Beatles News
In 1968, The Beatles were working on one of their most groundbreaking records, their self-titled album, better known as the White Album. They were coming off a psychedelic trend with Sgt. Pepper's Lonely Hearts Club Band, Magical Mystery Tour, and the White Album was a sharp turn back to rock 'n' roll. But of course, The Beatles were no ordinary band, and even when they were going back to basics, they still made history. One of the greatest songs included on this extensive double album is "Helter Skelter." This song was initiated by Paul McCartney, inspired by his competitive spirit, and ended up changing rock music forever. Sadly, shortly after the song was released, a tragedy overshadowed it and darkened the memory of the song for McCartney for years.
"Pete Townshend had been talking in the music press about how The Who had just recorded the loudest, the dirtiest, the rockiest thing ever," McCartney shared in his book, The Lyrics: 1956 to the Present. His response to Townshend's claim was the song "Helter Skelter."
"I came into the studio and said to the guys, 'Let's just see how loud we can get and how raucous. Let's try to make the meter peak.'"
Surrounded by press, The Beatles wave at fans as they arrive in New York City in 1964.
“Well, that put me off doing it forever. I thought, I’m not doing [‘Helter Skelter’], you know, because it was too close to that event, and immediately it would have seemed like I was, either I didn’t care about all the carnage that had gone on or whatever, so I kept away from it for a long time."
Source: Val Barone/collider.com
There are so many reasons why The Beatles became so big in the 1960s. First and foremost, their music was amazing. They had the boy band look and a fine mix of personalities that resonated with young listeners at the time. They had two legendary songwriters in the mix and four excellent musicians who could put all the pieces of a hit song together beautifully. And, according to Ringo Starr, there was another factor that was very important in the Fab Four’s massive success as the biggest band of the 20th century.
Back in 2018, the famed Beatles drummer sat down for an interview with AXS TV to talk about his own career and the glory days of the Fab Four. He talked about how each of the band members, including himself, often didn’t “get along” and would have “rows” at times. Fans of The Beatles likely know that this was particularly true of the band toward the end of their tenure together, which resulted in numerous fights and even lawsuits.
However, it’s clear that the members were friends; how could they not be after years together? On top of that notion, Starr noted that the key to keeping the band together and putting out as much music as they did came down to the work ethic and leadership of one Paul McCartney. Ringo Starr Said That Paul McCartney’s Drive and Work Ethic Resulted in The Beatles’ Success.
In the interview embedded above, Dan Rather mentioned that there were many stories in the media about The Beatles not getting along and not liking each other. Surprisingly, Starr seemed to agree.
“No, no, we didn’t get along,” Starr said matter-of-factly. “We were four guys, we had rows. It never got in the way of the music, no matter how bad the row was. Once the count-in happened, we all gave our best. Suddenly, we’ve got lives, and I’ve got children, and, you know, the effort that we put in because we worked really hard was starting to pale a little, and we always thank Paul to this day.”
Source: Em Casalena/americansongwriter.com
Besides being the most underrated songwriter in The Beatles, George Harrison was also an incredible guitar player who was fundamental to the band’s sound. He inspired countless guitarists around the world, many of whom, like him, became influential and carved their names in Rock history. Unlike his bandmate Paul McCartney, who gave thousands of interviews during his career, George didn’t talk to the press that much and spoke even less about other artists. However, he did share his opinions on some of them, including The Rolling Stones’ guitarist Keith Richards. What was George Harrison’s opinion on Keith Richards?
George Harrison was called “the quiet Beatle” by the media and fans during his career and he was always modest when it came to talking about his own guitar playing. When asked in an interview about ELO’s Jeff Lynne calling him a “great guitar player” and pointing out that Harrison always played it down when praised, he mentioned Keith Richards as one of the greatest Rock and Roll rhythm guitar players, but also said that the Rolling Stones member was not very good as a lead guitarist.
“I’m not playing it down. I’m just not playing it up! I think Keith (Richards) is one of the best rock ’n’ roll rhythm guitar players. I don’t think he’s very good at lead. But this is what I feel about myself too: What we do is make records, and the records have some good guitar parts on them. I like Keith enormously, I think he’s great, but he’s not Albert or B.B. King. Anyway, the main thing about him is that he has the confidence,” George smiles. “So even if it’s not perfect he doesn’t care,” George Harrison told Musician magazine in 1990.
