Beatles News
About 16 months after the process of recording it began, Let It Be trickled into record stores. It arrived in May 1970, 55 years ago this month. By that time, Beatles fans had started to mourn the fact that the four men’s professional relationship had ruptured.
Anniversaries of the release dates of other Fab Four albums are generally a cause for celebration and reflection. With Let It Be, maybe it’s only the reflection part, as we all try to get a handle on this legacy of this star-crossed project.
As had been the case with several Beatles’ projects in the second half of their recording career, Let It Be, or Get Back, as it was also known for a while, belonged to Paul McCartney. The Beatles would create a new album from scratch, film a documentary about that process, and then close the whole thing out with a live performance of the fresh songs.
McCartney saw it as a way of pulling the band back together after The White Album had progressed at times like it was four separate solo albums. He misjudged the growing disenchantment of John Lennon and George Harrison. The dour environment, with blinding lights pouring down on the band in the cold studio, didn’t help tempers much.
Peter Jackson’s Get Back documentary, released four years ago, somewhat rebutted the notion that the process was a joyless slog. But that doesn’t change the fact that George Harrison briefly quit the band after a studio dustup with McCartney. Or that Lennon dressed down McCartney for his overbearing behavior when the cameras weren’t looking.
Perhaps the Let It Be album could have come out stronger had The Beatles shown interest in completing it. But they were so happy to be done with it after the rooftop concert that they quickly moved on to the Abbey Road album.
Source: americansongwriter.com/Jim Beviglia
Paul McCartney said John Lennon always thought he was up to no good. Lennon once accused McCartney of sabotaging his songs.
John Lennon and Paul McCartney began to butt heads in the latter half of the 1960s. While they had worked closely together in the early years of The Beatles, their collaborative process grew increasingly fraught. Lennon even went so far as to accuse McCartney of trying to sabotage some of his songs. He shared how he thought McCartney did it.
John Lennon said Paul McCartney subconsciously ruined songs
Lennon saw “Across the Universe” as one of his best songs ever. He didn’t like the band’s recording of it, though. He blamed McCartney for this.
“I think subconsciously sometimes we — I say ‘we,’ though I think Paul did it more than the rest of us; Paul would … sort of subconsciously try and destroy a great song,” Lennon said, per the book All We Are Saying: The Last Major Interview With John Lennon and Yoko Ono by David Sheff, adding, “He tried to subconsciously destroy my songs, meaning that we’d play experimental games with my great pieces like ‘Strawberry Fields’ — which I always felt was badly recorded.”
He believed McCartney spent more time and effort on his own songs and allowed Lennon’s to fall to the wayside.
“Usually we’d spend hours doing little detailed cleaning-ups of Paul’s songs; when it came to mine, especially if it was a great song like ‘Strawberry Fields’ or ‘Across the Universe,’ somehow this atmosphere of looseness and casualness and experimentation would creep in,” he said. “Subconscious sabotage. He’ll deny it, ‘cause he’s got a bland face and he’ll say the sabotage doesn’t exist. But this is the kind of thing I’m talking about, where I was always seeing what was going on.”
He acknowledged that people might view him as paranoid, but he believed he was presenting the “absolute truth.”
Source: cheatsheet.com/Emma McKee
As one half of the most celebrated songwriting duo in pop music history, Paul McCartney is generally cast as the sweet sentimentalist to John Lennon's acerbic, avant-garde iconoclast. This is, of course, a gross oversimplification — McCartney's interest in experimental tape loops resulted in "Tomorrow Never Knows," one of the most out-there tunes in the Beatles' discography — but his reputation as the Beatle who wrote "silly love songs" stuck. To a certain extent, the shoe did fit: After all, the man managed to make a song about a guy who killed people with a hammer sound like something your grandmother might like. With that in mind, the fact that McCartney's favorite childhood snack was sugar sandwiches seems comically on-the-nose.
In an Instagram Q&A with his daughter Mary, Paul talked about his love for "sugar butties" ("butty" is an English slang term for "sandwich.") Although he described them as "seriously decadent and not good for you at all," the fondness in his voice is evident as he remembers them. "It was just like bread and butter, but with sugar on it — ha-hey! — and that was it."
The star's tastes have clearly changed since his childhood in Liverpool. Notably, he became a health-conscious vegetarian, and while appearing in a cameo role, McCartney contributed a lentil soup recipe to the episode of "The Simpsons" where Lisa quits eating meat. But the food you loved as a kid never really leaves you, does it? Sugar sandwiches are a childhood staple on both sides of the pond.
