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Fans The Beatles must be happy, because The developer, Harmonix, will be released a "RockBand:The Beatles".Rock Band video game is a game where we can play the withdrawal by a group of bands because of the joystick from the game in the form of guitar, drums and microphone. In this game we will play some songs with the beatles sound spectacular.

The latest news said that later on when this game will be released in the complete package with a bundle. The developer, Harmonix, will include a limited edition package for $ 250. The contents of this package include:

1. The Beatles: Rock Band software
2. Höfner Bass controller: the size of the original approach as used by Paul McCartney
3. A Ludwig drum controller and a kick drum head vintage.
4. Microphone
5. Microphone Stand
6. Additional special content 

The developers do not play in managing this game. Also planned later in the game will be created a system where the singer can sing in harmony. Exactly as performed by The Beatles, the sound of one-two between John Lennon and Paul McCartney songs fill the The Beatles. With this system the game will be expected to become more alive.

In recent Paul McCartney concert at Coachella on Friday yesterday (april 17) give the audience a surprise by video snippets from this game. With the duration of the video for approximately 9 minutes this sepenggal we can see the animation of the most awaited game this year. The Harmonix will release this game on 9 September 2009.

I'm waiting for it [smile]

History A Hard Day's Night and Lyrics

A Hard Day's Night is a 1964 British comedy film written by Alun Owen starring The Beatles—John Lennon, Paul McCartney, George Harrison and Ringo Starr—during the height of their popularity. It was directed by Richard Lester and originally released by United Artists. The film was made in the style of a mock documentary, describing a couple of days in the lives of the group.

It was successful both financially and critically; it was rated by Time magazine as one of the all-time great 100 films. British critic Leslie Halliwell described it as a "comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book" and awarded it a full four stars. The film is credited with having influenced 1960s spy films, The Monkees' television show and pop music videos.

About Yellow Submarine and Lyrics

Yellow Submarine is a song created by The Beatles in 1966, recorded by John Lennon, Paul McCartney, George Harrison and Ringo Starr. Although this song has been released on the Revolver album, this song became the title for the 1968 animated film produced by United Artists, which is also called Yellow Submarine. The song is also the title of the album from the film, released as The Beatles song catalog.

This song was good in the UK than in the United States. This song became the number # 1 song on the United Kingdom, and survive on the # 1 ranking for four weeks, and survive on track for 13 weeks. This song won the Ivor Novello.

Here is This yellow Submarine lyrics :

Yellow Submarine

In the town where I was born
Lived a man who sailed to sea
And he told us of his life
In the land of submarines

So we sailed up to the sun
Till we found the sea of green
And we lived beneath the waves
In our yellow submarine

We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine

And our friends are all on board
Many more of them live next door
And the band begins to play

We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine

As we live a life of ease
Everyone of us has all we need
Sky of blue and sea of green
In our yellow submarine.

We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine

We all live in our yellow submarine,
Yellow submarine, yellow submarine
We all live in our yellow submarine,
Yellow submarine, yellow submarine

Songs Inspired by Revolver Album

That is to say, songs obviously inspired by Revolver Album – there are many others which would not have featured a sitar but for “Love You To”, and which were surely written in the moment of excitement following hearing the album, but which do not sound like Revolver. It should also be noted that this list is entirely subjective: many people will listen to the songs below and shrug, unable to hear the slightest resemblance to anything on Revolver.


Ballroom, “Baby Please Don't Go” (1966) – featuring a droning, one-chord backing, and descending into a see of shuddering, howling tape loops and backwards vocals, Los Angeles production wunderkind Curt Boettcher turns this blues song into a harmony vocal version of “Tomorrow Never Knows”.

Bee Gees, “In My Own Time” (1967) – from their debut album, a straight imitation of “Taxman”/“Rain”, in a style that would now be called “power pop”.

Chemical Brothers & Noel Gallagher, “Setting Sons” - Dig Your Own Hole (1996) – an electronic invocation of Starr's drumming on “Tomorrow Never Knows”, and Noel Gallagher singing through something like a Leslie speaker. For a detailed analysis of the similarities between the two tracks see the essay “Tomorrow Never Knows: the contribution of George Martin and his production team to the Beatles' new sound” by Kari McDonald and Sarah Hudson Kaufman
in Every Sound There Is, ed. Russell Reising (Ashgate, 2002)

Chemical Brothers, “Let Forever Be” (1999) – another “Tomorrow Never nows” imitation, but with something of the rhythm of “Taxman”.

Cotton Mather, “40 Watt Solution”, “Last of the Mohicans” –
The Big Picture (2002) – the former is yet another imitation of
“Rain” and “Tomorrow Never Knows” by an American band often
criticised for wasting their talents on straight-up pastiche of their
musical heroes.

Jam, “Start!”, Sound Affects (1980) – why didn’t the Beatles sue when Paul Weller borrowed the bass-line from “Taxman”? In a period when Weller was recording cover versions of “Rain” and “And Your Bird Can Sing” for fun, and using the rear cover of Revolver as some kind of sartorial manual, it’s no surprise that he felt the need to express his love for the album publicly in some way.