Source: Rafael Polcaro/rockandrollgarage.com
After the death of John Lennon, the focus on whatever Paul McCartney released next intensified. Macca came up big in 1982 with Tug Of War, an album that reunited him with producer George Martin and gave his solo career (he had recently scuttled Wings) excellent momentum.
The album proved to be a critical and commercial hit. Here are some of the stories behind the songs on that record, a special one in the McCartney catalog. The Last Gasps of Wings.
McCartney hadn’t committed to putting an end to Wings when he first began the process of making Tug Of War. That was in July 1980, as he assembled the remnants of the band (Denny Laine, Lawrence Juber, and Steve Holley) for some sessions. Of the songs that they tried, “Ballroom Dancing” was one that made it onto Tug Of War. And Laine would end up playing on a few other tracks as well. But McCartney felt that the sessions were disappointing, which eventually helped him pull the plug on Wings once and for all.
Two Albums’ Worth
Once McCartney committed to making it a solo record, he found that the songs started flowing very quickly. George Martin insisted on excellence in the material, pushing McCartney to really work the songs into excellent shape. When Paul started to assess, he realized that he had way too many songs in the hopper for a single album. He decided to arrange them thematically. Songs, like the title track, detailing the struggle between opposing forces, landed on Tug Of War. The remainder were earmarked for the more hopeful follow-up album Pipes Of Peace.
Another key element of McCartney’s approach to Tug Of War was his decision to look for the very best players. This was a new strategy for him, and it produced excellent results. “Take It Away”, a hit single from the record, displays the evidence. Old Beatle buddy Ringo Starr was joined by session legend Steve Gadd on drums, giving the song a polyrhythmic flavor. And the airy backing vocals were partly performed and arranged by Eric Stewart, known for his work in the British band 10cc.
Source: Jim Beviglia/americansongwriter.com
Like most in their generation, the Beatles were massive fans of Bob Dylan. They looked up The Bard’s singular lyrics and cultural outlook. But, like many other Dylan listeners, their fandom was shaken by the diversity of his career. Dylan is an artist who has never been afraid to shake things up. While admirable, that kind of artistry is not without its drawbacks. There was one Dylan evolution that didn’t strike the right chord with John Lennon. He labeled one iconic Dylan song “pathetic,” so much so that it prompted him to denounce his once-idol.
John Lennon was famously against organized religion. He wasn’t a completely atheist artist, but his spirituality or faith was a singular experience. He was turned off by the conventions and, perhaps, politics of religious models.
This point of view stood in stark contrast to that of Dylan’s in the late 70s, when he released “Gotta Serve Somebody”. This iconic song (or infamous song, depending on who you ask) was an unusual stance for Dylan to take. His “born again” Christian era was a shock to many listeners who thought of Dylan as a secular voice.
Lennon, due to their opposing views, turned away from Dylan once he embarked on this new spiritual journey. “Really Pathetic”
Source: Alex Hopper/americansongwriter.com
When one thinks of The Beatles, one thinks of the greatest band of the 20th century. The Fab Four were enormous during most of the 1960s. And their legacy is still powerful today, over half a century later. It’s a little hard to believe that they did everything that they did within a span of just seven (and some change) years.
In fact, there’s photo evidence that really captures just how much The Beatles grew up and evolved between 1962 and 1969.
The first photo ever taken of The Beatles as we know them was shot on August 22, 1962. That photo was taken during the band’s first show together with Ringo Starr at the Cavern Club. The group looks very young, almost unrecognizable in the dim light of the brick-laid club. It’s worth noting that there are earlier photos of the band together, but not with Ringo Starr in the lineup. Several photos were taken that day in 1962, including the featured image of this article.
The Last Ever Photo of The Beatles Together
One of the final photos of The Beatles ever taken can be seen in the Instagram post above. Shockingly, that final photoshoot took place exactly seven years after the first photo The Beatles ever took together, on August 22, 1969. They look mature, fashionable, and pleasant with each other. Though, we know at the time that the group was not on the best of terms.
