By the late 1960s, The Beatles probably came to expect that someone in the band would walk out during a recording session. When Ringo ditched the group for weeks after tense days making The White Album, it served as a warning sign.
While recording “Ob-La-Di, Ob-La-Da” for the same album, John Lennon stormed out of the studio after being driven nuts by the endless takes. Next up was George Harrison, who left the band for close to two weeks during the Let It Be sessions. By then, it didn’t seem like a fluke.
Yet Paul McCartney had managed to keep his cool through most of those years. Making Abbey Road in mid-’69, Paul seemed especially determined to see the group through one more record.
But it wouldn’t be easy. After John declined to play or sing on “Maxwell’s Silver Hammer,” Paul began getting frustrated. It boiled over a few weeks later while recording John’s “Come Together.”
Here's a sampling of popular music across the decades. It's a list of the albums (remember those) that topped the Billboard 200 chart in 1969, 1979, 1989 and 1999.
A testament to their long careers, a few artists show up in this list more than once -- a couple in different decades. Also, interesting to note that while 10 albums hit No. 1 in 1969, a whopping 22 albums topped the chart in 1999.
Source: Don Ryan/richmond.com
A set of Paul McCartney’s handwritten lyrics to the classic Beatles song Hey Jude will be offered at auction in the U.S this month.
McCartney used the lyrics during the recording of the song at Trident Studios in London in July 1968, and later gifted them to a studio engineer.
The musical manuscript is now expected to fetch $200,000 – $300,000 when it hits the block at Gotta Have Rock and Roll Auctions on July 26.
Paul McCartney famously wrote Hey Jude for John Lennon’s son Julian, after Lennon left his wife Cynthia for Yoko Ono.
“I started with the idea “Hey Jules,” which was Julian, don’t make it bad, take a sad song and make it better,” McCartney later recalled.
“Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorces.”
A bronze statue of John Lennon is heading to Liverpool this summer all in the name of peace.
St George’s Hall will welcome the John Lennon Peace Statue on August 1 until the end of September following its time at Glastonbury Festival.
The artwork, which is 180cm high, was created by artist Laura Lian and cast by the Castle Foundry.
Laura said: "I made the statue to help inspire a new generation to reinforce John and Yoko’s message of Peace.
"We are really excited to have the statue at this beautiful historical Hall in Liverpool."
Alan Smith, general manager of St George’s Hall, said: "We’re delighted to host this statue showcasing one of Liverpool’s most-loved sons.
"In the month of August and September the city celebrates International Beatle Week and it’s fitting that we welcome this new addition.
"It’s sure to be a hit and will become a must-visit selfie and Instagram spot".
Source: Elle May Rice/liverpoolecho.co.uk
While looking back on his career in 1980, John Lennon saw a lot he didn’t like about his time with The Beatles. In fact, he had no problem dismissing songs like “Cry, Baby, Cry” and “Glass Onion” as “rubbish” and “throwaway” material. He was even harsher about songs he didn’t write.
Regarding Paul’s “Maxwell’s Silver Hammer,” John wouldn’t even take part in the track’s recording during the Abbey Road sessions. Instead of contributing backing vocals or suggesting how to improve it, he hated the song so much he just left the studio for the day.
As for the famous medley on the second side of Abbey Road, John described “that sort of pop opera” as “junk” not worthy of a rock ‘n’ roll record. However, there was one bright spot for him, and it came on the album’s opening track.
The song was “Come Together,” which hit No. 1 on the U.S. charts in November 1969. Though John criticized a lot of Beatles tunes, he came as close as he could to raving about this one.
When The Beatles showed up at EMI studios in 1962 for their first major recording session, they were unknown in London. Only the hippest guys at the company’s labels had heard of them, and the old-guard producers and engineers couldn’t care less.
However, one young engineer in the studio that day went on to work with the band on their greatest albums (including Sgt. Pepper’s and Abbey Road). His name was Geoff Emerick, and he became one of the top names in the recording industry.
Yet in ’62, when The Beatles arrived to record “Love Me Do,” Emerick was as unknown as the band he heard play. But his recollections from that day are priceless. He mentions the “quite fidgety and quite funny” John Lennon calling an EMI employee named Norman “Normal.”
He also notes the affable bass player (Paul McCartney), a “dejected” and short drummer (Ringo), and a lead guitar player who was very young and “almost emaciated” (George Harrison). The other thing that struck Emerick about George that day in ’62 was the black eye he sported.