Kinks, “Dead End Street” (1966) – I wouldn't want to try to make Ray Davies admit it, but this track is inspired by “Eleanor Rigby” in mood, and in the mournful trumpet passages, though of course with a unique Kinks twist in the music hall bridge and chorus. Lee Mallory, “That's the Way it's Gonna Be” (1966) – more Revolverisms from Los Angeles producer Curt Boettcher. This time,
there are lyrics about rain, like “Rain”, and then a whole range of studio
tricks: varispeed, backwards tapes, and exotic instruments. This time,
however, it's a koto.

Monkees, “Salesman”, “Pleasant Valley Sunday”, “Daily Nightly” - Pisces, Aquarius, Capricorn and Jones Ltd. (1967) – it's surely no mistake that the former track, which happens to open this album, should be reminiscent of “Taxman” with its stinging rhythm guitar part. “Pleasant Valley Sunday”, which was also issued as a single, is an obvious attempt to imitate “Paperback Writer” in tempo, mood and, most noticeably, the twanging guitar riff. Finally, “Daily Nightly” is after “Tomorrow Never Knows”, with echoing, detached vocals,
“outerspace sounds” and backward tape all over it.

Pink Floyd, “Lucy Leave” (1966) – the group’s first demo tape in
late 1966 featured a re-recording of this 1965 Syd Barrett R&B tune
with a new guitar solo, this time very clearly Indian sounding, in an
obvious response to Revolver.

Rolling Stones, “My Obsession”, “Connection” - Between the Buttons (1967) – the drums on the former track, recorded in August 1966, are virtually identical to “Taxman”, and the vocal harmony climaxes throughout the song are reminiscent of “Rain”. On the latter track, the guitar which answers Jagger's vocal is surely an imitation of “And Your Bird Can Sing”.

Rolling Stones, “Child of the Moon” (b-side of “Jumpin' Jack Flash”) (1968) - a late effort from the Stones, a “Rain” pastiche recorded two years after the “Paperback Writer”/“Rain” single was released – evidence, if evidence be needed, that “Rain” was ahead of its time.

Rutles, “Joe Public” - Archaelogy (1996) – the first Rutles album, All You Need is Cash, jumped straight from perfect pastiches of Help! era Beatles to perfect pastiches of Sgt. Pepper era Beatles. This track fills in that gap.

Utopia (Todd Rundgren), “Life Goes On”, “Take it Home” – Deface the Music (1980) – a pastiche of “Eleanor Rigby”, with synthesised strings, and an attempt to imitate a Revolver or Rubber Soul era rock tune.

Who, “Disguises” (1966) – another “pocket Revolver”, with a “Taxman” / “Rain” inspired bass-line, swirling, pounding “Tomorrow Never Knows” backing, Eastern-tinged sneering vocal, and heavily compressed sound.

Zombies, “A Rose for Emily” - Odessey and Oracle (1967) – musically similar to “For No One”, with touches, both lyrical and musical, of “Eleanor Rigby”.

From Liverpool With Love

The Beatles drummer is touring North America this summer to promote a new album that's close to his heart.


Unlike most musicians, Ringo Starr looks forward to that feeling he sometimes gets of being on a treadmill. In fact, that's where he often feels most creative.

"My studio in England is next to the gym," Starr said from the Canadian side of Niagara Falls, where his latest tour just got underway. "When it's time to record, I find that getting on the treadmill brings on the endorphins, and the songs just start coming. I wrote a lot of songs on the treadmill. It's certainly a better way than sitting up late at night smoking."

Such treadmill tunes populate his latest solo album, "Liverpool 8," which has generated some of the strongest reviews of his studio work since the early '70s. The new album's title song is a sweetly melancholy reflection on his early life in Liverpool, alluding to his pre-Fab Four role as drummer for Rory Storm & the Hurricanes and the years that followed in the musical cyclone that was the Beatles.

It's the only song from the new album he's doing on his 30-city summer tour, which hits the Greek Theatre on Aug. 2, with the group of musician friends he dubs the All-Starr Band. This year it includes Billy Squier, Edgar Winter, Men at Work's Colin Hay, Rockpile guitarist Billy Bremner and Average White Band guitarist and singer Hamish Stuart, all of whom have toured with him previously. New to his circle of amplified friends are keyboardist Gary Wright and jazz and rock drummer Greg Bissonette.

"Usually it's a completely new band," he said. "This is the first time I've done it this way."

Although as a group the Beatles were renowned for their firsts, Starr hasn't always received his due as a trailblazer. But he was the first Beatle to announce his intention to quit the band (his decision was kept quiet for PR reasons), and the first rock star to pay serious attention to music that predated rock, with his 1970 solo album of pop standards, "Sentimental Journey."

Along with John Lennon, Paul McCartney and George Harrison, Starr took part in the first worldwide satellite television broadcast in 1967, playing "All You Need Is Love," a message that still resonates powerfully with him.

Not coincidentally, one of the most moving songs on "Liverpool 8" is the ballad "Love Is," which he wrote, like most of the album's material, with collaborators Mark Hudson, Gary Burr and Steve Dudas.

