Ringo Starr is cooperating with director Sam Mendes and his team on the upcoming four-part Beatles biopic, but a source exclusively tells Examiner that he’s being extremely uptight and micro-managerial about certain aspects of his life – especially regarding how much he partied back in the day.

“Some early concepts around what exactly the Ringo Starr-focused movie would cover leaned into Ringo’s hard partying during the height of the Beatles success,” the source says. “He loved being famous more than the other three guys – that’s a matter of historical record. Even with the casting of Barry Keoghan, you see a perfect fit with that kind of ‘wild man’ rock star portrayal.”

However, the source adds that with Starr’s “considerable input,” the ideas have evolved and filmmakers are trying to “unearth stories and moments from his years in the band that fans haven’t heard a million times before.”

“It’s all getting special attention from Sam and his team because they want all four films to be great and to be essential viewing for global audiences,” the source continues, “and Ringo has been generous with his own time in a way that Paul McCartney, who has his own control freak tendencies, simply can’t because he’s been working a lot this year.”

The source notes that McCartney, 83, is simply “trusting the filmmakers to handle his story with care,” but Starr, 85, has been taking a much more hands-on approach.

“As annoying as it can be to have to run every idea by Ringo itself, you do sympathize with the guy, and Barry is determined not to make his life story into a joke or a silly gimmick,” the source says. “If this is going to be a profitable enterprise, the Ringo film has to be every bit an equal to the films about John Lennon, Paul and George Harrison.”

Source: Whitney Danhauer/yahoo.com

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Bluesy hits and simple melodies characterized the Beatles’ early career. The end of their tenure was characterized by oddball, psychedelic, heavily conceptual tracks. Operating in a sort of middle ground is the Beatles‘ self-titled record, a.k.a The White Album. Released in 1968, this record saw the group turn their backs on heady material in favor of uninhibited rockers. Many fans consider this album their best work, including Dave Grohl. These opinions are echoed by John Lennon, who also thought this record was a timeless effort. Find out why both Grohl and Lennon loved The White Album below.

For a few of the albums that came before The White Album, the Beatles relied on heavy concepts. From loose themes to concept records, these albums saw the group leave their blues-inspired early years behind. As they worked on their self-titled, Lennon counted it as a return to form.

The late-great Beatle felt the album was hyper-focused on the band as meritable rock musicians. They didn’t need any overarching concept; their talent could stand on its own.

“What we’re trying to do is rock ‘n roll, ‘with less of your philosorock,’ is what we’re saying to ourselves,” Lennon once said. “And get on with rocking because rockers is what we really are.”

“You can give me a guitar, stand me up in front of a few people,” he added. “Even in the studio, if I’m getting into it, I’m just doing my old bit… not quite doing Elvis Legs but doing my equivalent. It’s just natural. Everybody says we must do this and that, but our thing is just rocking. You know, the usual gig. That’s what this new record is about—definitely rocking.”

On top of this album being a return to their roots, Lennon also favored its notable lack of McCartney’s leadership. One of the many things that led to the Beatles’ breakup was Lennon and his other two bandmates’ feelings that McCartney’s grip on the group was too firm.

“[Paul] wanted it to be more a group thing, which really means more Paul,” Lennon added elsewhere. “So he never liked that album.”

Elsewhere, another legendary musician praised this record, Grohl. The drummer-turned-frontman has spoken at length about his love of the Beatles. Specifically, he’s praised The White Album.

“I think I was a glimpse of hope in my parents’ eyes, but this has some of my favourite Beatles songs on it: ‘Blackbird’, ‘Revolution #9’, ‘Revolution’, ‘Helter Skelter,’” Grohl once said of this record. “It’s funny to imagine those four cute little Beatles years later on LSD….I’d call this timeless.”

Source: Alex Hopper/americansongwriter.com

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The recordings are said to be from 1963, not long after The Beatles’ Jan. 1, 1962, audition for Decca Records.

Hang on to your Beatle wigs! Two “new” early Beatles recordings have surfaced, a solo acoustic demo of Paul McCartney’s self-penned “Love of the Loved,” and the first recording of Lennon-McCartney’s “Misery.”

Both turned up on YouTube on Dec. 10, 2025, apparently having been taken from one of the latest in a seemingly endless series of Beatles bootleg albums. Scroll down to the bottom of this article to hear the two newly discovered tracks.