An important bit of context for young McCartney's love of sugar butties: He grew up in Liverpool in the aftermath of World War II, when the United Kingdom was still recovering from the Blitz. (Liverpool in particular was devastated by German bombs, as it was an industrial hub of considerable importance; London was the only city hit harder.) Rationing didn't completely end in the United Kingdom until 1954, when McCartney was 12, and the economic impact of the war lingered even longer. Sugar sandwiches, then, were a tasty and affordable way for a child to enjoy something sweet, whether their family was rationing or just tightening the metaphorical belt. With that said, however, sugar butties were in fact also eaten before the war.
Other countries got in on the action, too. Sugar sandwiches became popular in America during the Great Depression, as with other simple, economical dishes like water pie or Martha Stewart's beloved onion sandwiches. And Australians will occasionally partake, too — although they prefer a variation called fairy bread, which is bread and butter with "hundreds and thousands" (aka nonpareils) sprinkled over the top.
If you have a sweet tooth, why not give it a try? It only takes a sprinkling of sugar to make it delicious. And even if you think it's a lousy idea, what are you going to do? Argue with the guy who wrote "Yesterday"?
Source: thetakeout.com/Joe Hoeffner
The youngest member of the Fab Four went on to say he "never" wanted to be a Beatle again - but that didn't mean he completely hated his time in The Beatles. George Harrison often said 'Beatles George' wasn't his true self.
Music legend George Harrison once confessed that he merely "acted out the part" of "Beatle George," suggesting it was a persona that didn't reflect his true self. As the youngest member of the Fab Four, Harrison was swiftly labeled the "Quiet Beatle" after the band skyrocketed to international fame in the early '60s.
Post-Beatles, though, Harrison frequently discussed the various pressures, uncertainties, and both physiological and psychological burdens of Beatle life. His salvation, his sense of grounding, was found through spirituality and the catharsis of creating new music, much of which he stashed away for future use.
In a candid conversation with David Wigg for a BBC Radio-One program in October 1969, Harrison expressed readiness to leave The Beatles behind. He had sampled this exit about 10 months earlier when he walked out on the stress-riddled Let It Be sessions, only to rejoin, albeit fatigued, some days later. During the discussion, Harrison articulated a detachment from the Beatle identity, viewing it as merely a role to portray. He stated: "All I'm doing, I'm acting out the part of Beatle George and, you know, we're all acting out our own parts. The world is a stage and the people are the players. Shakespeare said that. And he's right."
Probing further, Wigg inquired: "Do you expect another part, later?" To which Harrison answered affirmatively, "Oh, many parts. Yes."
Seeking clarity, Wigg then asked: "Is that why you've come to terms with it?" Harrison answered: "Yes, because you just do whatever you can do. I mean, even if it's being a Beatle for the rest of my life, it's still only a temporary thing. And, I mean really, all we did was get born and live so many years and this is what happened.
Source: themirror.com/Hannah Furnell
The legacy of The Beatles is completely intertwined in the fabric of music today, not only due to their groundbreaking sound, but also due to the way that they redefined what a band was. Although their impact still resonates throughout pop and rock today, it is interesting to consider that their spectacular ascension took place during an entirely different period, one of physical media like CD, cassette, and vinyl, and fostered by radio, not algorithms.
They achieved this during an era when albums were to be listened to in toto from beginning to end, and each release was an event. With more than 600 million records sold globally, they not only topped charts but redefined them. Their studio gambles as artists, from unorthodox song structures to experimental recording methods, pushed music to new frontiers.
Artists today can pursue viral singles and streaming figures, but The Beatles established their legacy in a slower, analog age, one where cultural longevity was more important than a position on a playlist.
Even in the era of today's rapid-fire, digital-first music culture, The Beatles remain an imposing force, always attracting fresh waves of listeners via streaming sites. Their record, decades since its initial release, still commands eye-popping figures, with most songs in the hundreds of millions, some pushing past the billion-stream threshold.
Far from declining into nostalgia, their music flourishes on playlists, algorithms, and social media trends, demonstrating that their creativity and songwriting are as relevant today as they were in the 1960s. The durability of their influence in an age of short-form content and constantly changing musical trends is a testament to the timelessness of their work and its universality.
Source: soapcentral.com/Anisa Nandy
The Beatles always seemed to be hurtling forward with relentless momentum during their recording years. Despite their breathless pace, they still managed to keep things under control when it came to the music that they made.
In that way, “I’ve Just Seen A Face”, found on the group’s 1965 album Help!, stands as a pretty good approximation of their career. Even as the song flies by at sizzling speed, it stays on the rails and delivers its poignant message.
“Face” Dances
Folks often mention Rubber Soul and Revolver as the LPs where The Beatles started to make complete artistic album-length statements. Help!, the record released directly preceding those two, doesn’t get that same kind of recognition. Some of the tracks lack the ambition that would soon become the hallmark of just about every Fab Four song.
But one factor that stood out on Help! was the group’s willingness to go outside their comfort zone when it came to song styles. There was gentle folk (“You’ve Got To Hide Your Love Away”) and heavy pop (“Ticket To Ride”). String quartets (“Yesterday”) hung out next to screaming rock (“I’m Down”).
