Beatles News
Petula Clark, one of the top British singers of all time, remembers being heckled at a Montreal performance, and then consoled by a pyjama-clad John Lennon.
Clark, now 86, began her performing career as a young child, singing for radio broadcasts and appearing in films and television programs — occasionally performing in French. In 1964, her hit single “Downtown” propelled her to superstardom.
In an interview with The Guardian, Clark remembered the night she played in Montreal in 1969. The city was experiencing a tumultuous year — the Quebec Liberation Front was responsible for multiple bombings as separatist tensions between anglophones and francophones reached their peak.
Clark told the Montreal Gazette in 2017 that she had been going to Montreal for years to sing in French. So when her English hits began to rise on the charts, she thought it would be a great chance to do a bilingual show.
She was booked for multiple nights from May to June 1969 at Place des Arts. According to the Gazette, when she would begin to sing a song in French, the anglophones in the audience would begin to heckle her. When she switched to a song in English, the francophones would follow suit.
Source: nationalpost.com
On the double record commonly known as The White Album (1968), The Beatles left it all on the table. Paul McCartney had “Ob-La-Di,Ob-La-Da” and several other examples of what John Lennon called “granny music.” Both Paul (“Blackbird”) and John (“Julia) had quiet, pretty ballads.
Meanwhile, fans also got their share of rocking tracks. Between “Yer Blues,” “Back in the U.S.S.R.,” and George Harrison’s “Savoy Truffle,” The Beatles didn’t forget to turn the amps up to 11 on the record — even without the heavy version of John’s “Revolution.”
But no song matched the sheer volume and chaos of Paul’s “Helter Skelter.” From the searing opening guitar riff to the grinding bass and shouted vocals, the song is 4:30 of hard-rock madness.
Though the song got twisted in the mind of Charles Manson following the release of The White Album, the reason Paul wrote the song was quite simple and innocent. And its subject matter couldn’t have been further from Manson’s ugly interpretation.
Source: cheatsheet.com
When you look back at the career of George Harrison, you might call 1966’s Revolver his breakout moment. The revolutionary Beatles album featured three songs by George, who tried his hand at experimental guitar solos and otherwise fully committed to the recording sessions.
Though he reached something of a low point with Sgt. Pepper’s the following year, George’s leap forward in songwriting on Revolver paved the way for “Something” and other classics that were to come.
Yet it didn’t come easy on Revolver. As George worked to increase his standing in The Beatles, he met resistance from John Lennon and borderline dismissal from Paul McCartney. George Martin, the band’s esteemed producer, harbored his own doubts about George at the time.
Things came to a head during the sessions for “Taxman,” the hard-rocking track that opens the album. Though George wrote the song and was the band’s lead guitarist, Paul played the famous guitar solo on it.
Source: cheatsheet.com
When they arrived America and made their historic appearance on Ed Sullivan, The Beatles were quite young. Ringo, the elder of the group, checked in at 23 years old. Meanwhile, George Harrison, the youngest, hadn’t even turned 21.
So when the smiling lads performed “I Want to Hold Your Hand,” it sounded like exactly the sort of song they’d write. (It shot to No. 1 not long before they landed at JFK.) But things would change by mid-decade.
A little over two years later, the Fab Four recorded an album featuring backwards tape loops, a guitar solo in reverse, and sound effects that seemed to be seagulls. The LP ended with John Lennon vocals that sounded “like the Dalai Lama chanting from a mountaintop.”
On that track (“Tomorrow Never Knows”), John kicked things off with a line from Timothy Leary’s Psychedelic Experience. Looking back, he wasn’t exaggerating when he called that classic record “the acid album.”
Source: cheatsheet.com
Fans of Richard Curtis’ rom-coms (and based on his box office numbers there must be tens of millions) will find in "Yesterday" many of the pleasures that drew them to "Four Weddings and a Funeral," "Notting Hill," "Love, Actually" and "Bridget Jones’s Diary." This film, however, has a fantasy dimension that the others did not. An unsuccessful singer-composer, Jack Malik, awakens from a bicycle accident into a world in which the Beatles never existed. Their catalog of songs is gone, and after a moment of moral hesitation, Jack resolves to present them as his own. In "Yesterday"’s universe, these quintessential 1960s songs are as popular as they were in our universe, and make Jack an overnight star. Some critics have liked "Yesterday," but many were disappointed that the film does not treat its clever premise more seriously — or that the film squanders the opportunity to explore the meaning of the Beatles' music today.
