John Lennon found success during both his time in The Beatles as well as his solo endevors - but it has taken fans over four decades to agree on what was his 'best' album

Its fair to say John Lennon thrived both in a band and by himself and fans have managed to agree on what his most successful solo album was.‌  The late musican, who founded The Beatles in 1960 alongwith Paul McCartney, George Harrison and Ringo Starr, ventured out alomg when the band, who found successes world wide, decided to go their separate ways.  ‌

Lennon released several solo albums and also produced the likes of Harry Nilsson after leaving the Fab Four in 1970. Lennon, alongside Yoko Ono, would go on to write the likes of Imagine, Walls and Bridges, and Mind Games after leaving the era-defining group.

A post to the r/JohnLennon subreddit has sparked the debate on what could be Lennon’s most “influential” work after he ventured out on his solo endevors.  John Lennon ventured out into a solo career after The Beatles split(Image: Vinnie Zuffante, Getty Images)

A fan asked, “What is his best solo album?” While responses were mixed, many have agreed that the Ono-featuring Plastic Ono Band was his most influential solo album.‌

One user replied, “Plastic Ono Band was such an influential album for me as a youth. Then, it was my interest in Sometime in NYC that caused my older brothers to call me a hippie. I have such good memories attached to John’s albums as I grew into the teenage years. To pick a best, for me, would have to include his partner, Move Over Mrs. L. and without question, Milk & Honey was their best music and timeless.”

Source: themirror.com/Ellie Hook

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“As a performer,” Paul McCartney says, “you’re often thinking, “Is this any good? Is this rubbish? Is this a cliché?”

You wouldn’t expect someone with Paul McCartney’s catalog of hits to have moments of self-doubt. But the 83-year-old former Beatle says he’s no less critical of himself today than he was in his youth, despite being one of popular music’s most successful songwriters and musicians.

While some artists at his age might decide they’ve done enough, McCartney continues to create music and perform. He just announced his Got Back fall tour of the United States, which kicks off September 29 in Palm Desert, California.

So what keeps him going? As it turns out, it’s the self-doubt. But it’s also having someone in your corner who points out the brilliant thing you didn’t see in your creation.

“Any time you write a song, you’re going, ‘This is crap. This is terrible. Come on,’” he revealed to GQ. “So I kick myself and say, ‘Get it better. If it’s terrible, get it better.’

“And sometimes someone will come along, someone who you respect, and say, ‘No, that’s great. Don’t worry about that,’ and then show you a side to it that you didn’t notice and, then you’ll go, ‘Oh, yeah.’”

For years in the 1950s and ‘60s, that person for McCartney was John Lennon. When the two met in 1957, they were both struggling guitarists and budding songwriters who would sit face to face with their acoustic guitars, writing their tunes and pushing each other toward greatness.

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In 1968, some 10 years after they first sat down to build their songwriting partnership, McCartney found himself presenting a song to Lennon. And though he had doubts about one line — McCartney said it was simply a “crummy” placeholder at the time — Lennon helped him realize it was actually brilliant.

“A classic example of that was when I was playing ‘Hey Jude’ to John,” McCartney explained, “and I said, ‘The movement you need is on your shoulder.’ I turned round to him and Yoko, who was standing behind me, and said, ‘Don’t worry, I’ll fix that.’

“And John said, ‘No, you won’t. That’s the best line in it.’”

McCartney has said elsewhere that a little nudge of support can make him actually like what he was ready to reject all that much more.

Source: guitarplayer.com/Elizabeth Swann

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It took the band 10 hours to travel to London for the audition.

The Beatles almost fell at the first hurdle on their journey to stardom. Having gained a name for themselves playing the clubs of Liverpool and Hamburg, the band were on the lookout for a record deal at the end of 1961.  ‌

Brian Epstein, their manager, was trying to secure meetings with labels in London but It was not going particularly well. He was rejected by Columbia, HMV, Pye, Philips and Oriole but did manage to book meetings with EMI and Decca.

‌Decca's Mike Smith then came to Liverpool to see John Lennon, Paul McCartney, George Harrison and Pete Best perform at the Cavern Club in December 1961, after which he invited them to audition in London on New Year's Day 1962.  ‌

It took the band 10 hours to drive down from Liverpool to the capital on New Year's Eve, getting lost in the process.  Mr Smith himself was late to the audition, said to be a little worse for wear after the previous night's celebrations.

The band played and recorded 15 songs, selected by Brian, but they were rejected a month later. ‌

According to Brian's autobiography, the band were told "guitar groups are on the way out" by Dick Rowe from the record label.

It is believed Decca's decision was influenced by the lower travel expenses the East London band would require. But Mr Rowe denied making the "guitar" comment to Brian for the rest of his life.

All hope was not lost for The Beatles as the ever-savvy Brian remained in negotiations with EMI throughout the process with Decca.