It's deeply personal, decidedly spiritual and unapologetically political without being strident -- in stark contrast to his long-standing public persona as The Beatles' comic relief:

Time will always heal What the broken-hearted feelThe poets say it's soBut I'm not sure it's realI only know the answer is inside meAnd everyone. . . . Love is here.

"The inspiration is love," he says, pronouncing it "luv" as only a Liverpudlian can. "If you look at the titles of my songs, 80% have 'love' in them. . . . It's where I'm at, promoting peace and love. . . . I hope the message is getting across. I always say it feels like my shows are a peace-and-love fest."

To that end, he's mounting his answer to Lennon's "Give Peace a Chance" efforts by inviting fans to flash the two-fingered peace sign and say the words "peace and love" at noon today -- his 68th birthday.

"Wherever you are in the world -- if you're in the office, on the bus, shopping -- put your peace and love hands up," he said. "I'll be doing it."

Revolver wasn't so much released as it leaked out over the course of some weeks. Firstly, there was the advance guard – a hot-off-the presses Revolver sessions single, “Paperback Writer” backed with “Rain”, released in the USA in May and shortly afterwards, on June 10th, in the UK. Here was Revolver in microcosm – a kind of trailer for the LP – with compressed bass, backwards vocals, Indian influences, Beach Boys inspired vocals, LSD- inspired imagery, and heavily treated vocals.

Their last single, released almost six months earlier, had been a double A-side with the folky, earthy “We Can Work It Out” and straight-up plastic soul tune “Day Tripper”. Whilst it can be hard to see the dividing line between Rubber Soul and Revolver, it seems fairly clear cut when you listen to those singles in succession.

Then in June 1966 Capitol Records, who licensed Beatles material for distribution in the USA, asked for any available tracks to fill out a manufactured “odds and sods” LP. It was their habit, up until Sgt. Pepper, to release shorter Beatles LPs than in the UK and then use the held-over tracks, with some b-sides, singles and maybe out-takes, to make up whole new albums. Yesterday and Today was released in the US on June 20th, giving the world a second taste of the Revolver sessions. By the time the album proper was released in the UK, five of the sixteen songs recorded at the sessions were already in the public domain, and a shrewd Beatle-fan could have guessed at something of the feel of the new album.

In late June 1966, when all of the tracks for the album had been finished, Klaus Voorman got a call from John Lennon asking if he'd be interested in working on the cover design. Voorman, of course said yes – as much as anything, it was a paying job, and he wasn't making much from ass-playing – andwas duly invited to the studio to hear the tapes for inspiration. They played him everything they had, and he was particularly struck by “Tomorrow Never Knows”. “I was overwhelmed,” he says96, and knew then that “it was my turn to come up with something really outstanding to fit the fantastic music.” He had taken the liberty of preparing a rough pencil sketch from memory97, with “all the hair and little figures”, which the band liked. So, as the scheduled release date approached, he retired for three weeks to his studio in the front room at 29 Parliament Hill in Hampstead, with nothing more complicated than some sheets of A2 paper, a pen and some ink. “I chose black and white 'cause every other cover was in colour,” he recalls; brightly coloured “psychedelic” covers wouldn't become a cliché for sometime yet, but by anticipating this trend and avoiding it, he assured Revolver a place in the pantheon of all-time great LP covers.

As the release date approached, and as Voorman beavered away at the cover design, the Beatles and their team settled down in the control rooms of Studios 1 and 3 for mono and stereo mixing. Put simply, mixing is the process whereby multi-track tapes of songs recorded on different days, perhaps in different studios, are copied across to one “master tape” from which the vinyl LP can then be cut. In fact, the process is more complicated than that, and extremely delicate. Firstly, there is the issue of deciding a running order – this task seems usually to have fallen to George Martin, at least as late as the recording of Sgt. Pepper:

My old precept in the recording business was always 'Make side one strong,' for obvious commercial reasons... Another principle of mine when assembling an album was always to go out on a side strongly, placing the weaker material towards the end but then going out with a bang.

Abbey Road And A Typical Session

The Studio Complex was not especially large, having been converted from a sixteen room Victorian town-house by EMI in 1929. The conversion took two years and HMV studios opened in 1931. The exterior was left largely intact – white painted, but greyed by London rain and pollution. Edward Elgar was the first musician to make use of the studios, conducting a recording of Land of Hope and Glory in Studio 1. Others - Yehudi Menuhin, Sir Thomas Beecham, Sir John Barbirolli and, perhaps most importantly, George Formby - recorded there in the years that followed.

In fact, all of EMI's artists recorded there, using EMI engineers, producers and disc cutters. It was possible for an artist, once signed to EMI, to have a successful career without ever stepping outside the EMI system. The Beatles entered that system in 1962, and rarely recorded anywhere but at Abbey Road. Between 1962 and 1966 they settled into a routine - Abbey Road became like a home to them: “In the end, we had the run of the whole building... I think we knew the place better than the Chairman of the company, because we lived there” (McCartney, Anthology, p.93).