“Love of the Loved” previously existed only on the legendarily shaky Beatles audition for Decca Records, which they famously failed, from Jan. 1, 1962. The newly surfaced demo was auctioned in 1991 by Christie’s, but has never appeared until now.

The version of “Misery,” purportedly from a Jan. 30-31, 1963, rehearsal at an empty Cavern Club (the Beatles’ early concert stronghold), was long reported to exist. A snippet of it was played by Beatles author Mark Lewisohn during his lecture tours, but this is the first appearance of the full song.

It’s yet another dramatic and significant find in the group’s legacy, the most recent major discovery having probably been the group’s full concert at the Stowe School For Boys of April 4, 1963.

In the Decca audition, the group (with Pete Best on anemically recorded drums), assay “Love of the Loved” with McCartney doing a deep, quasi-Elvis voice. The newly discovered demo features a clear, “normal” McCartney vocal, backed with acoustic guitars presumably played by McCartney plus John Lennon or George Harrison (or all three). The demo is believed to have been done specifically for popular Liverpool chanteuse and Beatles’ friend Cilla Black, who released it in October 1963.

Listen to Cilla Black’s version

With arrangement help from McCartney, produced by George Martin, Black’s version of “Love of the Loved” peaked at #35 on the U.K. singles chart in October 1963. Yet the song actually dated to the first half of 1959, according to Lewisohn, written during a night-time walk home, in honor of McCartney’s then-girlfriend, Dot Rhone.

“It was one of those very early songs of mine I’d written up in Liverpool,” McCartney remembered decades later. “We performed it at our audition for Decca when they unwisely passed us up. We played the song live a few times too but didn’t ever properly record it, so the song was sitting around waiting for a home.”

Source: Rip Rense/bestclassicbands.com

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Many Beatles fans through the years have made a hobby out of picking apart the Fab Four’s lyrics to find some hidden message or meanings. That was commonplace when the band was still together. In fact, John Lennon even wrote “I Am The Walrus” to mess with listeners who were assigning way too much meaning to their songs. Still, The Beatles recorded many songs with hidden meanings that flew over the heads of many listeners back in the day. Let’s look at a few Beatles tunes with fascinating, deeper meanings that you might have missed.

“Got To Get You Into My Life”

Fans go back and forth on how drug-influenced or drug-referential certain songs from The Beatles are. “Got To Get You Into My Life” is one song that has been confirmed by Paul McCartney to be about p*t.

“[We] were on tour, so we were all together in the hotel suite,” said McCartney of the inspiration for the song. “We were having a drink, and then Bob [Dylan] arrived and disappeared into a backroom. Then Ringo went back to see him and after a couple of minutes Ringo came back into the suite looking a little dazed and confused. And we said, ‘What’s up?’ and he said, ‘Oh Bob’s smoking pot back there’, and we said, ‘Oh, well what’s it like?’ and Ringo said, ‘the ceiling feels like it’s coming down a bit.’”
“Run For Your Life”

If you danced to this tune without listening to the lyrics, you’re not alone. In retrospect, a lot of people don’t love this Beatles song, including John Lennon himself. Despite writing it, Lennon condemned the song shortly after it was released on Rubber Soul. Lennon is on record saying he “never liked” the tune. I can see why. The lyrics of this song are quite creepy, sung from the perspective of a man who threatens to kill his woman should she ever cheat on him. There’s no defending lyrics like “I’d rather see you dead, little girl, than to be with another man”.

It’s worth noting that some listeners believe “Run For Your Life” was allegedly Lennon’s attempt to condemn the darkness of domestic violence through irony. That has never been confirmed. And even if that were true, that irony was lost on listeners and radio DJs alike. The latter refused to play it on many radio stations.

Source: Em Casalena/americansongwriter.com

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Paul McCartney mourned Rob Reiner and wife Michele’s deaths in an emotional Instagram post. McCartney praised Reiner’s work and recalled fond memories from filming 'Spinal Tap II.' 'Spinal Tap II' scene with McCartney was inspired by a real-life musical encounter.

Like many, Paul McCartney was shocked and saddened by the tragic news of the death of Rob Reiner and his wife, Michele.

McCartney shared his grief in an Instagram post on Dec. 15 with a photo of him and the famed director on the set of Spinal Tap II: The End Continues, which featured a cameo by the former Beatle.

