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Jonas Åkerlund-directed Midas Man to be produced by Trevor Beattie and shot in Liverpool.

“Midas Man” will be shot in London, Liverpool and the U.S. for release in 2021. Worldwide sales will be handled by Mister Smith Entertainment.The original screenplay was written by Brigit Grant and Jonathan Wakeham. The casting director is Dan Hubbard.

An award-winning director, who has worked with Paul McCartney on music videos, is to direct a major British film about Brian Epstein, the visionary manager and impresario who took the music industry by storm in discovering stars from the Beatles to Gerry and the Pacemakers.

The film, titled Midas Man, will be directed by Jonas Åkerlund, who has won multiple Grammy awards.

It will tell the story of a Liverpudlian record-shop manager with a talent for forecasting hits and spotting future stars. Epstein signed the biggest band of all time, the Beatles, and discovered Cilla Black and Billy J Kramer, opening his own theatre to promote and launch the likes of Jimi Hendrix and the Who. His impact on popular music and culture resounds to this day.

The film’s producer, Trevor Beattie, told the Guardian: “Epstein’s one of the most extraordinary men of the 20th century. His story hasn’t been told properly. He’s often taken for granted by the wider world, but he was ahead of his time from his vision of music and popular culture through to gender identity. He was gay at a time when homosexuality was illegal. He lived a secret life. He made some risky decisions in handling the business of his stars … Compared with what Brian had to live in his life, [they were] not a risk.”

Epstein’s achievements are all the more extraordinary because he died aged just 32, in 1967, following a barbiturate overdose.
Beattie said: “Epstein first met the Beatles in November 1961, when he was 25, and he was dead in August 1967. It is a tragic story. But it’s also life-affirming, a triumph for the human spirit because, in those few short years, he changed popular culture forever.”

His previous productions include the Bafta-winning Moon, starring Oscar-winner Sam Rockwell, and the acclaimed feature documentary, Nureyev.

For almost two years, he has been researching Epstein, talking to people who knew him, including Gerry Marsden, of Gerry and the Pacemakers: “He told me stories that haven’t been printed yet and that we’ll introduce into our film.”

Some relate to artists that Epstein encountered at the legendary Cavern Club in Liverpool, where Cilla Black was a hat-check girl: “Gerry said that Cilla would run up on the stage between Gerry and the Pacemakers and the Beatles and that she saw herself as a rocker. Brian said, ‘no, you’re a balladeer’. He changed the angle on her.”

He said of the Beatles: “It all started in 1961 at the Cavern. Brian saw four scruffy lads in leather jackets, drinking, smoking and swearing on stage. What’s fascinating is that, when he discovered them, there were no [John] Lennon/McCartney songs. They were singing Chuck Berry and Little Richard songs. Brian saw their potential. Today, we would say ‘he packaged them’. He put them in suits and turned their scruffiness into that Beatles look, with the mop-top haircut.”

Previous attempts to make an Epstein film have failed to get off the ground. But this production is collaborating with Liverpool, where much of it will be filmed, and it has received the boost of a multi-million-pound investment from China, where the Beatles and the 1960s look, sound and style remain hugely popular. Casting has begun and Midas Man will be released in cinemas next year.



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“We’re having fun, we’re playing, you know,” said Ringo of his reaction when he saw some of the footage.
Ringo Starr has been sharing his thoughts and early impressions of the much-anticipated The Beatles: Get Back documentary. The film, directed by Peter Jackson, had been due for release this summer by Apple Corps Ltd and WingNut Films, distributed by Disney. Due to the coronavirus pandemic, it’s now scheduled for 21 August 2021.

Starr was speaking at a virtual press conference earlier this week to publicise plans for his 80th birthday celebrations on 7 July. He revealed that he had seen some portions of Jackson’s new interpretation of the many hours of footage filmed around the making of The Beatles’ Let It Be album. Notably, he added, of the group’s famous rooftop performance that will be central to the upcoming documentary.
“I’d only seen the on-the-roof stuff”
“I was disappointed [when the film’s release was delayed] because, I mean, I’d only seen the on-the-roof stuff that Peter edited together,” said Ringo. He observed that the new treatment vastly expands on Michael Lindsay-Hogg’s 1970 film Let It Be and casts the album sessions in a new and much more positive light.
“It was, I’m guessing ten minutes long,” said Ringo of the rooftop edit in the earlier film. “It’s now 36 minutes long and it is incredible…you know, he was still putting the rest of the documentary together his way.
“We have plenty to play with”

“You know how it started,” Ringo continued. “We found 56 hours of unused footage. So we have plenty to play with. And I always believed that the one that came out was a bit dull and it stuck to one second of what happened between the boys.
“When he comes into L.A.,” explained Ringo of his meetings with Jackson. “I’ll bring up his iPad Theater [app, to view the footage] and he’ll show me ‘Look, we’re all laughing or telling jokes. We’re having fun, we’re playing, you know, we’re always playing and there’s a lot more joy.” Starr concluded by explaining that Jackson has not been able to return to the studio since February.



