Paul McCartney, like any passionate fan of the Beatles, finds it difficult to choose his favorite album from the iconic rock band.

The legendary musician, 83, is Willie Geist’s latest Sunday Sitdown guest. Together, the two discussed McCartney’s decades-long career in the music industry, both with the band and as a solo artist. During their chat, Willie asked McCartney if he could name one album in the band’s discography that represents the Beatles at their “best.”

“That’s always a very difficult question, you know?” McCartney replied. “My mind went to ‘Rubber Soul,’ because I think that was a change in what we’d been doing.”

He said the 1965 album, their sixth, was a little more “advanced.” But, of course, he couldn’t highlight just one album in the band’s extensive catalogue. “Then I’d have to say ‘Sgt. Pepper’ was, like, a crazy different experience,” he continued, referring to their 1967 album, “Sgt. Pepper’s Lonely Hearts Club Band.”

He had one more album to add that is many fans’ favorite. “And then I would probably finish up with ‘Abbey Road,’” he said.

McCartney, who released his 12th studio album, “The Boys of Dungeon Lane,” on May 29, still reflects on his time in the band and their monumental success. He recalled the Beatles making their American debut on the “The Ed Sullivan Show” in 1964.

Source: today.com/Ariana Brockington

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The numbers increasingly add up for Ringo Starr, whose sold-out Friday night San Diego performance at Humphreys Concerts by the Bay was the second date on the 2026 spring tour by this two-time Rock & Roll Hall of Fame inductee and his six-man All-Starr Band.

Ringo Starr, with new San Diego and L.A. concerts set, talks candidly: ‘I’m giving away all the secrets here!’ he says

Their 21-song repertoire ranged from “Matchbox,” the Carl Perkins-penned 1956 rockabilly rave-up that opened the evening, to the concert-closing double-punch of The Beatles’ 1967 classic, “With a Little Help From My Friends,” and the sing-along chorus of John Lennon’s sadly still-timely 1969 anti-war anthem, “Give Peace a Chance.”

In between came an array of favorites from the songbooks of Starr and The Beatles, including “It Don’t Come Easy” and “I Wanna Be Your Man,” plus hits by Toto, Average White Band and Men At Work. Three of those bands’ key members — Toto guitarist-vocalist Steve Lukather, former Average White Bands bassist/singer Hamish Stewart and Men At Work singer-guitarist Colin Hay — are All-Starr Band veterans. Each clearly relishes still sharing the stage with a rock legend who, improbably, is now 85-going-on-just-17.

Starr was featured on drums or vocals (and sometimes both simultaneously) on all but one selection in the 103-minute concert. Still as boyishly slim as Mick Jagger, three years his junior, he was consistently compelling whether singing center stage or drumming in unison with Gregg Bissonette.

Source: sandiegouniontribune.com/George Varga

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They were best friends since they were teenagers. Together they wrote some of the greatest songs the world has ever known. In 1971, they tried to destroy each other, one record at a time.

By the time Paul McCartney released Ram in May 1971, The Beatles had been done for just over a year. Those wounds were still very fresh. The lawyers had moved in and buried inside that new album was a line John Lennon just couldn't ignore.

"Too many people preaching practices / Don't let them tell you what you wanna be."

Those lyrics were a shot aimed directly at Lennon and his wife, Yoko Ono, at their protests, their activism and the whole new life they'd built together. The insult was subtle enough to deny, yet sharp enough to hurt.

Lennon wasn't in the mood to ignore it or let it go. "It starts off with 'too many people going underground. That was your first mistake. You took your lucky break and broke it in two,'" Lennon said later. "Now, if that doesn't mean what it says, I don't know what."

So Lennon sat down and wrote back his reply.

"How Do You Sleep?" came out swinging. Lennon was hurt and went after everything, calling McCartney's solo work "muzak," suggesting the only song he wrote worth remembering was “Yesterday”, questioning how anyone, especially a star of that caliber, could live with themselves after falling so far. With George Harrison on slide guitar, Klaus Voorman on bass and the cameras rolling, Lennon recorded one of the most brutal take down songs one musician has ever aimed at another.

Source: yahoo.com.Deborah Cruz

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There was a time during the Beatles’ rise to fame that Paul McCartney thought he had found the one place he could roam without being spotted.

