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Tag Archives THE BEATLES

PETE BEST: “THEY COULD HAVE BEEN NICER.THEY PUT A LOT OF BOOTS IN”,BEST TELLS RYAN ABOUT THE RELATIONSHIP HE HAD WITH HIS FORMER BANDMATES

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The Beatles original drummer Pete Best has said that John Lennon, Paul McCartney and George Harrison continued to “put the boot in” even after they had dismissed him from the band and replaced him with Ringo Starr.

Best (78) first met the Beatles, who were then called The Quarrymen, in 1959 when they played some of their first gigs at his mother’s club, The Casbah, in suburban Liverpool and later joined the band in August 1960 after a phone call from Paul McCartney.
He went on to perform with them over 220 times, including many shows during their long stint in Hamburg. However, in what is perhaps showbusiness’s biggest bad luck story, the rest of the band kicked him out just as super stardom beckoned.

Speaking on the Late Late Show on Friday night, Best, who has Irish relatives in Limerick and Dublin, said, “They could’ve been nicer, they put a load of boots in,” he said.
“In interviews after I was kicked out, they initially said I wasn’t a good enough drummer, then all of a sudden I was anti-social, didn’t talk, moody, slow-witted… Come on, guys, gimme a break. You’ve already kicked me out of the band. Lay off me, just let me get on with my own life.”

Best also recalled the day Beatles manager Brian Epstein called him into his office in 1962 to tell him he was out of the band just as they were about to rocket to worldwide fame.

“Brian was very much to the point, We’d had business meetings before because I handled the business side of things,” Best said.

“I thought it was going to be a brain-picking session. I walked in and Brian wasn’t his usual cool, calm, placid self, he was very agitated and I looked at him and I said ‘whoa, something smells here…’
“We talked around the subject and then he said, ‘Pete, I don’t know how to tell you this – the boys want you out’ and the key words were it’s ‘already been arranged’. I was devastated. I‘d been with them for two years, known them for three, done everything which was required of me. Done the leathers, the cowboy boots, the hair, you name it…

“I wish I knew why they kicked me out. The reason they gave was that I wasn’t a good enough drummer. That’s never held water with me or the people of Liverpool. At that time I was said to be one of the best drummers in Liverpool.”
Best was left to look on as the band became megastars. “Believe it or not when they hit the top of the charts in England it was something I expected but what happened afterwards… No one in their right minds could have reckoned on that. I was like the rest of the world – dumbfounded at how fast they became the icons of the music industry.”

Asked if he was “sickened” by it all, Best said: “No. By this stage I had sort of got over it. I’ll chase them as hard and fast as I can with my own band but that didn’t work out.”

He added: “I have no regrets. It was a wonderful experience to play with the biggest band in showbiz. I don’t think anything will surpass that. I’m proud of my contribution.”

Best never met any of the band again but eventually earned royalties of between one and six million pounds from his performances with them after the release of The Beatles Anthology in 1995.

The drummer is still touring the world with his own band and recently opened the Magical Beatles Museum on Matthew Street in Liverpool, which features over 1000 pieces of Beatles memorabilia, with his brother.

He will also be back in Ireland on March 27 in Wexford’s Riverbank House Hotel and Lost Lane in Dublin on March 29 for an Evening with Pete Best.

Video .. Here.

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THE BEATLES MOVIE THAT GRABBED STEVEN SPIELBERG´S ATTENTION IN FILM SCHOOL

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After the innovative Revolver (1966) and Sgt. Pepper’s Lonely Hearts Club Band (1967), the band released the Magical Mystery Tour TV film on Boxing Day ’67.
The BBC it had shown a color film in black-and-white.

As time went by, Magical Mystery Tour’s reputation recovered, with some comparing the Fab Four’s cinematic effort to the work of Luis Buñuel and Salvador Dalí. Paul McCartney has pointed out how the next generation’s leading filmmakers appreciated the work.

In Anthology, all four Beatles weigh in on the reception of Magical Mystery Tour. To a man, they acknowledge the work has clear flaws. However, they also point out the flaw in the BBC presentation. “We were stupid and they were stupid,” Ringo said.

Ringo also pointed out how the reactions changed once viewers saw it as intended. “It was really [panned] but when people started seeing it in color they realized it was a lot of fun.” Paul said he heard very encouraging feedback from authorities on the subject.

“People like Steven Spielberg have said since, ‘When I was in film school, that was a film we really took notice of,’” Paul said in Anthology. “It was an art film rather than a proper film. […] I defend it on the lines that nowhere else do you see a performance of ‘I Am the Walrus.’”

Paul was being humble in some respects. The video for George Harrison’s “Blue Jay Way” is another great moment in Magical Mystery Tour. And Spielberg wasn’t the only great director to point out the film’s charm.