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The legendary band played for the last time on the roof of the Apple Building in London in 1969 – and now fans will finally be able to see it for themselves
Ringo, who turns 80 on Tuesday, said: “I have only seen on the roof, and on the roof stands on its own.
“In the original documentary it was say 12 minutes, and he has got it up to 45. It is really, really great. It is really really good.”
The history books say the show lasted 42 minutes before the Metropolitan Police asked them to reduce the volume.
Ringo has revealed the Beatles’ final performance will be shown in full for the first time by Lord of the Rings director Peter Jackson.
It ultimately became the final public performance of their career and a 45 minute version featuring them setting up and finishing will be something many Beatles fans will long to see.
Ringo added that Jackson has found the joy in the Fab Four’s last recording sessions, which were believed to have been plagued by arguments.

Earlier this week, Ringo announced he will virtually reunite with Paul on for an 80th birthday party online next week because of the coronavirus.
Ringo – who has held special ‘Peace and Love’ celebratory concerts to mark his birthday on July 7 for the past 12 years – is bringing together the likes of Sheryl Crow and former bandmate Sir Paul for a star-studded home event.
Ringo, who has been quarantined at his Beverly Hills mansion for 11 weeks said at the time: “I love birthdays. This year is going to be a little different. There’s no big get-together, there’s no brunch for 100 and no gangs of people outside.
“But we’re putting this show together – a TV hour of music and chat. I had big plans for all my kids and grandkids coming from England and my pals to have a huge thing .
”I don’t expect anyone to get on a plane and I certainly won’t be getting on a plane to go anywhere else.
“This year, I want everyone to be safe at home – so I called up a few friends and we put this Big Birthday Show together so we could still celebrate my birthday with you all, with some great music for some great charities. I hope you will all join me.”
The Beatles: Get Back is released on September 4.


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ON THIS DAY : 1965
Studio 2. 2.30-5.30pm. Recording: ‘It’s Only Love’ (takes 1-6).
Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Phil McDonald.


“It’s Only Love” is a song written mostly by John Lennon and credited to Lennon–McCartney. It was first released in 1965 on the Help! album in the United Kingdom and on the Rubber Soul album in the United States.


The Beatles recorded “It’s Only Love” at EMI Studios in London on 15 June 1965. Lennon’s working title for the composition was “That’s a Nice Hat”. The band recorded six takes of the rhythm track, two of which were incomplete, with a line-up of 6- and 12-string acoustic guitars, bass and drums. The high register of the acoustic guitars was created through Lennon and George Harrison each using a capo on the neck of their instrument.


Lennon overdubbed his vocals onto the final take, and Harrison recorded lead guitar parts, including one with a heavy tremolo effect. According to musicologist Walter Everett’s description of the recording, Harrison played all three of the electric guitar parts, including one that doubles the main riff on a Rickenbacker 12-string.

Author Ian MacDonald cites the varied sound treatment applied to Lennon’s vocals and Harrison’s guitars as an example of the Beatles’ increasingly experimental approach to production during the Help! period.

Take 2 of “It’s Only Love” was included on the Anthology 2 compilation in 1996, with a false start (the incomplete take 3) edited onto the beginning of the track.



John Lennon was highly critical of “It’s Only Love”, describing it as a “lousy song” with “abysmal lyrics”. In MacDonald’s opinion, the song is a “twee make-weight” that, while “slightly redeemed by the vigorous chorus”, features the “hollowest” lyrics of John Lennon’s career.






Journalist Mark Hertsgaard says that although the song falls short of the high standard of John Lennon’s Help! track “You’ve Got to Hide Your Love Away”, his dismissal of “It’s Only Love” was overly harsh and fails to do justice to its “lovely lilting melody”. In his review of Help! for AllMusic, Stephen Thomas Erlewine considers “It’s Only Love” to be one of the rare “minor numbers” on an album where John Lennon dominates the songwriting with “great” contributions such as “Ticket to Ride”, the title track and “You’re Going To Lose That Girl”.



According to Ian MacDonald :

John Lennon – double-tracked lead vocal, 12-string acoustic guitar
Paul McCartney – bass guitar
George Harrison – acoustic guitar, lead guitars
Ringo Starr – drums, tambourine




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The Beatles’ late sound engineer Geoff Emerick’s recording of an old Abbey Road jam session worth $5m is ‘at the heart of legal battle between Universal and his family’

A court battle is allegedly set to begin on Tuesday over an old demo recording by The Beatles after it was discovered in Emerick’s home following his death in 2018.
Said to be worth $5 million, the jam session reportedly sees The Beatles perform at Abbey Road for the first time and was recorded before Ringo Starr joined.
The recording was deemed to not be of good enough quality for the group and so Emerick was told by EMI he should destroy it, but he kept it instead.
Universal Music Group, who took over EMI in 2012, are now going to court with Emerick’s family over who the tape belongs to, with the latter citing Finders Law .
Songs recorded on the demo include Love Me Do, which featured on the group’s debut album Please Please Me in 1963, and a source said it was ‘an amazing find’.

