Beatles News
Sean Ono Lennon, the child of John Lennon and Yoko Ono, welcomed his first child into the world.
Ono Lennon, 50, and his longtime partner Charlotte Kemp Muhl, 39, announced the birth of their baby boy Tuesday evening, sharing photos of their new family on social media.
“Okay so…Charlotte and I would like to announce that we have indeed created a Human Bean!” Sean wrote on Instagram Tuesday evening. “His name is, Aurelius! Thank you!”
Sean also shared a photo of himself holding Aurelius, who was wrapped in a white blanket, as well as a photo of Kemp Muhl with their son in a hospital bed. “Baby Momma!” he captioned the latter.
Kemp Muhl, a musician and model, also shared photos from the early days of parenthood, including images of herself carrying Aurelius in a baby harness while walking in the water, holding a small crab and looking after their sleeping newborn.
“We made a human! Am convinced DNA is agentic alien quaternary code,” she wrote.
“The sleep deprivation only adds to the surrealism…Burping technique tips welcome. Been playing him Aphex Twin and Stravinsky. Meconium is crazy,” she added.
Julian Lennon, John Lennon’s eldest son with his first wife Cynthia, reacted to the news on Instagram with four heart emojis — to which Sean responded “Uncle Jules!”
Source: pagesix.com/Adam Silverstein
Cameras rolled on Sunday, Aug. 30, for BBC's six-part drama Hamburg Days in Liverpool's city center, according to a report from The Daily Mail. The cast plays The Beatles during their formative stint in Germany. Production kicked off while Sam Mendes' competing four-film Beatles venture kept shooting in London.
Rhys Mannion, Harvey Brett, Ellis Murphy, Louis Landau, and Patrick Gilmore portray John Lennon, George Harrison, Paul McCartney, Stuart Sutcliffe, and Pete Best. On Friday, Aug. 28, crews filmed at Lord Nelson Street near Lime Street Station. Mannion appeared in character hailing a taxi outside the station.
The series depicts the band's time in Hamburg's St. Pauli district during the early 1960s, when they honed the sound and stage presence that catapulted them to worldwide fame. The group began playing together in Liverpool and Hamburg in 1960. Pete Best served as the main drummer.
Jamie Carragher, one of the writers behind Succession, penned the series. Christian Schwochow, who directed episodes of The Crown, serves as showrunner and co-director alongside Laura Lackmann.
Source: 963kklz.com/Anne Erickson
A remarkable reconstruction of The Beatles’ June 11, 1968 “Blackbird” rehearsal session brings together surviving film and audio from across decades of archival releases, offering an unusually intimate look at Paul McCartney working through one of the most enduring songs from ‘The Beatles,’ better known as the White Album.
The footage captures McCartney inside EMI Studios during the period when the band were deep into sessions for the sprawling double album. “Blackbird” itself was recorded on June 11, 1968 and later appeared on the White Album when it was released that November. The official Beatles site lists the song as a McCartney composition credited to Lennon-McCartney, with George Martin producing.
What makes this reconstruction particularly compelling is the amount of material that has gradually surfaced. The version shared online incorporates clips from the original Apple promotional film and its outtakes alongside footage used in ‘Get Back,’ ‘Now and Then – The Last Beatles Song,’ ‘The White Album’ mini-documentary, ‘McCartney 3, 2, 1,’ ‘If These Walls Could Sing’ and later editions of ‘The Beatles Anthology.’ Material newly included in the 2025 ‘Anthology’ project added roughly another 90 seconds to the reconstructed session.
Source: thatericalper.com/Eric Alper
That blurry-sounding guitar line that leads the Beatles' "Think for Yourself" from 1965's Rubber Soul? That's actually no guitar at all.
It's a bass part, played by Paul McCartney and fed through a device called a fuzz box, which creates a kind of grainy, distorted effect. (There's a regular bass part, too.)
And as with many Beatles tracks, it broke new ground — "Think for Yourself," written by George Harrison, marked the first time this device was used on purpose with a bass.