In a 2012 PBS documentary on Magical Mystery Tour, Paul and The Beatles got another heavyweight endorsement — this time, from Martin Scorsese. Seeing the big picture of the medium (as usual), Scorsese felt the need to stick up for the film’s freewheeling style.

“Of course, the emphasis on professionalism and polish and politeness has come back now with a vengeance,” Scorsese said in the movie’s defense. “It’s expected. And there’s a tendency to forget that really that’s only one choice, one way of going.”

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JOHN LENNON: ““WITHIN YOU WITHOUT YOU”, ONE OF GEORGE´S BEST SONGS”

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While George Harrison was working to refine his songwriting craft, he wasn’t getting much help from his bandmates in The Beatles. “I had a little encouragement from time to time, but it was very little,” George said in a 1977 interview.

Beatles engineer Geoff Emerick backs up that account in the book, Here, There and Everywhere. “In general, sessions where we did George Harrison songs were approached differently,” Emerick said. “Everybody would relax — there was a definite sense that it really didn’t matter.”
During the sessions for Sgt. Pepper’s Lonely Hearts Club Band (1967), George faced more criticism than usual. It began when he introduced “Only a Northern Song” in the studio. After John Lennon didn’t play on the backing track, The Beatles decided to shelve the song for a later date.

But George still didn’t have a song on Sgt. Pepper. When he brought the excellent “Within You Without You” into the studio, Emerick recalled how no one was impressed (again). What’s worse, Emerick said the other Beatles and producer George Martin actually rolled their eyes at the track.
By the time George debuted “Within You Within You” for his bandmates and producer, they’d already recorded several masterpieces. The Sgt. Pepper sessions began with John’s masterpiece, “Strawberry Fields Forever,” followed by the Paul McCartney classic, “Penny Lane.”

The Beatles had also polished off “A Day in the Life” when George took another crack at getting on the album. In brief, the bar had been raised considerably by March ’67, and George encountered a lackluster reception on all sides.
“At the time ‘Within You Without You’ caused a lot of eye-rolling among the other Beatles and George Martin,” Emerick recalled. “Personally, I thought it was just tedious.” But Emerick did acknowledge that George’s rendition (alone, on acoustic guitar) didn’t do the composition justice.

In the sessions that followed, George’s bandmates would begin to see the magic in the song. Eventually, eight violin players, three cellists, and what John described as “about 400 Indian fellas” filed into the studio to help bring George’s vision to life.
Once the harsh reception was out of the way, George outlined how he wanted to record “Within You Without You.” It began with scrapping the usual Beatles lineup and bringing in a band of Indian musicians to record the backing track.

While his three bandmates were present during the session, George mostly worked on his own with Martin and the Indian players. When Martin scored parts for the Western string instruments late in the Sgt. Pepper sessions, George found himself without any other Beatles once again.

That turned out to be exactly what he needed. Though the song became his sole composition (and by far biggest moment) on the record, it came off as wonderfully as everyone had hoped. Even John fell in love with the song, which has become a highlight of Sgt. Pepper.

“One of George’s best songs,” John told Playboy’s David Sheff in 1980. “One of my favourites of his, too. He’s clear on that song. His mind and his music are clear. There is his innate talent; he brought that sound together.”
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ANIMATOR RON CAMPBELL TO MAKE APPEARANCE IN THE UPSTATE

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Ron Campbell directed the Beatles cartoon series and was involved in other popular Saturday morning cartoons.

He will offer some of his works for sale from 4 to 8 p.m. Jan. 21 and 22 at Bennetts’ Framing & Art Gallery, 2100 Laurens Road, Greenville.

Campbell’s 50-year career in animation includes work on “Scooby-Doo,” “The Smurfs,” “Rugrats” and more. In addition, he was the animator of the film “Yellow Submarine.”

Campbell was director of the Beatles Cartoon series that aired on ABC from Sept. 25, 1965, through April 20, 1969. The series received huge ratings and continually fueled new music to children as they followed the bouncing drumstick to each Beatles tune. Campbell also wrote the forward to the definitive book on the Beatles cartoon series “Beatletoons.”

In 2018, music fans celebrated the 50th anniversary of the release of the Beatles classic animated film, “Yellow Submarine.” Since its release, the movie has become a permanent fixture in pop culture, defining the psychedelic 60s for generations. In his book, “Up Periscope,” the movie’s producer Al Brodax gives Campbell a great deal of credit for saving the movie and tying it all together at the last minute.

Other cartoons Campbell has been involved with include “Winnie The Pooh,” “Krazy Kat,” “George of the Jungle” and “The Jetsons,”

Campbell’s former studio was awarded a Peabody and an Emmy for his work in children’s television. Since retiring, he has been painting subjects always based on the animated cartoons he has helped bring to the screen. With emphasis on The Beatles, he shows his Cartoon Pop Art in galleries worldwide.

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