Source: liverpoolecho.co.uk/Dan Haygarth

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 Manson used "Helter Skelter" as an anthem to justify the string of murders that took place in the summer of 1969, with some of the victims being actress Sharon Tate, socialite and coffee heiress Abigail Folger, Leno and Rosemary LaBianca, horse wrangler Donald Shea, and musician Gary Hinman. According to the cult leader during his trial, the reasoning behind those fatal attacks orchestrated by The Family (how Manson's cult was referred to) was directly tied to The Beatles, particularly the music that they were putting out.
Charles Manson's Odd Interpretation of The Beatles' Hit, "Helter Skelter"

The way Charles Manson lured new adepts to his cult was through playing his guitar and singing both authorial music and that of The Beatles. Although he wasn't the one to commit the murders, his followers did so through his direction and influence. At the trial that took place from 1970-1971, Mason shared that The Family knew what to do through the music they were listening to. In his mind, songs from the White Album, particularly "Helter Skelter", had a subliminal message that persuaded kids to "rise" and "kill".
The Beatles stepping off the plane and arriving in America in Beatles '64.

McCartney intended for "Helter Skelter" to function as a metaphor for life's ups and downs, which is far from what Manson believed the song referred to. The artist said in the podcast episode that he was drawn to the notion of shifting moods. "You know, you’re up, you get knocked down, you’re feeling euphoric, and you’re feeling miserable. Such is the nature of life,” he said. Given the aftermath of the Manson Family killings, McCartney refused to perform it for several years.
The Beatles performing

Paul McCartney believes this era-defining album is the best The Beatles ever did.  "Helter Skelter" Was One of The Beatles' Heaviest, Most Influential Tunes

Although "Helter Skelter" became known for inspiring a cult, the song stemmed from McCartney's will to step outside his comfort zone and make a song in response to The Who's "I Can See For Miles". As ambiguous as The Beatles' lyricism might be depending on the song you listen to — no, "Lucy in the Sky with Diamonds" doesn't mean LSD— "Helter Skelter" was far from a revolutionary anthem. The song is instead a product of one of the band's most avant-garde tracks, highly regarded for its heavy metal elements before the genre was even established.

Source: collider.com/Isabella Soares

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Liverpool residents have chained off the street where the former Beatle George Harrison omce lived in an attempt to stop disruption from day-trippers.

Access to Arnold Grove, the address of Harrison’s childhood home, was blocked on Monday morning as residents complained that Beatles fans would regularly peer through windows and doors on the street.

Chris Bennett, who lives on the street, told BBC Radio Merseyside that “you get people looking through the window, and if you leave your front door open, they look through the door”.

He also complained that his family “don’t get any peace” because of the traffic caused by private tours.

The area is a regular destination for guided Beatles tours of Liverpool, with the Magical Mystery tour run by the Cavern Club – the venue that hosted the first Beatles concerts – frequently stopping at the site.

Mr Bennet said: “Lately, there has been a lot more tours coming – private tours, taxis and minibuses – and unfortunately it is getting very busy down here.”

A spokesman for the Magical Mystery tour told The Telegraph that it had received no previous complaints about an increase in tourism, and claimed to have a “great relationship” with residents.

The spokesman also said that customers were reminded to respect the privacy of those living on Arnold Grove.

A blue plaque commemorating Harrison’s birth in the house, one of the first installed outside London, was unveiled last year. The unveiling was described as a “source of family pride” by Olivia, Harrison’s widow.  Mr Bennett, the licensee of a nearby pub, claimed that the traffic “has been ridiculous” since the plaque was installed.

He said: “The first taxi could come at 9am and my wife will see another on the road when she gets home at 9.15pm ... the minibuses and taxis will come in and block the entrance of the grove.”

Other residents said that they had no part in installing the chain, and that the increase in tourism and traffic had not caused them any bother. “It doesn’t make a difference to me. People can do what they like on the road,” one told BBC Radio Merseyside.

Source:telegraph.co.uk/Wilf Vall

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Paul McCartney isn’t known as the most well-versed of his peers when it comes to drugs. He and his Beatles bandmates did their fair share, but they didn’t end up with the same kind of reputation as their edgier counterparts. Drugs, for the Beatles, were seen as more of an artistic pursuit than an addiction. It completely changed their career trajectory. McCartney was the longest holdout on LSD. Eventually, though, he did join his bandmates in partaking in the hallucinogen. Below, learn more about the first time McCartney took the drug, in particular, how it affected his relationship with John Lennon.  Paul McCartney: “It’s More Than Peer Pressure, It’s Fear Pressure”

Though fans aren’t sure of the exact date when McCartney took LSD for the first time, conversations from the Beatle himself pinpoint it to December of 1965. McCartney was more so into weed. McCartney had been trying to hold out on LSD, but eventually the “peer pressure” from Lennon and his other bandmates got to him.

“I was more ready for the drink or a little bit of pot or something,” McCartney once recalled. “I’d not wanted to do it, I’d held off like a lot of people were trying to, but there was massive peer pressure. And within a band, it’s more than peer pressure, it’s fear pressure.”

Source: Alex Hopper/americansongwriter.com

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