Emerick played an influential role on the group during the 1960s, and worked as recording engineer on albums like Sgt. Pepper’s Lonely Hearts Club Band.

A court battle is allegedly set to begin over an old demo recording by The Beatles after it was discovered in late sound engineer Geoff Emerick’s home.
Said to be worth $5 million, the video of the jam session reportedly sees The Beatles perform at Abbey Road for the first time and was recorded before Ringo Starr joined the group as a drummer, it as reported.

According to report, the recording was deemed to not be of good enough quality for the group and so Emerick was told by EMI he should destroy it, but he is said to have instead kept it in a safe in his Los Angeles home, in its original box.

Emerick, who worked as recording engineer with the Beatles for many years on albums like Revolver and Sgt. Pepper’s Lonely Hearts Club Band, died aged 72 in October 2018.

The publication claimed that Universal Music Group, who took over EMI in 2012, are now in a legal battle with Emerick’s family over who the tape belongs to, with the former reportedly arguing they are entitled to the recording under Finders Law.


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At the dawn of the 80s, George Harrison delivered his musical retort to the decadence of the decade with ‘Somewhere In England’
In the 1980s he arrival of the ubiquitous synthesiser en masse, the rise and rise of digital and the whole MTV phenomenon did much to derail some musicians, both old and young. But nothing was going to derail George Harrison with the coming of the decade… he had a new record to deliver.
He began recording the album that would become Somewhere in England in March 1980 and work continued in his home studio at Friar Park at a leisurely pace for the next 7 months. According to George’s son, Dhani, it was because his father was somewhat preoccupied. “He’d garden at night time, until midnight.” In Olivia Harrison’s book, Living In The Material World she says, “He’d be out there squinting because he could see, at midnight, the moonlight and the shadows, and that was his way of not seeing the weeds or imperfections that would plague him during the day, so he could imagine what it would look like after it was done. He missed nearly every dinner because he was in the garden. He would be out there from first thing in the morning to last thing at night.”

When George initially delivered his album to Warners in September 1980 they deemed it too laid back. Clearly, they were caught up in the prevailing mood of the new decade…post-punk-itus.

George agreed to drop four of the tracks that he’d delivered and set to work on some new songs. These were completed in February 1981, with all that happened in the world of the ex Beatles it is surprising, in some senses, that it was completed at all.

It was in December 1980 that John Lennon was murdered and the terrible event spurred George to return to his composition, ‘All Those Years Ago’. He and Ringo had recorded the song in November with a view to its inclusion on Starr’s album, Stop And Smell The Roses that was scheduled for release in 1981.

Instead, George felt compelled to write a new, nostalgic, lyric as a tribute to John, and the song was re-cut with George singing lead, Ringo on drums, Paul and Linda McCartney on backing vocals, and appearances by friends such as Ray Cooper, Denny Laine, Al Kooper and Herbie Flowers. Released in May 1981, ahead of Somewhere In England that came out in June, ‘All Those Years Ago’ spent three weeks at No.2 in America.
George was later obliged by the record company to change the original album cover, featuring an image of him overlaid on an aerial shot of the UK, to one of him standing in front of ‘Holland Park Avenue Study.’ The original cover was reinstated in the 2004 reissue that was part of the ‘Dark Horse Years’ box set.

One of George’s favourite tracks on this record is the opening song, the wry ‘Blood From A Clone.’ With his trademark dark humour, he observed the fact that some of his music was apparently no longer right for the times. “They say you like it, but knowing the market, it may not go well, it’s too laid back,” he sang. “You need some oom-pah-pah, nothing like Frank Zappa, and not new wave, they don’t play that c**p…try beating your head on a brick wall, hard like a stone…don’t have time for the music, they want blood from a clone.”

He later explained to Creem magazine: “That was all this stuff they were telling me: ‘Well, we like it, but we don’t really hear a single.’ And then other people were saying, ‘Now, look, radio stations are having all these polls done in the street to find out what constitutes a hit single and they’ve decided a hit single is a song of love gained or lost directed at 14-to-20-year-olds.’ And I said, ‘S**t, what chance does that give me?’

So… I wrote that song just to shed some of the frustrations. ‘There is no sense to it, pure pounds and pence to it…They’re so intense, too, makes me amazed.’”
Among the standout songs on the album is the evocative lyrical, and philosophical, ‘Writing’s On The Wall’, that was the B-side of ‘All Those Years Ago’. George also covered two songs written by Hoagy Carmichael, ‘Baltimore Oriole’ and ‘Hong Kong Blues’, the latter covered in the 1960s by Spanky & Our Gang. Both songs, despite being written in the 1940s, sound like they might be Harrison originals. For many, ‘Life Itself’ is THE best track on the album, and it’s easy to hear why; it is classic George – spiritual and evocative at the same time.

Somewhere In England made its UK debut at No. 13 on the chart of 13 June 1981 and spent a second week in the top 20 before descending. The LP made the American chart on 20 June, climbing to No. 11 in a 13-week run. 18 months later, George returned with Gone Troppo, after which he wouldn’t be back with an album under his own name until the Cloud Nine triumph of 1987.