“Paul [McCartney] was trying to hold it together,” said photographer Thomas Hobbs, who shot The Beatles on August 22, 1969, at John Lennon’s Ascot countryside estate. “He had his arms crossed like, ‘Come on, lads!’ But the concept of the Beatles just didn’t sync with who they were any more. I could have asked them to smile, but it would have been totally fake and I’m glad I didn’t. This marriage had come to an end – and boy does it show.”
Fact or Fiction? The First and Last Photos Ever Taken of The Beatles Together Were Shot Exactly 7 Years Apart to the Day
So, is it true that these photos are truly the first and last photos of The Beatles ever taken? While I wouldn’t exactly say that’s a fact, it’s certainly true that the first photo is the first photograph of the band as we know it, with Ringo Starr in place of original drummer Pete Best. The second photo came directly from the band’s very last official photoshoot. You can search online and likely find photos and video footage of the Fab Four together after that final photoshoot.
Source: Em Casalena/americansongwriter.com
Some of our favorite rock bands have gone through their psychedelic eras. Having emerged during the 1960s, this subgenre of rock music, as we all know, was heavily influenced by psychedelic drugs and the countercultural movement of the time. Many of the most celebrated eras in music history are closely tied to this experimentation, including one of the most defining periods of The Beatles’ career. Some of their most celebrated psychedelic songs include “Tomorrow Never Knows,” “I Am the Walrus,” “Strawberry Fields Forever,” “I’m Only Sleeping,” “Only a Northern Song,” “Lucy in the Sky with Diamonds,” “Within You Without You,” “A Day in the Life,” and “She Said, She Said.” These songs are iconic in their own right and undeniably great. But there’s one song that marked a crucial turning point in their psychedelic journey. And if we’re ranking the very best, one could easily take the top spot: “It’s All Too Much.”
“It’s All Too Much” Was Written by “The Quiet Beatle”
“It’s All Too Much” is arguably the greatest work the Beatles ever produced during their psychedelic era, written by none other than George Harrison himself. Although often overshadowed by the group’s primary songwriting duo, John Lennon and Paul McCartney, Harrison was still the mind behind some of the band’s most celebrated songs. In fact, he is widely regarded as one of the greatest songwriters in music history, having penned several Beatles classics, such as “While My Guitar Gently Weeps,” “Here Comes the Sun,” “Within You Without You,” “Love You To,” “Don’t Bother Me,” “If I Needed Someone,” and “Think for Yourself,” among others. Beyond his time with the Beatles, Harrison proved he could thrive as a solo artist. His solo career took off quickly after the band’s breakup, fueled not only by his experience with the Beatles but also by his remarkable talent. It was no secret that Harrison was often overlooked — particularly when it came to his songwriting contributions — hence the “quiet Beatle” moniker. There were also songs he helped shape, but was not formally credited for. “It’s All Too Much,” meanwhile, was released far later than it should have been. This only further reinforces the idea that he truly deserved far more recognition during the band’s peak years.
Source: Ryan Louis Mantilla/collider.com
January 3 marked what would have been lauded Beatles producer George Martin’s 100th birthday. In commemoration of the milestone, Curvebender Publishing will release a book collection in April titled George Martin: The Scores, described as “the first-ever definitive collection of the legendary producer’s original music manuscripts.”
The three-volume set features full-sized reproductions of Martin’s handwritten scores, as well as commentary about the musical pieces, and new orchestral recordings made at the famed Abbey Road Studios in London. In addition, the multi-part tome includes a foreword written by Paul McCartney.
The publishing company began putting together George Martin: The Scores more than 10 years ago, working in close cooperation with Martin before his death at age 90 in March 2016.
The book’s preface, Curvebender collaborators Kevin Ryan and Brian Kehew recalled about the project, “As we worked—scanning, notating, building a database—George would occasionally pop in and observe over our shoulders. He had never seen the entire collection pored over in this manner. He would sometimes pick up a score and glance through it, bright eyes flickering across its staves, before returning it to the pile.”
The volumes include Martin’s scores for various Beatles and McCartney solo songs, as well as for tunes the producer created for other artists. Some of the manuscripts feature arrangement ideas that were discarded and differ significantly from the music that appeared on the final recordings.
Volume I covers the scores Martin wrote from 1965 through The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album in 1967. Volume II spans from September 1967 through The Beatles’ self-titled 1968 album, a.k.a. “The White Album.” Volume III covers the period from The Beatles’ 1969 album Abbey Road through Martin’s final score in 2006.
