To hear She Loves You bursting out of a radio in the last week of August 1963 was to recognise a shout of triumph. Everything the Beatles had promised through the first half of the year found its focus in their fourth single, an explosion of exuberance that forced the world, not just their teenage fans, to acknowledge their existence.

The double-jolt of Ringo Starr’s drums kicked off a record that, unusually, began with the song’s chorus: “She loves you, yeah, yeah, yeah.” Straight away that Americanised triple “yeah” (Paul McCartney’s father, the first to hear the completed song, asked if they could change it to “yes, yes, yes”) offered a fanfare for a culture on the brink of irreversible change. It marked the moment when the Beatles moved from being just another pop sensation to a national obsession: misquoted by prime ministers, cursed by barbers, viewed by schoolteachers as the vanguard of a revolution that must be stopped. And before long, almost universally adored.

Source: Richard Williams/theguardian.com

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Funny how time flies. June 2 marked the 53rd anniversary of the release of the Beatles Sgt. Pepper's Lonely Hearts Club Band. It was also just the 50th anniversary of Let it Be last month. Despite it being the last release it was actually Abbey Road that was their final album. Beatles historian Denny Somach came on my New Jersey 101.5 evening show to talk about it.

"The Beatles were supposed to make a record. They decided, 'let's film it and see what happens,'" Somach said when he called in. "The problem is they were actually watching each other and it was looking like they were getting ready to break up, it finally got done. It was originally called 'Get Back,' then 'Let it Be,' then they stopped everything, then said 'Lets go back into the studio and do an album like we used to,' and they did Abbey Road."

Somach, whose latest book, "A Walk Down Abbey Road," is filled with Beatles anecdotes, talked about the Isley Brothers reaction to the band who would take their "Twist And Shout" to another level.

Source: nj1015.com

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“Ebony and Ivory” is each one in all Paul McCartney’s most well-known songs and one in all Stevie Wonder’s. Its message of racial concord stays as related as ever. The music has acquired loads of criticism from Paul and Wonder’s followers over time for supposedly being kitschy, however these followers don’t decry its message.

However, the music was really banned in South Africa within the 1980s. The music itself wasn’t the explanation the South African authorities banned the monitor. The authorities was upset at Wonder for taking a noble stand.

“Ebony and Ivory” was included on Paul’s album Tug of War — an album which options three duets with different artists. Paul instructed NME the album was “cast like [a film], except using musicians instead of actors.” Wonder was actually extra well-known than most of the film stars of the day!

Paul has fond reminiscences of the monitor’s creation. “I wanted Stevie… I was just reaching. It was just, you know, if you could have anyone. We had a good time. We were all out on Montserrat, and we had a good time.”

Source: Jeremy Spirogis/sahiwal.tv

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Imagine if you worked at a record label and passed on The Beatles in 1962. Instead of signing the band for next to nothing, you declined because you thought guitar groups were going out of style. Well, that actually happened in the pre-Fab Four days following an audition at Decca (with a guy named Mike Smith, no less).

The Beatles didn’t stay unsigned for long. By June, they’d landed an audition with Parlophone chief George Martin at EMI studios on Abbey Road. And by September ’62 they’d recorded their first single after dropping Pete Best and bringing aboard Ringo Starr.

While it had only been nine months between the failed Decca audition and the recordings for Parlophone, the songs John Lennon and Paul McCartney were writing had gotten much better. “Love Me Do,” the first Beatles single, did very well (No. 17) for a debut track.

Source: cheatsheet.com

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If The Beatles were competitive while in the same band together, that wasn’t going to go away once they went solo. Following the group’s April 1970 breakup, each new record by a solo Beatle would prompt comments and critiques from his former bandmates.

The first to go through the ringer was Paul McCartney, whose solo debut McCartney basically came attached to the band’s breakup. When John Lennon weighed in on Paul’s new album, he didn’t hold back. (He actually called it “rubbish.”)

But George Harrison had been the first to field questions about Paul’s new album. On his way through New York just a few weeks after McCartney hit record stores (May ’70), WABC’s Howard Smith asked for his take on the record.

Though he tried to look for the positives in Paul’s debut, George clearly wasn’t in love with the album. And the best he could do was describe it as “fair” while highlighting two tracks he liked.

Source: cheatsheet.com

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Express.co.uk readers are thoroughly discerning and have made their decision on which is the best Beatles album. Various magazines have ranked the Beatles albums in the past, and there is often a fight among the top three. However, the winner of our Express.co.uk poll is quite surprising, leaving one of these three completely out of the running.

According to Express.co.uk readers, Revolver is the best Beatles album.

The album received 18 percent of the votes, and truly split fans as they threw their weight behind different albums.

This is quite a surprise, given this album was not the favourite of any Beatles members, most famously John Lennon and Paul McCartney.

In a 1971 interview with Rolling Stone, Lennon said one of his favourite albums was The White Album, and gave a pretty harsh reason as to why.

Source: Jenny Desborough/express.co.uk

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