Beatles News
The Beatles drummer Ringo Starr, born Richard Starkey, married hairdresser Maureen Cox at Caxton Hall in London.
Beatles manager Brian Epstein served as Ringo’s best man, with John Lennon and George Harrison both acting as witnesses.
The couple had three children, future drummer Zak Starkey, born in 1965, Jason Starkey, born in 1967, and Lee Starkey, born in 1970.
The couple divorced in 1975. Cox died from leukemia in December of 1994.
Cox will be portrayed by British actress Mia McKenna-Bruce in Sam Mendes’ four Beatles films, The Beatles — A Four-Film Cinematic Event, which will hit theaters in April 2028. Starr will be played by Barry Keoghan.
In April 1981, Starr married actress Barbara Bach, who he met on the set of the film Caveman. They are still married to this day.
Source: Jill Lances/1430wcmy.com
From Liverpool to the world, The Beatles sang across nearly every genre and explored countless corners of the globe. The quintessential British quartet — John Lennon, Paul McCartney, George Harrison, and Ringo Starr — started out as a working-class band, juggling their music with blue-collar jobs. By the latter half of their careers, however, they had seen much of what the world had to offer, providing more than enough inspiration to write over 200 songs in just eight active years. One of those songs would later find an unexpected home with one of this generation's most influential pillars of pop culture: Marvel Comics. "The White Album" Jumped from British Blues to Country Tales Like "Rocky Raccoon". Surrounded by press, The Beatles wave at fans as they arrive in New York City in 1964.
"Rocky Raccoon" is far more narrative than introspective, telling the story of a young, feisty boy named Rocky Raccoon. Set in the "black mining hills of Dakota," the song follows Rocky after his woman runs off with another man, leaving him humiliated and nursing a black eye. Refusing to let the slight go, Rocky checks into a local saloon, armed with a gun, and storms into the room next to his. When he bursts through the door, he finds his woman and the other man in hiding. The man, known as Dan, becomes Rocky's opponent in a tense showdown. Although Rocky initiates the challenge, Dan draws first, and Rocky meets a tragic end.
"When you're sitting around with an acoustic guitar, often the natural thing to do is to get a bit folky. I was doing a bit of a spoof on records I'd heard, kind of talking blues songs. Bob Dylan was doing that kind of thing...I just started imagining this little story, and for me, it's like going on a train ride or something — a train ride of the mind. And because I was doing it sort of tongue-in-cheek, it was quite pleasant to write and sing."
Source: Dyah Ayu Larasati/collider.com
Let’s begin today with some trivia. Who is the only performer to receive a separate guest credit on the label of a Beatles single?
You, the one yelling “Billy Preston!” loudly at the screen: You are correct. The 1969 “Get Back/Don’t Let Me Down” single is credited to “The Beatles With Billy Preston,” in honor of the virtuosic keyboardist responsible for that indelible Fender Rhodes solo.
Preston has been on my mind since the 2021 release of Peter Jackson’s docuseries “The Beatles: Get Back,” which served, among other things, as a reminder just how crucial the Texas-born keyboard prodigy was to the “Let It Be” sessions. (Given his effortless playing style and the good-natured way he diffused tension on the studio, John Lennon basically asked him to join the band.) But I’ve been listening to Preston, and specifically his Beatles covers, after catching a preview screening of Paris Barclay’s documentary about his charmed but troubled life, “Billy Preston: That’s the Way God Planned It,” which will be playing in New York later this month.
Preston’s covers got me thinking about how many fantastic — and in many cases, radically reworked — covers of Beatles songs have been recorded by Black musicians: Stevie Wonder’s “We Can Work It Out,” Al Green’s “I Want to Hold Your Hand” and Nina Simone’s “Here Comes the Sun,” to just scratch the surface. So in honor of Preston — and of Black History Month — today’s playlist is a baker’s dozen of tracks on which Black artists reinterpret, revise and reimagine the Beatles.
Like just about every other white rock band in history, the Beatles drew upon pre-existing Black musical traditions; they were particularly inspired by the Motown sound and early rock pioneers like Little Richard and Chuck Berry. But as the Beatles built up a formidable songwriting catalog, some of the artists who had inspired their early work, like the Supremes and Ray Charles, started putting their own spin on the Fab Four’s material, too. The result was a rich and reciprocal musical conversation.
