion of pop musicians as gurus of their own record label, and — on The White Album — throwing out hot, raw chunks of what would become the rock aesthetics of the ’70s.)

Seen now, the all-you-need-is-love-to-fight-the-Blue-Meanies flower-power fancifulness of “Yellow Submarine” never feels trapped in a late-’60s bubble. That’s because the film is totally ironic about it; it’s such a knowing, joshing, postmodern parable of childlike innocence taking on the forces of destruction that almost every moment in the movie seems to make light of its own existence. Then again, the Blue Meanies really are mean — chirpy allegorical bullies with evil grins who have no master plan beyond the desire to stamp out joy. Whatever era you’re watching “Yellow Submarine” in, you always know who the Blue Meanies are. They’re all around you.

In 1968, feature-length animation that played in movie theaters basically meant one thing — Walt Disney — and it seemed appropriate, and inevitable, that “Yellow Submarine” should be the anti-Disney fable, a teeming counterculture rabbit hole of good and evil, one that was as quippy-punny and crazy-sly as the Beatles’ two live-action features, “A Hard Day’s Night” and “Help!” (the main reason “Yellow Submarine” ever got made, according to John Lennon, is that “It was time for another Beatle movie”), and that possessed a visual splendor as psychedelic as it was storybook.The movie’s spirit descended directly from the Beatles, and that meant two things: Every moment in it was about love, and every moment in it was about change. (The Beatles, at that point, were changing their identities with each new album, an odyssey that became the template for more or less every pop star going forward.) “Yellow Submarine,” in its very shape and form, is an orgy of metamorphosis, from the luscious candified utopia of Pepperland, with trees that look good enough to eat, to the industrial gray Liverpool that features a house of surrealist frenzy to the undersea dreamscape ruled by strobe-light fishies and a vacuum creature that sucks up everything around it (including the film itself) to the M.C. Escher-esque sea of holes. Jeremy, the chattering brainiac the Beatles pick up on their journey, is a sidekick so free-associative his goofiness is almost Joycean.

The Beatles themselves grow old, turn into babies, and become Sgt. Pepper’s Lonely Hearts Club Band. The song sequences dart along with fantastic eclecticism, from the tear-drop nickelodeon sadness of “Eleanor Rigby” to the squiggly electro psychedelia of “Only a Northern Song” to the mod one-world sing-along ecstasy of “All Together Now.”And then there’s the sequence that can tickle your eyeballs in a way nothing else ever has. As John Lennon sings “Lucy in the Sky with Diamonds,” we see images of John, a maiden on horseback riding into the clouds, and a couple dancing (they could be Fred and Ginger, or any two people who ever loved each other), and the images dissolve before you into an animated scraggle that grows more and more primitive and elemental and transfixing. It’s beauty drawn outside the lines, beauty that spills over the edges of reality. It is, I think, the single most transcendent sequence in any animated film.

If life can be just like a cartoon, then the message of “Yellow Submarine” is that life is never static — life is flux, surprise, revolution, the old melting into the new. And no art form is equipped to tell that tale quite like animation. Yet today’s digitally animated features, as good as some of them are, rarely if ever try to fly this high. And I so wish that a few of them would. John Lasseter, in his more than 20-year reign at Pixar, guided that studio with a kind of trademark shiny-plated aesthetic, and produced many wonderful films, but with Jennifer Lee and Pete Docter now heading Pixar, I hope they do more than just take the studio in new directions of diversity, as vital as that mission is. I hope that every so often (or even once!), they follow the lead of a movie like “Yellow Submarine” and burst the boundaries of imagination.“Yellow Submarine” was, and is, an indelible experience. So why didn’t it have more of a direct influence? Simply put, it was too far beyond. There was something in the water in 1968, and a handful of the movies that made their mark then remain sealed in a weirdly timeless time capsule of cinematic whoa-ness. “2001: A Space Odyssey” revolutionized science fiction — and yet few, if any, tried to mimic its metaphysical head-trip grandeur. (Where would you start?) “Rosemary’s Baby” was a domestic demonic horror show that tapped some dislocation in the world’s spirit, and no horror film that came after it could match its disquieting shudder.