'Don't Worry' and 'Zip-a-Dee-Doo-Dah'
Four years prior in 1961, a similar sound was created in Marty Robbins' "Don't Worry," a huge No. 1 hit on the country chart. But in that case, the fuzzy bass sound was essentially made on accident, the result of some kind of technical malfunction that Robbins' ultimately decided to keep on the track.
A year after that, producer Phil Spector helped Bob B. Soxx & the Blue Jeans achieve something similar on their cover of "Zip-a-Dee-Doo-Dah." According to Harrison, who worked with Spector on a number of occasions after the Beatles split up, it was a makeshift thing.
"When Phil Spector was making 'Zip-A-Dee-Doo-Dah,' the engineer who's set up the track overloaded the microphone on the guitar player and it became very distorted," he said for Anthology. "Phil Spector said, 'Leave it like that, it's great.'"
Source: ultimateclassicrock.com/Allison Rapp
Casual Beatles fans might completely overlook Beatles For Sale, the Fab Four’s fourth LP. Released in 1964, it found the band going back to cover songs to fill out the running order. This was after they’d included nothing but originals on A Hard Day’s Night, their other 1964 album.
The originals that they did manage to release on that record often get pushed aside by those discussing the group’s work. But we’re here to tell you that these four somewhat overlooked songs from Beatles For Sale deserve your attention.
“Baby’s In Black”
Any song that gave John Lennon and Paul McCartney an excuse to do some close harmony singing has a great head start. On “Baby’s In Black”, which the two men wrote together, they do their finest Everly Brothers impersonation on the microphone. Both men are pushed to the edges of their respective ranges, making for a thrilling listening experience. At any moment, you half-expect one of them to falter, but they never do. The lyrics for the song are fascinating as well. The idea of the girl that the narrator wants dressing in mourning colors adds a bit of unexpected darkness to the proceedings. No matter what he tries, he can’t replace the lingering memory of her ex.
Source: americansongwriter.com/Jim Beviglia
Samira Ahmed, US: Your brilliant A Hard Days Night that examines the impact of the Beatles’ effervescent first film. Can you talk a little about what compelled you to write this book with this specific focus?
Samira Ahmed, UK: My head has been full of the Beatles since I was 11 and discovered them through their films, which my big brother taped off BBC TV in 1979 onto our Betamax video. In 2023 I discovered the earliest complete concert recording of the band made by a student at a private boys’ boarding school—Stowe—in 1963. And the way I told the story on my Radio 4 show Front Row of that concert—its mix of class politics, social change, and the role of TV and audio technology—really connected with listeners, who weren’t necessarily Beatles fans. Who isn’t fascinated by the 60s?
So I thought this film deserves that kind of all-round viewing. Once you start looking you see there are black and Asian teenagers in the audience, the adult women around the Beatles capture how fast women’s careers and freedoms are developing. How the film makes Britain look like the most exciting place to be in the world. Plus how delightful to realize that the film was created by immigrants—mainly American born director Richard Lester. So all these ideas are fizzing through the book.
Source: lithub.com/Samira Ahmed
In 2006, the BBC’s Radio 2 Music Club asked more than 220,000 people to choose the “Best No. 1 Album of All Time.” Their pick was Sgt. Pepper’s Lonely Hearts Club Band, The Beatles’ groundbreaking 1967 album that had already become one of the most celebrated records of its era.
The poll was a testament to how well The Beatles’ music had endured. Four of the band’s albums made the top 10, while Sgt. Pepper landed at No. 1 nearly 40 years after its release.
That kind of lasting adoration traces back to how ambitious the album was from the start. By the time Sgt. Pepper’s Lonely Hearts Club Band arrived in 1967, The Beatles were already among the biggest bands in the world. Albums such as Revolver and A Hard Day’s Night had established them as musical innovators, but their eighth studio album gave them a chance to take that experimentation even further.
The Beatles had stopped touring the previous year, giving them the freedom to make music that didn’t have to be easily reproduced onstage. That gave them room to explore reversed recordings, tape manipulation and distortion in the studio.