Source: Lindsay Zoladz/nytimes.com
Even before the age of social media and the bottomless scroll, musicians were fighting against the general public’s relatively short attention span. (First impressions and all that.) More often than not, a listener would know whether they liked a song within the first few seconds, which made those first few seconds all the more important. And on February 11, 1963, The Beatles recorded a song introduction that would become synonymous with the group, all while calling back to a musical idol.
The Beatles recorded “I Saw Her Standing There” as part of an impressive recording session that saw the Fab Four record Please Please Me in one day. Although undoubtedly a big undertaking for the band and engineers alike, that big day in EMI Studios wasn’t entirely different from what The Beatles were already used to after cutting their teeth at nightclubs that expected them to play for hours on end. And it was just this kind of live feel that producer George Martin was after.
For this reason, Martin advised the band to count in their own numbers like they would if they were on stage. The end result is one of the most iconic intros in The Beatles discography and a subtle homage to the King of Rock ‘n’ Roll himself.
Source: Melanie Davis/americansongwriter.com
Oh, to be a fly on the wall in EMI Studios on February 10, 1967. If not for the superb vantage point, for the elbow room—it was a crowded affair in the recording room that day, with The Beatles, their star-studded group of pals, studio engineers, George Martin, and 41 professional symphonic musicians all in attendance. Everyone was there to put in some serious work, but one wouldn’t know it by looking at them. February 10 marked the fourth recording session for “A Day In The Life”, the expansive, controversial, and multi-faceted closing track to Sgt. Pepper’s Lonely Hearts Club Band. Members of the Royal Philharmonic and London Symphony Orchestras were there to record the cacophony that separates John Lennon’s somber first verses (“I read the news today, oh boy…”) with Paul McCartney’s bouncy interlude (“Woke up, jumped out of bed, ran a comb across my head.”)
The musical task at hand was a challenging one. Most conservatory musicians prefer structure, and The Beatles were after the opposite. But with the help of George Martin’s arranging skills and a vast assortment of gag accessories like clown noises, clip-on nipples, and gorilla paws, everyone at EMI came together to make it happen.
It Wasn’t Just a Recording Session, It Was an Affair
Perhaps the most notable part of the “A Day In The Life” recording sessions is what everyone was wearing. Once The Beatles knew they would be employing a 40+ orchestra, they decided to turn the recording session into an event. In Here, There, and Everywhere: My Life Recording the Music of The Beatles, studio engineer Geoff Emerick recalled Paul McCartney having the initial idea. John Lennon fleshed it out further, saying, “We’ll invite all our friends, and everyone will have to come in fancy dress costume.” When George Martin mentioned that asking the orchestra to dress up might increase their hourly cost, Lennon said, “Sod the cost. We’re making enough bloody money for EMI that they can spring for it…and for the party favors, too.”
Source: Melanie Davis/americansongwriter.com
It is no secret that Paul McCartney and John Lennon had a competitive relationship. However, when we hear about this relationship, it’s typically through eyes that have not shared the same lived experience. In other words, it’s not being told through a professional musician’s perspective. That being so, facts are misinterpreted, moments are embellished, and ultimately, the foundational truth is partially lost. One musician with a similar disposition who once set the record straight on the matter was Paul Simon.
When it comes to the greatest songwriters of all time, Paul Simon is certainly one of them, and do you think he got there without a competitive drive? No, as competition is arguably embedded in every endeavor, obtaining a great ambitious mission. Now, that competition doesn’t necessarily need to be against another person, as that competition can also be simply against yourself.
Regarding this drive, Simon states in the book Paul Simon: The Life by Robert Hilburn, “I wanted my own parade. That’s a competitive drive I had, for whatever reason, whether it was in my nature or it came from my family or from my neighborhood — probably a father thing.” The Relatable Lens Looked Through by Paul Simon.
Source: Peter Burditt/americansongwriter.com
On February 9, 1961, The Beatles—John Lennon, Paul McCartney, George Harrison, bassist Stuart Sutcliffe, and drummer Pete Best—made their debut at The Cavern Club in Liverpool, 65 years ago. This lunchtime performance marked the beginning of their 291-show residency at the venue, which was crucial for developing their stage presence before Ringo Starr joined in 1962.
