George Harrison was known as the "Quiet Beatle," but his songwriting spoke volumes.

The Beatles icon, who passed away in 2001, wrote 22 tracks for the Fab Four, a few of which remain among their most memorable. Unlike many of his peers, Harrison was more reserved and introspective. He wasn’t drawn to the glitz and glamour of fame; instead, he thrived on genuine connection and spirituality. Some of his Beatles songs show this side of him, while others might catch you off guard.

Paul McCartney and John Lennon handled most of the group’s songwriting, with many tracks credited as McCartney-Lennon originals. Ringo Starr, the band's drummer, contributed just two songs.

In an interview, commenting on Harrison as a singer and a songwriter, Lennon once said, "George didn’t even use to sing when we brought him into the group; he was a guitarist. He wasn’t in the same league for a long time. That’s not putting him down, he just hadn’t had the practice at writing that we had.”

A decade later, Harrison was the first Beatle to hit No. 1 as a solo artist following the band's breakup in 1970 with "My Sweet Lord." If that's not proof of his exceptional creativity and lyrical mastery, what is?

Let's drop the needle on five of the 22 tracks Harrison wrote for The Beatles.
"HERE COMES THE SUN"

One of the most well-known Beatles' songs of all time came from the brilliant mind of Harrison. He wrote "Here Comes The Sun" during a stressful time for the Fab Four, escaping business meetings to relax at Eric Clapton's garden estate. That burst of sunshine became one of the band's warmest songs, fusing acoustic guitar with an early Moog synthesizer.

Source: mentalfloss.com/Logan DeLoye

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Paul McCartney old and new, ancient and contemporary, come together on The Boys of Dungeon Lane, the 27th studio album of his post-Beatles career. The melodious pop genius of his youth and the venerable elder statesman of rock culture look back with rheumy, sentimental eyes on the memories and influences of his youth.

“Grandpa Paul sounds old,” you might think during the opening bars of As You Lie There. Really, every one of McCartney’s 83 years can be detected in his shaky, thinning voice, reminiscing saucily about a teenage crush over dreamy acoustic chords.

Yet in a snap he can bring the past sharply into the present with musical flourishes akin to colourising a black-and-white film, his own deft harmonies rising to expand his vocal timbre, his sustained electric guitars snaking nimbly into the flourishing bass and thumping drums of the greatest one-man band in pop history. When McCartney hits the high chorus of the epic, shapeshifting As You Lie There, then unleashes a joyous background roar of “yeah yeah yeah” with that Little Richard wail and mop-top head shake, you hear the very same joyful enthusiasm he brought to the Fab Four when he embarked on his recording career in 1962, aged 20.

Dungeon Lane was one of McCartney’s Liverpool childhood haunts, and his own past infuses this album. The elegant Salesman Saint sentimentally recalls the stoic struggles of McCartney’s parents and the whole post-war generation, concluding with a cheery slice of horn-rippling jazz as if a swing party had broken out in McCartney’s front room.

His ebullient duet with Ringo Starr, Home To Us, is a rocking singalong romp to rival Get Back, the trilling harmonies of Chrissie Hynde and Sharleen Spiteri adding Wings-style vocal flavour, whilst Ringo’s thumping drum fills will put a smile on every Beatles fan’s face. Down South offers scruffy acoustic whimsy about hitch-hiking with George Harrison, whilst John Lennon is recalled on the tender ballad Days We Left Behind, with McCartney really leaning into the vulnerability of his older voice.

Source: telegraph.co.uk/Neil McCormick

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While on the whole the '70s are known for uplifting disco numbers and epic rock hits, music groups did put out a few quiet, sad tunes in the decade. The publication Far Out recently shared a list of the "five most tragic songs of the 1970s."

The ranking, published on May 21, featured devastating '70s hits likeJim Croce's "Time in a Bottle" and "Fire and Rain" by James Taylor. George Harrison's 1970 song, "Isn't It a Pity," which deals with the end of a partnership, was named the "most tragic song" released in the 1970s. According to the publication, Harrison shared some insight into the lyrics of the song, off his 1970 record All Things Must Pass, while writing his autobiography, I, Me, Mine.

"‘Isn’t It a Pity’ is about whenever a relationship hits a down point. It was a chance to realise that if I felt somebody had let me down, then there’s a good chance I was letting someone else down. We all tend to break each other’s hearts, taking and not giving back," shared the former Beatle in the book, published in 1980.