“I’ve Just Seen A Face” played into that adventurous spirit. It’s a bit odd because there’s no bass on the song, which pretty much prevents it from being characterized as rock. Instead, The Beatles attack the song with a three-pronged acoustic guitar approach. John Lennon, Paul McCartney, and George Harrison are all strumming.
Paul McCartney did the bulk of the writing on the song. He explained in the book Many Years From Now how “I’ve Just Seen A Face” impressed him by acting as something of an unstoppable force:
“It was slightly country and western from my point of view. It was faster, though, it was a strange uptempo thing. I was quite pleased with it. The lyric works: it keeps dragging you forward, it keeps pulling you to the next line, there’s an insistent quality to it that I liked.”
Exploring the Lyrics of “I’ve Just Seen A Face”
McCartney is right on the money with the quote above. Just because he comes to the end of a musical line, that doesn’t mean he has ended his thought. Take, for example, the opening lines: “I’ve just seen a face I can’t forget / The time or place where we just met.” He could have stopped at “forget.” But he surprises us by making that the focus of the next idea.
In that way, the structure of the song mimics the whirlwind romance at the heart of the song. The narrator can’t help but thank his good fortune. “Had it been another day,” McCartney sings. “I might have looked the other way / And I’d have never been aware / But as it is, I’ll dream of her tonight.”
Source: americansongwriter.com/Jim Beviglia
Paul McCartney and John Lennon wrote the vast majority of The Beatles' songs and were the creative leaders of the group. The two often wrote in tandem in the early years before artistic differences in the second half of the 1960s saw them write more independently and then present songs to one another for tweaks and edits.
About their writing partnership Wilfred Mellors wrote in 1972: "Opposite poles generate electricity: between John and Paul the sparks flew. John's fiery iconoclasm was tempered by Paul's lyrical grace, while Paul's wide-eyed charm was toughened by John's resilience."
But it wasn't just John and Paul who wrote the band's songs. George Harrison was also an accomplished songwriter - even though he had to fight to make his voice heard at times, with Paul and John assuming creative control.
In the early days, the Wavertree-born star had written some songs that The Beatles recorded and was given a quota of compositions for each album. But in the band's later years he delivered classics like 'Something', 'While My Guitar Gently Weeps' and 'Here Comes the Sun'.
In total, George wrote 22 songs that The Beatles recorded. Drummer Ringo Starr also provided two of his own compositions - famously 'Octopus' Garden' as well as the 1968 track 'Don't Pass Me By'.
The latter song featured on 'The White Album' and was the first song of Ringo's that the band had recorded. However, the drummer had pitched it to the band not long after he joined - and the idea of recording it was mentioned in interviews in 1963 and 1964.
In 'The Beatles Anthology', Ringo explained the song's origins, saying: "I wrote ‘Don’t Pass Me By’ when I was sitting round at home. I only play three chords on the guitar and three on the piano.
"I was fiddling with the piano – I just bang away – and then if a melody comes and some words, I just have to keep going. That’s how it happened: I was just sitting at home alone and 'Don’t Pass Me By' arrived.
"We played it with a country attitude. It was great to get my first song down, one that I had written. It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment."
For whatever reason it took until 1968 for it to be recorded. The country rock tune came together over a number of sessions in June and July of that year, with Ringo singing.
It had been recorded with the working titles 'Ringo’s Tune (Untitled)' and 'This Is Some Friendly'. The Beatles' producer George Martin also wrote an orchestral introduction for the song, which he explained was a result of the band not knowing what to do with it.
Mr Martin explained: "It was for John that I did an off-the-wall introduction, because we hadn’t a clue what to do with Ringo’s song.
Source: liverpoolecho.co.uk/Dan Haygarth
When it comes to legendary producers, George Martin has to be at the top, mostly because he helped invent the role. The classically trained arranger and studio magician shaped The Beatles’ sound while reshaping what a record producer could be. These 10 tracks are a testament to his genius, showing off his ability to turn tape, strings, and sonic experimentation into musical history. Here’s to the man behind the curtain.
“A Day in the Life” – The Beatles
A breathtaking final track for ‘Sgt. Pepper’s,’ Martin orchestrated one of the most audacious climaxes in rock history. That swelling 40-piece orchestra? That thunderous piano chord? That’s George Martin making chaos into beauty.
“All You Need Is Love” – The Beatles
Broadcast live to the world in 1967, Martin turned what could’ve been a chaotic moment into something timeless. He wove in La Marseillaise, Bach, Glenn Miller, and even a Beatles quote—proving love and production both benefit from a little imagination.
“Eleanor Rigby” – The Beatles
No drums. No guitars. Just a haunting string octet arranged by Martin and a tale of loneliness sung by Paul McCartney. Martin elevated the band’s storytelling ambitions and showed pop could be chamber music, too.