Key details of this historical milestone:
The Lineup: The band featured the "Fab Five" lineup of Lennon, McCartney, Harrison, Sutcliffe, and Best.
The Gig: They played a lunchtime gig, reportedly earning £5, at the Mathew Street venue.
Significance: This performance helped establish them in the local scene, leading to their discovery by manager Brian Epstein.
Legacy: While Sutcliffe left soon after to pursue art and Best was replaced by Ringo Starr in August 1962, this 1961 date is considered a foundational moment in their rise to fame.
Source: Google
Barry Keoghan transformed into Ringo Starr as he was spotted filming scenes for the upcoming Beatles biopic.
The actor, 33, joins the cast as the legendary drummer alongside Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon and Joseph Quinn as George Harrison. On Saturday, Barry looked the spitting image of the star, whose real name is Sir Richard Starkey, while on set.
He donned an oversized fur jacket layered over a striped purple shirt, paired with cropped trousers for the retro look. Barry also grew out a beard and styled his hair in Ringo’s classic shaggy cut, finishing the transformation with sunglasses as he filmed scenes.
The Daily Mail revealed that the Beatles biopics will be filmed at London's iconic Abbey Road Studios, with production getting underway in November last year despite earlier reports that plans had been blocked.
Barry Keoghan transformed into Ringo Starr as he was spotted filming scenes for the upcoming Beatles biopic. The actor, 33, joins the cast as the legendary drummer alongside Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon and Joseph Quinn as George Harrison. While it was previously claimed that Westminster Council would not allow filming at the famous zebra crossing, the council has since confirmed to the Daily Mail that production will be going ahead.
Mendes, who is directing the films, had wanted to recreate the Beatles' 1969 album cover on the crossing.
Westminster Council told the Daily Mail that they are, in fact, working closely with production teams to facilitate filming, which will involve closing the road. Speaking at the CinemaCon convention in Las Vegas last April, an event the cast also attended, Mendes described the films as the 'first binge-able theatrical experience'.
The project marks the first time Apple Corps Ltd and The Beatles – Sir Paul, Sir Ringo, and the families of Lennon and Harrison – have granted full life story and music rights for a scripted film. Sir Ringo previously hinted that Saltburn star Barry had taken on the role.
Source: Caroline Peacock/dailymail.co.uk
In 1964, the Beatles made their first live American television appearance on “The Ed Sullivan Show,” broadcast from New York on CBS. The quartet played five songs, including “She Loves You” and “I Want to Hold Your Hand,” to a crowd of screaming teenagers in person and more than 70 million viewers across the country.
Source: LimoOhio.com
In many ways, The Beatles remain the Platonic Ideal of a rock band. Not only did the Liverpool, England-born group write incredible songs and garner giant audiences, but they also broke the mold by breaking the molds. In other words, they were great, in part, because of their distinct personalities.
Each of the four former Mop Tops had specific qualities. And together, they were a complete group. But even despite the unbelievable synergy between the members, there were important musical figures who helped shape The Beatles from the outside. That’s just what we wanted to dive into here.
While the four members of The Beatles were in the recording studio, laying down their tracks, it was producer George Martin in the booth, working the boards and knobs. Where would the band be without his ear for levels and mixes? Where would they be without his influence? Just one example of Martin’s genius is his work on the 1967 album Sgt. Pepper’s Lonely Hearts Club Band.
Much has been written about Yoko Ono and her effect on John Lennon and The Beatles. For decades, she was considered the villain who broke up the band. But more recently, those ideas have been debunked thanks, in part, to footage from the recent documentary, Get Back. For whatever you thought of her, Ono was an artist. She experimented fearlessly and her impact remains on the creative culture today. Who knows, maybe The Beatles’ final album, Let It Be, would never have happened without her influence. Maybe the band’s final album would have halted without her support outside the studio.
Billy Preston
The band was struggling. Members were leaving at inopportune times during the recording session for their final album. Old wounds were opening along with new ones. The Beatles had become a tired, old married couple of four. There was no hope. Until the Houston, Texas-born keys player Billy Preston walked through the door. John Lennon said it himself, Preston saved the recording session for the band’s final record, Let It Be. With his nimble playing, blues background, and immense skill, Preston, who has also played with the likes of Little Richard, Sam Cooke, and Ray Charles, helped to save one of the greatest rock records ever.
Source: Jacob Uitti/americansongwriter.com