Sessions never began before midday, and 7pm was the band's favourite time to start recording. During recording, the Beatles would usually arrive together at the studio, having been picked up by Lennon's chauffeur, perhaps having stopped at McCartney's house to rehearse. The car - Lennon's Rolls Royce or Austin Princess - would pull through the gates and into the small rear car park where their van would already be parked. Mal Evans and Neil Aspinall would have arrived sometime earlier and unloaded their guitars and amplifiers, setting them up in whichever studio they were booked into on that day.

The band would enter through the "tradesman's entrance", rather than the front door88. Inside, security guards - retired policemen or former soldiers, like university porters - in official looking black uniforms and peaked caps were reminiscent of the foyer of a minor government office in Whitehall. Institutional corridors led off toward an institutional canteen, institutional toilets, with institutional waxed toilet paper, and institutional offices. Each office was occupied by one of EMI's army of strictly graded, by- the-book managers, including Mr EH Fowler, the top man – Studio Manager89. “The whole building,” recalls Nick Mason of Pink Floyd, “was painted throughout in a shade of green that I can only imagine was inspired by the KGB headquarters in the Lubyanka.

Anyone you get who's been EMI trained really knows what he's doing. they actually used to have to come to work in ties and suits and white coats which is lovely, like another age! (McCartney, in Lewisohn, p.11)

Then, there were the three recording studios themselves. Studio 1: vast, cold, and echoing - like a school assembly hall, with its waxed parquet floored and white painted wooden wall panels. The smell was of disinfectant, floor wax and dust. A staircase led up to the ceiling where the control room, like the bridge of a ship, looked out over the "shop floor". The mixing desks were expensive and solid – painted metal, with heavy industrial knobs and switches, which might have come from the dashboard of a tank, and shining rivets. The faders resembled the
throttle controls from fighter planes. This was the high prestige, classical recording venue which made the studio famous.

You'd see classical sessions going on in number one - we were always being asked to turn down because a classical piano was being recorded in number one and they could hear us (McCartney, Sessions, p.8)

Studio 2: smaller, but still large, and still echoing, and with more parquet flooring and white paint – Geoff Emerick describes “filthy white walls” (p.180). It was, as George Harrison observed, a “big white room that was very dirty and hadn't been painted in years.” With his noted eye for detail, he recalled “these old sound baffles hanging down that were all dirty and broken... this huge big hanging light... no window, no daylight.”91 The control room here was also up a flight of stairs. The cupboard under that staircase was a "toy cupboard", filled with items which were largely useless, except insofar as when banged together, rattled or hit, they made interesting sounds. There was a wind-up wind machine, tambourines, strange percussion instruments from Africa and Asia. In the studio itself were a Hammond organ, a piano, and a harmonium.

Studio 3: the smallest studio, almost cramped, and used to record artists on a budget, or as a last resort when Studio 2 isn't available. The control room here wasn't up a flight of steps - it looked out straight into the room. Most of Revolver was recorded in Studio 3 and Studio 2. The band would have entered whichever room they were working in to find Aspinall and Evans finishing the setting up of their instruments. George Martin would be in the control room with engineer Geoff Emerick and his assistant, Phil McDonald. Martin, Emerick and MacDonald, wearing sober shirts and ties, adhering to the strict EMI dress-code, would pop down the staircase or – in the case of Studio 3, along the corridor – to say hello.

Sessions usually started with cups of tea and cigarettes – and perhaps some toast or sandwiches. It was Evans' job to fetch these from the canteen, or prepare them in an improvised kitchen in the Studio, which the Beatles had earned the right to run with their superstar status.

Once they had settled in George Martin would stand with the band and they would decide amongst themselves which track to record, with the song's main author running through them on acoustic guitar or piano93. Emerick would often listen from the control room and try to anticipate any technical issues which might arise.

Once they'd decided, they'd tell George Martin how they wanted the record to sound, often in quite abstract terms, and he would relay the requirements to the engineer, whose job it was to conceive of a way to achieve the requested sound. He, in turn, would then ask the white-coated studios technicians to carry out any electrical adjustments necessary, and/or ask the brown-coated maintenance staff to move amplifiers or instruments into the right positions. The engineer would then see to microphone positioning and set-up.

There was a standard set-up prescribed by the EMI technical guidelines, which indicated which microphones should be used for which instruments, and how far away each should be placed; each engineer also had his own preferred set-up, with minor adjustments based on experience and the kind of sound the artist was after; in the case of the Beatles, Geoff Emerick started out using a variation on Norman Smith's set-up, but was willing to make severe adjustments, often in contravention of studio rules and regulations, in order to achieve not only the right sound, but also completely new sounds.

Once everything was ready, there would be wires trailing all over the floor, empty tea cups balanced on amplifiers or other flat surfaces, and everybody would be in their places with “cans” (headphones) on. In Studio 2, Martin and Emerick would be out of sight of the band up the staircase, and able to communicate only by coming downstairs or talking to them through the studio desk. In Studio 3, they would be face-to-face with the band through heavy glass.

The session would then go on, often for hours, until the band called it to a halt. Martin didn't always stay to the end of a session – despite regulations, sessions rarely finished on time - but would leave his engineers in charge.