With Sgt. Pepper, the band moved beyond their rock-and-roll roots and embraced a more psychedelic sound. Songs like “Lucy in the Sky With Diamonds” and “Within You Without You” brought in surreal imagery, spirituality and mysticism.
Part of what made the album stand out was its concept. The Beatles imagined themselves as the fictional Sgt. Pepper’s Lonely Hearts Club Band, giving them an alter ego that let them take the music in a different direction.
Soure: parade.com/Isabella Torregiani
When they emerged on the scene, The Beatles quickly gained a reputation as the rare rock band that wrote their own material. But they also proved that they could interpret the songs of others. And they usually made those cover songs their own.
One of the earliest examples of this came with their legendary cover of “Twist And Shout”. They used it as the closing song of their debut album, Please Please Me, in 1963. John Lennon delivered an incredible lead vocal performance, one made all the more amazing by the fact that his voice was running on fumes when he laid it down.
Videos by American Songwriter
Save the “Twist” for Last
Bert Berns and Phil Medley wrote “Twist And Shout”. The Top Notes did the first recording of the song in 1961. A year later, The Isley Brothers put their distinctive stamp on it. Their version hit the US Top 20 in 1962.
The Beatles had been performing the song in their live performances for a while when they headed into EMI Studios in February 1963 to record the bulk of their first album. By that time, the group had scored the hit singles “Love Me Do” and “Please Please Me”. That success earned them the opportunity to lay down their first full-length LP.
Producer George Martin had been checking out the band’s live performances in anticipation of the first album to see what material might work. As such, he knew that “Twist And Shout” was a showstopper.
Source: americansongwriter.com/Jim Beviglia
Paul McCartney paid tribute to Dolly Parton and her “unrivaled” songwriting, singing, and philanthropic efforts in a tribute to the late country legend on Instagram.
The post featured some photos from the time McCartney and his family met Parton and her old performing partner Porter Wagoner during a trip to the Grand Ole Opry in the mid-Seventies. At the time, Parton was already a budding star with Wagoner, about to launch her solo career, and, as McCartney remembered her, “so bubbly and full of life.”
“The magnificent star Dolly Parton has died and it is so sad,” McCartney wrote, adding, “Her songwriting, her singing, and her philanthropy were unrivaled in the world of country music and it is hard to imagine living in a world without Dolly. She was a very clever business woman who understood the value of music and, most importantly, the effect that she had on the people of the world.”
Along with their mid-Seventies meeting, McCartney and Parton crossed paths again when the she recorded the Beatles’ “Let It Be” for her 2023 album, Rockstar.
Both McCartney and Ringo Starr featured on the track, too, as did Peter Frampton and Mick Fleetwood.
“There was no greater honor for me than to have her sing my song ‘Let It Be’ and, even though I only made a small contribution to it, I am so honored that she did it,” McCartney wrote of the collaboration. “I am so proud to have known her and admire her unique talents.”
Source: rollingstone.com/Jon Blistein
RECORDING CAPTURES JOHN LENNON AND PAUL McCARTNEY DEVELOPING ‘DAY TRIPPER’ TOGETHER BEFORE THE SONG’S ICONIC RIFF HAD BEEN WRITTEN
Today, UMG and Apple Corps Ltd. release ‘Day Tripper (Songwriting Work Tape)’ from the forthcoming expanded Special Edition of The Beatles’ landmark 1965 album Rubber Soul. Recorded during the Rubber Soul sessions, ‘Day Tripper’ and ‘We Can Work It Out’ were intended for release as a standalone double A-side single and were kept separate from the album.
The ‘Day Tripper (Songwriting Work Tape)’ offers a rare glimpse into the earliest stages of the song, capturing John Lennon and Paul McCartney working together at John’s home, Kenwood, in Weybridge, Surrey. At this stage, the iconic riff that would come to define ‘Day Tripper’ had yet to be written.
Initially based on an old folk song John had written the previous month, the recording captures the pair developing the song together, highlighting the fun they had when writing as a duo. John and Paul can be heard laughing as they work through the song, with John later making reference to the high level of sound being captured on tape.
Source: thebeatles.com