“What a tragedy the death of Rob Reiner and his wife, Michele, is. It is so shocking in many ways but for me especially so, because over the last year I had been working with him. He directed me in ‘Spinal Tap II: The End Continues’. He was such an upbeat, lovable man,” McCartney wrote.

“Life can be so unfair and this tragedy proves it. His father, Carl Reiner, was a great humourist before him and Rob followed in his dad’s footsteps doing a terrific job making many great films. I will always have fond memories of Rob and the idea that he and his wife will no longer be in the world with us is heartbreaking,” he added.

“Thanks for all the humour, Rob. Rest in Peace. Love Paul,” he signed off.

McCartney’s fans shared their memories of Reiner in the comments of his post.

“He was an amazing director and a good actor!! When harry met sally and spinal tap are two of my favourite films… such a terrible, tragic and sad sad end to their lives. 💔,” one wrote.

“So sad I join you in your loving words,” added another.

“So senseless! I’m so sad this happened. And for what? Praying for all our broken hearts. 💔,” another fan wrote.

In Spinal Tap II, McCartney visits the dysfunctional aging rockers in the studio as they’re preparing their comeback and final show and catches the ire of Michael McKean’s David St. Hubbins for agreeing with Christopher Guest’s Nigel Tufnel about a chord change. The scene was inspired by real life, Reiner revealed in an interview with Entertainment Weekly.

“We try to figure out what the idea is before we ask,” he explained. “In other words, we wouldn’t just ask people to do it just for the sake of it. Paul McCartney comes out of a very real thing that happened with him. The guys were rehearsing at this facility out in the Valley here in L.A. It was a big rehearsal facility. They had a number of bands, and the guys were rehearsing for a tour. They were about to go on, and Paul McCartney was in another studio rehearsing for his tour, and at one point, he just dropped in on them. He came in and said, ‘Hey fellas, sing us a song.’ And they wound up singing the worst version of ‘Start Me Up’ that ever lived. But the point is, we took that from reality. That’s something that actually happened.”

In the film, McCartney and Spinal Tap revive the band’s classic “Cups and Cakes,” originally featured in This Is Spinal Tap.

Source: Craig Rosen/Parade.com

Two legendary albums recorded in the same year using the same musicians, but released by completely different artists... Such an abundance of musical riches could have happened only in the early 1970s, before rock became corporate and was still in a state of communal bliss.

We are talking, of course, about George Harrison’s All Things Must Pass and Derek and the Dominos’ Layla & Other Assorted Love Songs. The two albums were created simultaneously, with the latter’s recording sessions taking place while Harrison was in the final stages of completing his first post-Beatles’ solo work.

It’s well known that Derek and the Dominos grew out of Harrison's backing band for All Things Must Pass. The Dominos — Eric Clapton, Bobby Whitlock, Carl Radle and Jim Gordon — were among the many musicians who played on Harrison’s triple-LP magnum opus. Having just completed work on Clapton’s self-titled solo album that March, they joined the former Beatle in May to begin work on what turned out to be a three-album set, comprising two albums of new songs and a bonus disc of studio jams, dubbed Apple Jam.

On August 23, as work continued on Harrison’s album, Clapton, Whitlock, Radle and Gordon flew to Miami to begin work on their own debut, with Tom Dowd producing. But as Whitlock explained in an interview for the 40th anniversary edition of Layla, they had next to nothing to record.

“We didn’t have enough songs for one album, let alone a double,” Whitlock recalled.

Eric Clapton (right, playing a Martin acoustic guitar) and Bobby Whitlock (left) of Derek and The Dominos, backstage before the band's live debut at the Lyceum Theatre, London, 14th June 1970.
Eric Clapton plays a Martin acoustic while talking with Bobby Whitlock backstage before Derek and the Dominos' live debut, at the Lyceum Theatre, London, June 14, 1970. (Image credit: Koh Hasebe/Shinko Music/Getty Images)

He and Clapton had written some songs together the previous spring, before they worked on Harrison’s album. As Whitlock recalled, they had three originals: “I Looked Away,” “Anyway” and “Tell the Truth.”

But Whitlock had an idea that he managed to sell to Clapton. Throughout the recording of All Things Must Pass, producer Phil Spector kept the tape running. As a result, he captured many of the extended jams that took place between songs and during rehearsals. A selection of those were presented — including two from a June 18 session that marked the official formation Derek and the Dominos — on the Apple Jam bonus disc.

Source: Elizabeth Swann/guitarplayer.com