Harrison played some of the seven-minute song during a 1974 interview on Rock Around the World with Alan Freeman. After he was finished singing, Harrison said the tune was about him "breaking everybody’s heart." When asked to clarify what he meant, the musician, who died in 2001 at the age of 58, replied, "I don’t know."

Source: yahoo.com/Nicole Moore

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Paul McCartney, a surprise guest on the final episode of “The Late Show With Stephen Colbert,” provided a poignant capper to the series by being given the ceremonial honor of turning out the lights in the Ed Sullivan Theater, a location with which he has plenty of history.

The final number had McCartney and Colbert singing the Beatles‘ classic “Hello Goodbye,” accompanied by Elvis Costello, former band leader Jon Batiste and current band leader Louis Cato, eventually joined on stage by a parade of staffers dancing through and around the stag in a line, as the house band finally gave the ’60s tune a New Orleans-style coda.

Then Colbert was seen in a filmed bit taking McCartney backstage to the electrical breakers, where the legendary rocker was seen flipping a switch that not only turned the lights out but sent the Sullivan Theater into a green interdimensional portal introduced earlier in the show by Neil deGrasse Tyson.

The symbolic gesture followed McCartney’s stint as the show’s final interviewee as well as last musical performer, in which the host asked him to share stories about his first visit to the theater 62 years ago.

“Hello Goodbye” was not the only musical number toward the end of the extended final telecast. In another filmed segment, Colbert was joined by Costello and Batiste for a seated rendering of a song that was surely unfamiliar to 99% of the viewing audience: “Jump Up,” a bluesy song Costello wrote in the mid-1970s that was not released until decades later, as a demo included as a bonus track on a “My Aim Is True” deluxe edition.

Source: variety.com/Chris Willman

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Ringo’s rhythm and voice have provided the soundtrack for multiple generations. From his groundbreaking work with The Beatles to a remarkable solo career featuring 20 studio albums between 1970 and 2023, plus a recent string of popular EPs, Ringo brings an unparalleled musical legacy to every stage, making each concert on his tour a historic event.

Ringo's creativity shines beyond the music. He's an accomplished actor with over 15 film credits and an Academy Award®, an author of eight books, a visual artist with multiple global exhibitions, and even a photographer. His annual July 7th Peace and Love initiative has blossomed into a worldwide movement, and in recent years, Ringo was knighted, received an honorary degree as a Doctor of Music from Berklee College of Music, and was inducted into the Musicians Hall of Fame with the Joe Chambers Musicians Legacy Award.

In January of this year, Ringo released Look Upopens in a new tab, his first country album in more than 50 years, which earned him his first top 10 on Billboard’s Top Album Sales chart, as well as landing him on multiple other Billboard charts. In the UK, the album secured Starr his first solo #1 album on the Official Country Chart, overtaking Taylor Swift and leading to him making his Grand Ole Opry debut. And now he brings his musical talent back to Las Vegas for a run of shows at The Venetian Theatre from September 17th through the 27th.

Ringo Starr & His All Starr Band tickets are on sale now and can be purchased at any box office at The Venetian Resort or by calling 702.414.9000 or 866.641.7469.

Source: venetianlasvegas.com

A tour to help heal the rifts between members of The Beatles had been suggested by Paul McCartney, but amounted to nothing, the veteran songwriter has claimed.

McCartney, who would leave the band in the late 1960s, had hoped that getting back on stage with John Lennon, George Harrison, and Ringo Starr, might help the band work through the problems laid bare in documentaries Let It Be and Get Back. But it appeared the tensions were too much for the Fab Four, with Lennon confirming his departure from the group privately to his bandmates. McCartney, who would go on to form Wings and later enjoyed a successful solo career, commented on his hopes of getting The Beatles back on the road and why it never came to pass.

In response to criticism from Philip Norman in his book, Shout!, the Blackbird songwriter says he tried his best to keep the band together in the late ’60s.

He said: “What the book says, about me being the great manipulator simply isn’t true. Nothing happened in The Beatles unless everyone wanted it to happen. But when there was a decision to be made, somebody had to say it out loud — and that usually turned out to be my job. I accepted it.

“I certainly wasn’t responsible for splitting up the Beatles, as some people think — in fact, I was the last one to come to that view. I’d wanted us to tour, to bring us closer together again.

“It all gets absorbed into the myth, your image builds up, it gets into plays and books, and it becomes the truth. Except that it wasn’t. There’s a story that I used to straighten John’s tie before we went on stage. That seems to have become a symbol of what my attitude was supposed to have been. I’ve never straightened anyone’s tie in my life, except perhaps affectionately.”

Source: cultfollowing.co.uk/Ewan Gleadow

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