In the meantime, members of the band would periodically retire to the echo chamber or toilets to smoke pot; dinner would be ordered and brought in by Mal Evans; visitors might pop in, though they were rarely welcome.

Eventually, Starr would grow tired – drumming is the most physically strenuous job in most bands – or a natural pause in proceedings would occur, such as getting a good take of a particular track, and band members would make their way out to waiting cars. Sometime, an individual member might stay to tinker with his parts on a track, or all four members might hang around in the control room listening to playback of their evening's work. Sometimes, they made copies to take home.

This article is continued from the previous Paul McCartney Goes Too Far Part 1

The impact on McCartney of this kind of music-making, which lacks any obvious sign of the melody or structural perfection which are trademark qualities of his, can nonetheless be seen clearly in a song as apparently childish and simplistic as “Yellow Submarine”. This seemingly humble strum-along tune, much ridiculed by critics48 is richly embroidered with musique concrete49. Compare the description of a session for Yellow Submarine with the AMM event described above:

We needed all kinds of sound effects, and sandbags were bumped about while John blew bubbles and George made swirling sounds with the water... There was also a brass band... right there in the studio, not to mention a massed chorus made up of anybody and everybody who happened to be around at the time. (George Martin,“Off the Record", p207)

The communal, participatory nature of this event echoes an AMM performance, and the Beatles continued to hold similar “parties” with guests in the studio up until the recording of the “The Beatles” (the “White Album”) in 1968. Their happenings, however, were ultimately more disciplined, having as their end the production of a releasable pop “product”. As well as the minimalist musique concrète of Cardew's AMM, McCartney (and Miles) also pursued their interests in an emerging high art alternative to classical music, namely electronic music. They attended a lecture given by Luciano Berio, the renowned Italian electronic composer, in February 1966. One
journalist described the event:

Everything that Luciano Berio does is interesting even when it isn't entirely convincing. Last night at the Italian institute he talked for almost an hour about his new work, Homage to Dante - mostly about what it was not, and what is the only possible way of creating a work of art, and suchlike topics. (The Times, 24/02/66, p.16)

At the lecture, Berio played a tape of his new piece Laborintus 2 (Un Omaggio a Dante), which develops certain themes in Dante's texts, combining them with biblical texts as well as the work of T. S. Eliot, Ezra Pound and Edoardo Sanguineti. During the intermission, Paul was able to have a few words with Berio but the Italian embassy staff cluste around so closely that serious conversation was difficult. (Miles, Many Years From Now, p.234-5)

In Britain, Berio was notable for being the first electronic composer to have his work performed at the Proms, when his Perspectives - a series of oscillations and radio noises - was played, from tape, in August 1960.

It was also during this time that McCartney developed an interest in the music of John Cage, of whom Cornelius Cardew was, at that time, a disciple50. He was particularly impressed by 4'33", which was four minutes of complete silence. Another composer who impressed McCartney was, in turn, Cage's teacher, the German Karlheinz Stockhausen, who was later to appear on the cover of Sgt. Pepper's Lonely Heart's Club Band. McCartney was not only intrigued by his experiments
with tape manipulation, but also particularly seems to have enjoyed dropping his name as evidence of his erudition. There was a lot of experimental stuff that went on. George's Indian stuff and all of that. It was really just pushing frontiers, that's all we were doing. Everyone else was pushing frontiers too but perhaps we didn't necessarily like what, say, Berio was doing. There was only one Stockhausen song I liked actually! We used to get it in all the interviews “Love Stockhausen!”. (McCartney, in Lewisohn, p. 15)

He missed seeing Stockhausen in person introducing a concert of his works at the Commonwealth Institute in London in December 1965 - The Beatles were playing a concert in Liverpool - but might have read the article published in the wake of that event in The Times on December 6th, or seen the television programme Music on Two on BBC2 on December 21st, when a
Stockhausen special was broadcast. Stockhausen was everywhere in 1965 and early 1966, at least if you were the kind of person who read the broadsheets and watched the high-brow second
channel.

Quite apart from the avant-garde European and American electronic music which McCartney came across, there was also the then cutting-edge BBC Radiophonic Workshop.

The Workshop is staffed by four creative assistants, three technicians, one engineer, and part-time maintenance personnel, who work in three specially equipped studios... it was set up in 1958 with a staff of only two... At the moment, it provides incidental accompaniments in the main and aims to underline atmosphere and extend dramatic impact. Many programmes are educations, children tend to listen with open ears and without preconceived notions.51

The Workshop was well-known amongst musicians as the best equipped electronic studio in the UK, rivalling that at the Westdeutcher Rundfunk studio in Cologne, Germany, and the Colombia Princeton Electronic Music Center in the USA. Whereas those institutions were used by a range of composers for the creation of “pure art”, the BBC Workshop had something of a “closed door policy”52 to outside musicians, and a more practical purpose – namely, the low-cost production of music and sound effects for BBC television and radio programmes. It was music for the popular science fiction programme Dr Who which made it something of a household name, and which, almost inadvertently, exposed the public at large to the sounds of tape loops, musique concrète and manipulated electronic sounds generated by oscillators. McCartney would have heard Radiophonic Workshop music frequently, and also claims to have spoken to someone at the Workshop, probably Delia Derbyshire, about the possibility of an electronic backing for “Yesterday” in 1965.