During an interview on The Zane Lowe Show to discuss his deeply nostalgic new album, The Boys of Dungeon Lane, the 83-year-old musician shared memories of navigating the early days of Beatlemania alongside John Lennon, George Harrison, and Ringo Starr. When looking back at that “very intense period of time” in the Sixties when the band shot to the top of the charts worldwide, Lowe asked McCartney how he managed to “remain relatable” and enjoy his life under the spotlight.

“I remember once in the early days of the Beatles, we were kind of recognized most places, but me and Ringo went on holiday with our girlfriends then to Greece and nobody knew us,” McCartney said, recalling thinking at the time: “This is great. Wow, we must come back here more often. Even when we get really famous, we can always come to Greece and they’re never going to know us.” He added, “But, of course, that didn’t work.” Soon, their music — and faces — reached Greece and beyond.

“I realized, ‘Oh, I’m going to be famous all my life, if I’m lucky,’ I thought, ‘Okay, big decision time.’ Now, you either stop and you just sort of think that was lovely. I had a great time with the music, and you do something else more anonymous or you carry on,” McCartney said. To handle the Beatles’ inescapable celebrity, the musician developed a “strategy.”

McCartney credited his family in Liverpool and being able to stay grounded thanks to the lessons they taught him growing up. “They are the kind of people who put people at ease,” he said, adding that he learned how to do the same by being around them.
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The Boys of Dungeon Lane released on Friday and Rolling Stone praised the record as MCartney’s latest “solo masterpiece.” “Overall, there’s the sense of a legend looking back on a life well spent,” Simon Vozick-Levinson writes in his review of the record. “This isn’t necessarily a new theme for McCartney, who’s been singing about what he once called his ever-present past for years now.” He adds: “the autumnal vibe is more pronounced than ever.

Source: rollingstone.com/Charisma Madarang

Fans of The Beatles may be aware of George Harrison's solo career, in which he quickly established himself as a successful artist in his own right. Shortly before and following the iconic group's breakup, the musician released a whopping 12 albums under his own name, with many of them enjoying critical acclaim, even more than five decades later.

In 1970, the Beatles' lead guitarist released All Things Must Pass, his third solo album and the first after the breakup of the legendary Liverpool four-piece. The record featured "My Sweet Lord," a song that has now taken the top spot on Grunge's list as the biggest No. 1 hit of 1970.

The track is arguably Harrison's most famous song after it left him in the middle of a huge music scandal that has gone down in history. In 1971, less than a year after the release of "My Sweet Lord," Harrison was accused of plagiarizing The Chiffons' 1963 song "He's So Fine."

Bright Tunes Music, the owners of "He's So Fine," sued the former member of The Fab Four, and the legal battle was dragged out for decades after his former manager, Allen Klein, purchased Bright Tunes and subsequently became the one to be suing his previous client.

Source: yahoo.com/Emma Kershaw

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It’s incredible to think that just six and a half years after the Beatles’ first single, Love Me Do, had peaked at a modest 17 in the UK chart, the band that went on to shake the foundations of popular culture were trying to find the right words to say goodbye.

The Fab Four’s final year had kicked off in a flurry of activity, with the writing and recording of the Let it Be LP documented in real-time by director Michael Lindsay-Hogg, throughout January 1969.

Beginning at Twickenham Studios before relocating to the Apple Corps studios at 3 Savile Row, the events of that frosty month would become the stuff of legend.

Although intended to be a quite innovative, fly-on-the-wall insight into the songwriting process of the world’s favourite band, which would culminate in a triumphant return to the stage, Lindsay-Hogg’s final edit of the film depicted the Beatles as a band fast running out of road. Their slow demise was seemingly inevitable, or so the footage that made up the spirit-crushing 1970 docu-movie, Let it Be, suggested.

But once the rushes and archive material were finally exhumed, examined and polished-up to produce Peter Jackson’s expansive, eight-hour labour of love, Get Back in 2021, it was clear the unbearable atmosphere of animosity had been heavily overstated.

The established perception of non-stop bickering through that timeframe was pretty wide of the mark. However, it wasn't all smiles and japes either. Yes, the signs of the band’s inevitable dissolution were absolutely there, but the tension was counter-balanced by an obvious mutual respect, which the original film omitted.

Source: musicradar.com/Andy Price

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