And “Yellow Submarine”? It was an eye-popping pinwheel of love-generation incandescence, created by an army of animators working in the spangled oasis of the Beatles’ mystique. Yet what emerged was a singular vision — one that, like the cover of “Sgt. Pepper,” seemed to pack the entire 20th century into a winking mosaic designed to enchant adults and children alike. To see “Yellow Submarine” today is to be reminded that the spirit of the Beatles has never gone away, and that the Blue Meanies will be defeated. It just takes people working as they always have. All together now.


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Paul received the 2018 Helpmann Award for ‘Best International Contemporary Concert’ for his One On One World Tour that arrived in Australia in December 2017.

The award was accepted at the ceremony by Frontier Touring’s managing director Michael Gudinski with Paul McCartney also sharing a special video message – “Thank you very much for this Helpmann Award… it’s a fantastic award, I’m very chuffed. I want to thank the people at Frontier, the people at Marshall Arts, and most of all the audiences of Australia. You were brilliant. Thank you very much, see you soon!” – Paul McCartney
“It was a twenty year mission to get Sir Paul McCartney. He nailed it every night…”
– Michael Gudinski Launching in the United States in 2016, the One On One Tour played 41 shows across 12 countries to more than 1.2 million people, before heading to Australia. With six sold out stadium and arena shows the tour was attended by almost 200,000 fans in Perth, Melbourne, Sydney & Brisbane.

Celebrating McCartney’s entire career – from his earliest work with The Quarrymen through to his most recent collaboration with Kanye West and Rihanna – as well as global treasures from The Beatles, Wings and his solo catalogue, the One On One Tour was a sensational way to finish 2017. ‘What a show, what a performer. Spanning 40 songs and clocking in at about three hours the concert was a walk down memory lane with one of the world’s most beloved musicians of all time.’ – The West Australian




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A new book about Beatles producer George Martin explores the tensions surrounding the recording of the band’s classic track “Hey Jude,” which took place 50 years ago this month. Sound Pictures: The Life of Beatles Producer George Martin — The Later Years, 1966-2016 is Kenneth Womack’s second title about Martin; it will be published on Sept. 4.

In an excerpt provided to Variety, Womack detailed the events of late July and early August 1968. Martin recalled, “I thought that we had made [“Hey Jude”] too long. It was very much a Paul [McCartney] song, and I couldn’t understand what he was on about by just going round and round the same thing.”
He remained concerned about the track running to seven minutes and 11 seconds. “In fact,” Martin remembered, “after I timed it, I actually said ‘You can’t make a single that long,’ I was shouted down by the boys – not for the first time in my life – and John [Lennon] asked, ‘Why not?’ I couldn’t think of a good answer, really, except the pathetic one that disc jockeys wouldn’t play it.”
Lennon countered, “They will if it’s us.”
George Harrison remembered McCartney’s rejection of the suggestion that a guitar part should mimic the vocal melody, and noted it wasn’t a new situation. “Personally, I’d found that for the last couple of albums, the freedom to be able to play as a musician was being curtailed – mainly by Paul,” Harrison said later. “Paul had fixed an idea in his brain as to how to record one of his songs. He wasn’t open to anybody else’s suggestions.”

“Hey Jude” went on to sell over two million copies in its first month of release, holding the Billboard No. 1 position for nine weeks, making it not only the Beatles’ longest-topping single, but the longest-playing single to reach the top.




USA … H E R E.

UK …. H E R E.


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Rare memorabilia from a 1964 appearance by the Beatles on the “Ed Sullivan Show” in Miami Beach is up for auction.

Boston-based RR Auction is hosting the online sale of memorabilia from the collection of Jane Sollogub, who served as president of the South Florida chapter of the official Beatles fan club when she was 15.
A week after the Beatles made their first U.S. television appearance on the “Ed Sullivan Show” in New York, the Fab Four traveled to Miami Beach for an encore performance, this time at the Deauville Hotel.

Sollogub, who was interning at a Miami radio station at the time, was invited to attend the rehearsal and live broadcast. That’s how she got John Lennon’s autograph in the hotel elevator and took several photos of the British band. Among the memorabilia being auctioned off is an original ticket stub for the Feb. 16, 1964, rehearsal. Also being auctioned are a hotel memo pad with Lennon’s ballpoint pen-scribed signature and candid black-and-white photos of the band at the hotel and performing on stage.

Online bidding closes Thursday evening.