George Martin also gets some credit for fostering McCartney's interest in unusual electronic sounds:
In 1962 Parlophone issued a single called: “Time Beat/Waltz in Orbit", a compilation of electronic sounds, composed by a certain Ray Cathode - me! (Summer of Love, p.83)

George Martin played them [McCartney and Miles] the famous 1962 Bell Telephone Labs recording of an IBM 7090 computer54 and digital-to-sound transducer singing “Bicycle Built for Two” in a thick German-American accent, which they loved. (This was also favourite late-night listening at Miles's flat.) (Many Years From Now, p.207)

This interest in electronics manifested itself practically in an ongoing series of experiments with tape recorders from 1965. Both Lennon and McCartney acquired Brenell Mark 5 tape recorders through their music publisher, Dick James, who was presumably keen to get their songs demoed on tape and then in print as soon as possible. Being a small company, Brenell were able to meet individual demands far better than Ferrograph, who were heavy into Government orders and supplying the BBC. The Brenell was a very basic, but very well built three motor, three speed design... the Mark 5 introduced to the amateur/semi-pro an extremely versatile and very well made deck at a reasonable price. (Interview with Barry M Jones, author of Brenell - True to Life Performance)

The simplicity and versatility of the machine enabled both of the “senior Beatles” to experiment, but Lennon tended to use his machine more as a kind of notebook for sketching ideas and recording somewhat tuneless, rambling demos, whilst McCartney leapt straight into manipulating the sound – into using the tape recorder as an instrument in its own right.

I would do them [tape loops] over a few days. I had a little bottle of EMI glue that I would stick them with and wait till they dried. It was a pretty decent join. I'd be trying to avoid the click as it went through, but I never actually avoided it. If you made them very well you could just about do it but I made 'em a bit ham fisted and I ended up using the clicks as part of the rhythm. (McCartney, Many Years From Now, p.219)

McCartney was quick to share what he was learning, just as Harrison and Lennon had been quick to share their experiences with Indian music and LSD with him. Paul constructed all these 'loops' of tape with these funny, distorted, dense little noises on them. He told the others, and they too, took the wipe heads off their recorders and started constructing loops of taped gibberish. (George Martin, Summer of Love, p.80)

Though McCartney talked of releasing an entire album of avant-garde tape experiments under the name Paul McCartney Goes Too Far55, he ultimately baulked at the idea. In fact, he went so far as to head in quite the opposite direction, concealing his own experimentation by giving away his work to Lennon for use on his otherwise simple song “Tomorrow Never Knows”. This compounded the public perception of Lennon as the “Clever Beatle", and of McCartney as a brilliant but conventional songwriter.

In reality, “Tomorrow Never Knows", like so many of the songs on the album, is a genuine group effort. Lennon's contribution, musically, was the simple vocal melody and the one chord around which the music moves. It is McCartney who deserves the credit for the distinctive other-worldly sound of the backing track, and Ringo Starr whose drumming has been so much imitated in recent years.

As well as the high-brow artistic interests that his central location and avant-garde contacts facilitated, McCartney's celebrity also gave him opportunity to monitor the work of other movers and shakers in the pop world. His mixing socially with British pop stars and producers at various nightclubs paid off in 1966 when, through Andrew Loog Oldham, then managing and producing the Rolling Stones, he was given the opportunity to hear an early tape of the Beach Boys “Pet Sounds”.

Paul McCartney and I had enjoyed tea and smoke at my Hurlingham Road abode and awaited Lou's [Lou Adler] arrival... He was bringing his good self and an acetate of “Pet Sounds”, which neither Paul or I could keep, since this was a time when personal tape recordings were not on or done... we settled into more tea, lots of smiles, more smoke... and a long, long listen and lot of wonder from Paul and I. (2Stoned, p. 443)

In the wake of hearing “Pet Sounds”, McCartney would arrange a distinctly Beach Boys influenced introduction for his “Here, There and Everywhere”, although, as Ian McDonald rightly notes, the song itself is not much after the manner of Brian Wilson56. These small additions to Revolver give it yet another level of complexity and richness.

In March 1966, shortly before the Revolver sessions commenced, McCartney moved into a new house even nearer Abbey Road studios, at 7 Cavendish Avenue. This property McCartney at once set about making into a more expansive version of his room at Wimpole Street, even using the same architects who had refurbished the upper floor to handle the renovation work. His instruments were stacked around the place, along with his tape recorder and various pieces of art – by Magritte and others – which he had picked up during his virtual student days with the Ashers. This marked the end of an era, and also the beginning of the end of his relationship with Jane Asher herself, now that he had somewhere to bring women as and when the opportunity arose. He graduated, as it were, from his student lifestyle with the Ashers a mature, sophisticated man.