“I Am the Walrus” – The Beatles
Lennon’s surreal lyrics met their match in Martin’s fearless production. From tape loops to swirling orchestras to a live radio feed, this is studio madness held together by a man who understood how to harness the absurd.
“Live and Let Die” – Paul McCartney & Wings
Martin reunited with McCartney for this James Bond theme, delivering one of the most explosive orchestral rock arrangements ever. It’s cinema, drama, and swagger—everything Bond and McCartney should be.
“Strawberry Fields Forever” – The Beatles
Two takes—one mellow, one bombastic—blended together by Martin’s studio sorcery. This psychedelic masterpiece was stitched together like a dream, and it still sounds like one. Martin made the impossible seamless.
“Yesterday” – The Beatles
It’s easy to forget how revolutionary this was: one Beatle, one acoustic guitar, and a string quartet arranged by Martin. It helped redefine what a pop ballad could be and became one of the most covered songs of all time.
“Help!” – The Beatles
This isn’t just a catchy title track. Under Martin’s guidance, it turned into a powerful blend of pop immediacy and emotional weight, with Lennon’s cry for help masked by musical brightness. Martin knew when to step in—and when to let the feelings come through.
“Golden Slumbers/Carry That Weight/The End” – The Beatles
Martin’s masterstroke on Abbey Road was making this suite feel like one breath. He tied together Paul’s lullaby, Ringo’s only drum solo, and that triple guitar duel with elegance. The real end of The Beatles—and Martin made sure they went out like gods.
“Being for the Benefit of Mr. Kite!” – The Beatles
Inspired by an antique circus poster, Lennon dreamed it up—and Martin made it fly. Organs, harmoniums, tape loops, and calliopes swirl into a Victorian fever dream. Without Martin, this would be just text on paper.
Source: thatericalper.com/Eric Alper
There is a debate amongst Beatles fans as to which album should be considered the band’s last. It’s like the Star Wars fans and their omnipresent “chronological or release date” debate. Is Let It Be their final album or is it Abbey Road? Whatever camp you fall in, we’d like to take a trip back to 1970 and the release of the frustratingly recorded Let It Be. Learn more below about the album the Beatles gave up on.
When I find myself in times of trouble, Mother Mary comes to me
Speaking words of wisdom, let it be
And in my hour of darkness she is standing right in front of me
Speaking words of wisdom, let it be
Let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be
After the release of “The White Album”, the Beatles took some time off to get their creativity up and running again. They came back together with the expressed goal of making another album. Only the album was painstaking, leading to the band rejecting it twice.
Let It Be was once Get Back. The band originally named this collection of songs after “Get Back”, a driving rock anthem that went No. 1 on the charts in 1969. The project was documented in a film, which was later restored by director Peter Jackson. The accompanying visual provided a never-before-seen look into the creative process of one of the most beloved bands of all time. It also revealed some of the struggles the band was going through behind closed doors.
Glyn Johns was the original producer of Get Back. On top of their in-fighting making song selection more difficult than it needed to be, the band felt Johns’ production was sub-par. It ultimately moved them to scrap the project altogether.
Source: americansongwriter.com/Alex Hopper
The Beatles’ John Lennon started writing songs about and for Yoko Ono a couple of years after they met in 1966. She was his muse, the object of his affection, and a frequent collaborator during his solo career. Most people know about the heavy-hitters that Lennon wrote about Ono during his time in The Beatles, but there are a few underrated deep cuts from his solo career that not every fan may be aware of. Let’s look at one of his most famous odes to Ono, as well as a few solo deep cuts.
1. “I Want You (She’s So Heavy)”
A standout track from the 1969 album Abbey Road, “I Want You (She’s So Heavy)” is one of several odes to Yoko Ono that don’t directly name-drop her. Rather, Lennon wails about his adoration for the woman in question (Ono), referencing how “heavy” she is. For those who weren’t around in the 1960s, that was a slang term for someone with heavy emotional weight and intelligence.
2. “Oh Yoko!”
John Lennon penned this tune about Yoko Ono back in 1971 for his album Imagine. Obviously, this is a song about Ono, but it gets buried under other heavy-hitters on that album, such as the title track and “How Do You Sleep?”
Nicky Hopkins contributed his piano talents to the track, and Phil Spector sang harmony. Fun fact: This song would mark the last time Lennon would play the harmonica on a formally released recording.
3. “God”
“God” appears on Lennon’s first post-Beatles album, John Lennon/Plastic Ono Band, from 1970. This tune references quite a few themes, from The Beatles to the concept of God. In the song, Lennon states that he does not believe in many things (magic, yoga, kings, Bob Dylan, Jesus, and others), but he believes in himself and his wife, Yoko Ono.
Source: americansongwriter.com/Em Casalena
