I like the Beatles, and I'm almost definitely sure that you do too. But I'm afraid their 21st-century omnipresence – impressive for a band that split up 56 years ago – is starting to bring me slightly down.

It has been revealed that there is to be a ginormous new Beatles museum in Liverpool, opening in 2028. Its 9,290 sq m will be packed with props and costumes from the four – yes, four – biopics of the band to be released the same year under the auspices of Sam Mendes. All this will come on top of the opening to the public of the band's former Apple Records headquarters in Savile Row, repurposed as another sanctum. This one promises seven floors of memorabilia.

Oh, and the dodgy Richard Curtis film Yesterday is being transformed into a stage musical, featuring the songs of Showaddywaddy – no, not really, it's The Beatles again.

One can't help feeling a little bit over-Beatled. Growing up in the Seventies, I naturally found the Sixties a bit naff, and the lingering overhang of The Beatles a bit tedious. Were people ever going to stop boring on about them?

After all, when you grow up after a big sensation has flared and died, you take it for granted. It will never be a surprise to you, just part of the furniture. Like everybody else I was reared on Beatles tunes, but I inevitably developed the usual teenage disdain for the kind of music that everybody likes.

Like the moon landings, it was only years later, in adulthood, that I appreciated the momentous quality of The Beatles, the almost uncanny combination of genius-level talents, their constant innovation, where every record surpassed and expanded on the one before.

In fact, I realised that their ubiquity concealed their strangeness. There is the oddly pristine, unsexy, clean-as-a-whistle quality of their sound, which unwittingly future-proofed them in a way that no other band or artist could quite match. Their songs are both very Sixties and so tuneful and memorable that they seem to exist outside time. Even their weirder excursions are strangely, hypnotically beguiling. Their records tower over you, which is something pop music never normally does.

Source: yahoo.com/Gareth Roberts

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John Lennon was one of the first writers whose lyrics were studied by fans for their insight and depth. But Lennon became a little bit wary of those who’d try to find meanings that he didn’t think were there.

As a result, he adjusted late in The Beatles years and early in his solo career. He started keeping the lyrics simple. And he still found ways to captivate with his words and music.
“Don’t Let Me Down”

Lennon’s first response to those who went diving deep into his lyrics was to make them deliberately obtuse and nonsensical. The Beatles’ tracks “I Am The Walrus” and “Glass Onion” offer excellent examples of this approach. He eventually decided that he’d try to keep things as simple and direct as possible. “Don’t Let Me Down”, released as a B-side in 1969, offered the first evidence of this approach. Still relatively new to his relationship with Yoko Ono, Lennon used the song to plead for reliability from her. He doesn’t do anything fancy with the lyrics. Instead, he relies on his impassioned vocals, recorded during The Beatles’ rooftop concert at the start of 1969, to communicate.
“I Want You (She’s So Heavy)”

Lennon missed the first chunk of sessions for the Abbey Road album in 1969 while recuperating from minor injuries suffered during a car accident. That’s part of the reason his songwriting output was somewhat diminished compared to what fans had come to expect from him on a Beatles album. “Come Together” was his major offering on the record. Meanwhile, “I Want You (She’s So Heavy)” doesn’t expand much, in lyrical terms, beyond the wording in the title. Over and over, Lennon professes his unquenchable desire for his significant other. The Beatles take the focus off the words by working up quite a maelstrom of sound behind him, especially in the extended coda.

Source: americansongwriter.com/Jim Beviglia

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George Harrison may not have been part of The Beatles’ legendary songwriting partnership of Paul McCartney and John Lennon, but he had a talent early on for songwriting that deserved to be nurtured. He really stepped into his own in 1969 with a few self-penned Beatles tunes that would go on to change songwriting forever. These tunes were just a preview of what Harrison would do with his solo career.
“Something” from ‘Abbey Road’

Let’s start with the obvious. “Something” is one of The Beatles’ most enduring hit songs. And it’s easily one of the biggest releases from the Fab Four in 1969. Harrison penned “Something” as a love song with a beautifully constructed melody. The way those harmonics shift throughout the song is gorgeous. Many listeners at the time couldn’t believe how little Harrison had contributed to the band as a songwriter up until that point. “Something” would be Harrison’s first composition to get the A-side single treatment.