In the light of experience gained from operating HMS Dreadnought the Navy has made a number of changes in the arrangement of Britain's first all-British nuclear submarine, the Valiant, now back at Barrow after three weeks' contractors' sea trials. (The Times, May 25th 1966) We all live in a Yellow Submarine, A Yellow Submarine, A Yellow Submarine (Paul McCartney, “Yellow Submarine”, (written May 31st 1966)

Paul McCartney spent his hiatus from the business ofbeing a Beatle absorbing mid-sixties London's vital cultural life. He came back to the table with a bag of new ideas, and the confidence to be “pretentious” - to make their next album something more than a pop album. He wanted it to be a work of Art: “I for one am sick of doing sounds that people can claim to have heard before”38, he said.

Since early in The Beatles career, McCartney had felt a slight irritation at being perceived as “the cute Beatle”, with the implication that Lennon was the brains behind the group. Even on Revolver, however, there are moments which remind us of how he developed that reputation. “Here, There and Everywhere” was a leftover from the Help! period39, and would have fit nicely on any of the preceding three Beatles albums. It is an excellent song in many ways but is also relentlessly sweet and calculatedly sentimental, after the manner of “Michelle” or “Yesterday”. Nonetheless, it is balanced by McCartney's other contributions to the record, which demonstrate a new-found adventurousness, and exhibit a range of styles not only unusual for McCartney, but at the cutting-edge of pop music.

The road away from cuddly balladeer to bold experimenter began at the end of 1964 when John Lennon ceased to conceal his marriage and children. He moved away from London to a prosperous but dull upper-middle-class enclave in Weybridge, Surrey, and tried (half-heartedly) to be a family man. In so doing, he all but abdicated leadership of the group, and if McCartney didn't take over, he did at least find room to stretch.

And he was well-placed to do so, both geographically and culturally. In November 1963, he too moved out of the shared bachelor flat and into a large middle class house. Unlike Lennon’s house – “Kenwood” – Jane Asher’s family home at 57 Wimpole Street provided plenty of stimulus: it was Bohemian, busy, and right in the centre of London's West End.

I lived a very urbane life in London... I had the metropolis at my fingertips with all this incredible stuff going on... and John used to come in from Weybridge... and I'd tell him what I'd been doing: “Last night I saw a Bertolucci film and I went down the Open Space, they're doing a new play there”... I do remember John coming in with his big chauffeur and Rolls-Royce, the big, lazy, almost decadent life out in Weybridge and saying “God man, I really envy you”. (McCartney, Sessions, p. 15)

Asher and her family were an extraordinary group of people. Jane herself had been acting since she was 5 years old, in both films and on stage. When McCartney met her, she was a strikingly beautiful 17 year old who was not yet a household name, but whose star was distinctly on the rise. Like all of her family, she was also interested in music, and played several instruments.

Her father Dr. Richard Asher was a renowned psychiatrist, most famous for his 1951 article in the Lancet, in which he identified and named Munchausen syndrome, a condition which leads people to fake illnesses in order to get attention from doctors and other medical professionals. He demonstrated a creative streak in naming the illness, borrowing it from a series of fictionalised accounts of the adventures of the real life Karl Friedrich Hieronymus, Baron von Münchhausen (1720 – 1797), rather than simply giving it his own name40, as was standard practice. He spent most of his spare time “playing an out of tune grand piano”, and he also enjoyed taking pin-hole photographs of the view from the window of his ground floor den. He was a lively, occasionally eccentric individual, who once advised McCartney on how to get the benzedrine out of a nasal inhaler, for recreational purposes41.

Her mother Margaret Asher was a music teacher, who had formerly played oboe with several orchestras, and then worked at the Guildhall School of Music. When McCartney lived at Wimpole Street, she was giving private lessons from a well-equipped but unglamorous music room in the basement of the house.

Jane's brother Peter had also acted as a child but, like many young men, was captivated by pop music and had formed a band with his friend Gordon Waller. He and McCartney got on well, despite the difference in their upbringings, and he was later to work for the Beatles' Apple Corporation, and from there to go on to a career as a high-profile record producer in Los Angeles. Jane's youngest sibling, her sister Claire, was also a child actress.

The house itself, as well as being conveniently placed for the cultural life of London, and in a tranquil, airy street, might also have been designed for the education of a curious young man. There were several pianos, stacks of classical music LPs, and the aforementioned music room, which became something of a base for Lennon and McCartney when working on increasingly rare joint compositions.

The Ashers... were very perceptive people, highly intelligent and very musical. Although no one could ever say they had any taste for the avant-garde, they encouraged Paul in his musical self-education to experiment and to be free, musically, if he felt like it. (George Martin, Summer of Love, p.80)

Exposure to classical music in this environment opened McCartney's mind to the use of orchestral instruments on his songs, and the unequivocal success of “Yesterday” only encouraged him further. That song featured a tastefully arranged string quartet in the place of the other Beatles - there were no drums, bass or electric guitar. Brian Epstein and George Martin seriously discussed releasing the song as a McCartney solo single. It was not only a commercial success – though not released as a single, it has been covered more than 2500 times - but also impressed critics.