Source: salon.com
What did it take for The Beatles to make a masterpiece? It depended on the song and situation. With the epic “A Day in the Life,” John Lennon came in with the idea, Paul McCartney contributed his part, and longtime producer George Martin found a way to realize John’s complete vision.
On the classic “Yesterday,” Paul said the music came to him in a dream. From there, he struggled to find the right lyrics but eventually nailed down one of his signature songs. Again, Martin made the song come to life — and, for the first time, without the participation of the other Beatles.
Other brilliant tracks took innovative recording techniques to make the root of John’s ideas blossom. On one occasion, he asked for his voice to sound “like the Dalai Lama on a mountaintop.” After some scrambling and experimentation, another classic went on record.
But when John came to the studio with “I Am the Walrus,” Martin could not see a masterpiece about to be born. Quite the contrary, in fact — he seemed to hate the song and the controversy it might bring.
Source: cheatsheet.com
Int he summer of 1963, The Beatles arrive at the BBC Paris Studio in London armed with a very special plan to add their own spin on an Elvis Presley classic.
Recording material with producer Terry Henebery for the eighth edition of the Pop Go The Beatles radio show, the four lads from Liverpool would record ‘I’m Gonna Sit Right Down And Cry (Over You)’, one of three Elvis songs they put to tape that day.
While Ringo Starr has always professed his distaste for drum solos, he would step up to the mark for The Beatle’s rockabilly version of the song which remained unreleased until 1994 when it was included on the Live at the BBC album.
Source: faroutmagazine.co.uk
When you run through your favorite Beatles songs credited to Lennon-McCartney, you’ll find a bunch written by either John or Paul (i.e., not both). “Yesterday,” Paul’s masterpiece, came to him in his sleep and went on record without any other Beatles backing him.
If you’re a fan of the 1969 romp “The Ballad of John and Yoko,” that one obviously came straight from John. Then there were tracks like “Come Together,” which began as a pure Lennon composition but got an assist from Paul and the gang in the studio.
As for late-era Beatles songs worthy of the Lennon-McCartney tag, Sgt. Pepper’s is the place to go. On that album, both Paul and John were energized and working together on most of the songs. That includes the classic “A Day in the Life.”
For those who want to isolate what is the best Beatles song of all and a true collaboration between the great songwriters, the closing track from Sgt. Pepper’s just about checks every box.
Source: cheatsheet.com
John Lennon Official revealed that this photograph taken during the recording sessions for The Beatles (The White Album) at Abbey Road. They also revealed the short story of how and when Jonh Lennon felt guilty to Yoko Ono.
Here is the story:
“GLASS ONION, 1968⠀
“That’s me, just doing a throwaway song, you know, à-la-‘Walrus’, à-la-everything-I’ve-ever-written.
I’m throwing the line in ‘the Walrus was Paul’ there, just to confuse everybody a bit more and because I felt slightly guilty because I’d got Yoko and he’d got nothing and I was going to quit. And so I thought ‘Walrus’ has now got to be me, meaning ‘I am the one’.
Only it didn’t mean that in the song. The reason is, it could’ve been ‘I’m the fox terrier’, you know? I mean, it’s just a bit of poetry. So it was just thrown in like that.”⠀
Source: Enes K./metalheadzone.com
The State Farm Center, located at 1800 S. First St. in Champaign, will be home to performance of Ringo Starr and His All-Starr Band on August 20.
The former drummer of The Beatles Ringo Starr will be performing with his band at the State Farm Center on Aug. 20.
Ringo Starr and His All-Starr Band will make a stop in Champaign as part of a 2019 tour which marks the band’s 30th anniversary. The band played their first show at the Park Central Amphitheatre in Dallas, Texas, in 1989.
The rock band announced the North American expansion of its 2019 tour back in January. The band performed nine concerts in Japan earlier this year.
Starr is the only constant member of the band, with the rest of the lineup shifting. Twelve variations of the band have toured, according to the music website Discogs.
Source: Eunice Alpasan/dailyillini.com