“Something” was a smash hit across the board back in 1969. It peaked at the top of the Billboard Hot 100 chart and No. 4 on the UK Singles chart. “Here Comes The Sun” from ‘Abbey Road’

How about a sweet, flowery number? “Here Comes The Sun” is one of those Beatles songs that younger listeners have caught on to. Just look at how much love it gets on streaming services. This enduring classic was written by Harrison and has that beautiful simplicity to it often associated with folk pop. Those vocals that come in layers, the use of the ol’ Moog synth; the entirety of “Here Comes The Sun” is still a delight after all these years.

Source: americansongwriter.com/Em Casalena

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Apple Corps will take over management of the award-winning attraction The Beatles Story in 2028, moving it to a new location in St Johns Shopping Centre. The new experience will transport fans from The Beatles' post-war Liverpool childhoods through Hamburg, The Cavern, Beatlemania, Abbey Road, Shea Stadium, Savile Row and beyond, using immersive technology, original artefacts and spectacular reconstructed sets to bring the Beatles’ extraordinary story to life.

Fans will also be able to visit a brand new Yellow Submarine experience at Liverpool's iconic St Johns Beacon tower, also arriving in 2028.

Add your details below to confirm your interest in The Beatles: Liverpool 2028, be the first to receive all updates and to be notified when tickets go on sale.

The Beatles Story will be open as usual in 2026 and 2027. Please visit beatlesstory.com for more information

Nearly 59 years after the Beatles’ historic 1968 visit to the iconic Chaurasi Kutia in Rishikesh in Uttarakhand, the popular Beatles Ashram is all set to feature in an ambitious four-film project on the legendary band, directed by Oscar-winning filmmaker Sam Mendes.

An international film production delegation on Sunday met Chief Minister Pushkar Singh Dhami to discuss the proposed February 2027 shoot for The Beatles – A Four-Film Cinematic Event, being made by Neal Street Productions for Sony Pictures Entertainment in collaboration with Apple Corps.

The production is expected to bring more than 100 international crew members and around 150 Indian professionals to the state. Local arrangements are being coordinated by On The Road India, with opportunities expected for local technicians and service providers.

The four films will tell the individual stories of John Lennon, Paul McCartney, George Harrison and Ringo Starr. The cast includes Harris Dickinson as Lennon, Paul Mescal as McCartney, Joseph Quinn as Harrison and Barry Keoghan as Starr. A simultaneous global theatrical release is planned for April 2028.

The Beatles visited Rishikesh in February 1968 to study transcendental meditation under Maharishi Mahesh Yogi. Their stay became a landmark chapter in the band’s history, with several songs written during the period later appearing on their albums.

Source: prashantnews.com

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Some biographies give you a glimpse into music history. Others make you feel like you’ve stumbled into a private family album belonging to the greatest band that ever lived.

There are Beatles fans, and then there are Beatles obsessives. You know the type. The ones who can tell you which version of a song appeared on which release, who played what on a particular recording, and why a seemingly insignificant moment in a documentary deserves an entire afternoon of discussion. The ones who have spent years devouring every photograph, interview, bootleg and scrap of Beatles history they can get their hands on, convinced there must still be something out there they haven’t seen.

Enter THE THIRD EYE: Early Photographs, a remarkable collection of George Harrison’s personal photography, published by Penguin Random House, and quite possibly one of the most exciting things to land in the hands of a Beatles tragic in some time.

We’ve seen the Beatles from just about every conceivable angle. We’ve watched the documentaries, read the biographies, studied the album sleeves and pored over countless photographs of four lads from Liverpool who somehow changed the world. But there’s something genuinely mind-blowing about seeing these moments through George’s own lens, particularly when so many of the photographs have never been collected in a book like this before.

Spanning the years 1963 to 1969, THE THIRD EYE brings together more than 200 photographs and 8mm film stills, capturing the Beatles at work, at play and in those rare moments when the machinery of Beatlemania momentarily loosened its grip. From their earliest adventures in America to Australia, Paris, India and beyond, this is history from the inside. Not another photographer positioned outside the barricades, but George Harrison himself, camera in hand, documenting the extraordinary world he was living in.

Source: fortemagazine.com.au/Tammy Walters

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