About the Recordings Included with ‘George Martin: The Scores’
As part of the George Martin: The Scores project, several of the producer’s arrangements were rerecorded in Studio Two of Abbey Road, where Martin and The Beatles frequently worked together on many songs. The new recordings will give listeners the chance to hear Martin’s arrangements clearly, sometimes revealing instrumental parts that are harder to hear on the songs’ original mixes. Multitrack files from the new sessions are also included in the book sets, giving fans a chance to more closely analyze the pieces and create remixes.
Source: Matt Friedlander/americansongwriter.com
Paul McCartney is remembering his late friend and fellow musician, Bob Weir.
Days after Weir's death at age 78 on Saturday, Jan. 10, McCartney took to Instagram to pay tribute to the late Grateful Dead co-founder while highlighting his lasting legacy on the music world. Paul McCartney Remembers the Last Time He Saw Bob Weir
In an emotional Instagram post shared on Thursday, Jan. 15, McCartney shared a photo of himself performing on stage with Weir, who he described as a "great musician who inspired many people of many generations."
McCartney, 83, went on to reflect on the last time he saw Weir while watching Dead & Company perform at Sphere in Las Vegas.
"He was very welcoming and during the interval in the show he invited us into his trailer, and it was a special moment to meet his family and friends," McCartney recalled. "Bob showed me the recording set up that he had in the back of the bus so even though he was on tour he could make and record music; I offered to play the bass on one of the tracks he played me but unfortunately that never came to pass."
McCartney's heartfelt message continued, "His humour, friendship and musicianship inspired me and will inspire many people into the future." "Our family’s thoughts go out to Bob’s family at this time of loss, and I know they will remain as strong as he would wish them to be," he added. "God bless you Bob. See you down the road. Love Paul."
While announcing the news of Weir's death, his family revealed that the rocker died due to "underlying lung issues" after previously battling cancer.
"It is with profound sadness that we share the passing of Bobby Weir," He transitioned peacefully, surrounded by loved ones, after courageously beating cancer as only Bobby could," read the statement posted to Weir's official website on Saturday, Jan. 10.
Weir is survived by his wife, Natascha and their two daughters: Monet, 28, and Chloe, 23.
Source: Carly Silva/yahoo.com
The Beatles had many iconic album covers. From simple shots of the band staring down the lens to more off-kilter, artistic choices, the Beatles’ covers were as diverse as their sound. It’s hard to find fault in any album cover from the Fab Four. Although if we had to, there is one that comes to mind…George Harrison certainly thought so, pointing a finger at one “gross” and “stupid” cover that shouldn’t have made it past the ideation stage.
In 1966, the Beatles released one of their more controversial records: Yesterday and Today. Though the album’s sound was par for the course, the cover turned heads.
The cover featured the band donning butcher coats, surrounded by headless baby dolls. Not the image one typically thinks of when discussing the Beatles. Somehow, the cover got through, although Harrison refused to give it his stamp of approval.
“Gross and Stupid”
Harrison made his feelings on the album quite clear, saying, “I thought it was gross, and I also thought it was stupid.”
“Sometimes we all did stupid things, thinking it was cool or hip when it was naive and dumb, and that was one of them,” he added. “But again, it was a case of being put in a situation where one is obliged, as part of a unit, to cooperate.”
Harrison’s disapproval of this record was indicative of why he ended up leaving the group several years later. Harrison felt unheard, a theme that would become common during the “quiet Beatle’s” tenure with the group.
“So we put on those butchers’ uniforms for that picture,” he added. “In the photograph we’re going, ‘Ugh!’ That’s what I’m doing, isn’t it?… I’m disgusted, and especially so by the baby dolls with their heads off. What the bloody hell is that all about?”
Harrison’s bandmates didn’t feel as strongly opposed to the cover as Harrison did. John Lennon saw it as an opportunity to defy expectations, something the Beatles certainly faced at the time.
“I would say I was a lot of the force behind [the ‘butcher’ cover] going out and trying to keep it out,” Lennon once said. “I especially pushed for it to be an album cover, just to break the image. There we were, supposed to be sort of angels. I wanted to show that we were really aware of life.”
Source: Alex Hopper/americansongwriter.com