By the time the band came to record Revolver, McCartney seemed to find it hard to write an unadorned pop song, without either a French horn ("For No One"), brass band ("Yellow Submarine") or string octet ("Eleanor Rigby"). Compare these to Lennon's contributions to Revolver, which are lyrically and structurally adventurous, but built around drums, bass and guitars, without session musicians playing classical instruments, or even jazz musicians playing horns. The only adornments are electronic and even those, as we will see, are largely the work of McCartney.

McCartney had, like Brian Jones of the Rolling Stones, always been happy experimenting with a range of instruments - he played guitar, bass guitar, drums and piano, and Margaret Asher also taught him to play the recorder 43 during 1965. Lennon, by contrast, played guitar, but not especially well, and was uncomfortable, at best, behind a keyboard.

McCartney was not, however, musically trained – his learning had all been informal, with tunes picked up by ear. He still cannot read music, but in 1965 briefly flirted with remedying the situation, by having a few lessons in music theory with a “proper bloke at the Guildhall School of Music": I went off him when I showed him “Eleanor Rigby” because I thought he'd be interested, and he wasn't. I thought he'd be intrigued by the little time jumps. (McCartney, Anthology, p.209)

That quotation is telling. It demonstrates a desire to not only mix with, but also to impress and be approved of by, the artistic establishment. Evidently the teacher in question was not terribly supportive, but then it is surely somewhat egotistical to expect someone with a training in classical music to be especially impressed by a minimalistic and rhythmically uniform composition like "Eleanor Rigby", as a piece of classical music.

“Eleanor Rigby” was not only written almost solely by McCartney, but is also performed with only a small amount of help from his band mates. It represents a perfect synthesis of new influences, being not only musically adventurous (in pop terms, at least) but also lyrically advanced. It draws its themes and dramatic mode from social realist theatre and film, rather than from personal experience, or other pop songs. It marks the stretching of McCartney's imagination, with deftly sketched characters and narrative suggesting a gritty black-and-white “Wednesday Play”44 concertinaed into 3 minutes.

In 1966, Jane Asher was acting in a version of John Dighton's farce The Happiest Days of Your Life at the Theatre Royal, Bristol. It was whilst visiting her there that McCartney claims to have come across the inspiration for the name “Eleanor Rigby”.

I saw Rigby on a shop in Bristol when I was walking round the city one evening. I thought, 'Oh, great name, Rigby.' It's real, and yet a little bit exotic. (Anthology, p.208)

There was, in 1965, a firm called Rigby & Evans, with a premises across the road from the Theatre Royal, on King Street. It is likely that, as he rolled the words around in his mind, Rigby & Evans became “Evans & Rigby", and that the sound of this spoken aloud triggered a memory of the gravestone in Liverpool which is commonly supposed to have inspired the song.

The lyrics of the song developed, as seems typical of McCartney, after the tune. McCartney himself cites an early improvised lyric in Anthology: “Dazzie-de-da-zu picks up the rice in the church where a wedding has been...” (p208). Donovan Leitch, however, recalls hearing an early version of the song with quite different “nonsense” lyrics: “Ola Na Tungee/ Blowing his mind in the dark/ With a pipe full of clay45”. It's interesting that, if Leitch recalls these proto-lyrics correctly, McCartney had almost (perhaps subconsciously) settled on Eleanor as his character's first name.

The other song on Revolver with the clearest classical influence - “For No One” - is actually more influenced by Lennon's earlier Rubber Soul tune “In My Life”. In short, both are pop ballads with baroque instrumental solos grafted on. In both cases, too, a persuasive case can be made for crediting George Martin with both the idea and execution of both solos.

As well as a general encouragement and facilitation of his interest in the more conventional side of classical music, McCartney's relationship with the Ashers led him to become acquainted with the well educated “arty” crowd who were to become his most frequent social companions during the Revolver period. They were to take him beyond the formal “prettiness” of classical music, and into the realms of the often exciting, sometimes baffling, but rarely pretty, avant-garde.

I first met Paul in the summer of 1965... Together with John Dunbar and Peter Asher, I started Indica Book and Gallery in Mason's Yard and Paul was very involved in painting the walls and putting up shelves. Paul designed and had printed the wrapping paper for the bookshop and helped design advertising flyers. (Barry Miles, Many Years From Now, p.xiii)

Barry Miles studied at Cheltenham Art College, where he pursued an interest in painting and “quickly fell into what then passed as a bohemian existence, listening to jazz, smoking pot and marching with CND"46. He moved to London in 1963, where he found work managing a bookshop. He used this position as an opportunity to push the writing of his favourite American “beat” poets and writers to other like-minded young men.

He and McCartney became good friends quickly. Miles would play McCartney records at the Hanson Street flat where he lived with his wife. He accompanied McCartney to “happenings” - performances at which the audience were expected to participate fully, and at which the boundary between the audience and performers all but disintegrated47. One such event was hosted by the AMM musical collective, under the leadership of eccentric Marxist composer and essayist, Cornelius Cardew:

About 20 people sat around on the floor, facing AMM who were making noises on instruments ranging from tenor saxophone and violin to various percussion instruments and wind instruments. A number of transistor radios stood among the instruments but were only rarely turned on... channels of static or distorted music from far-away stations were preferred... The audience was encouraged to contribute: Paul ran a penny along the side of an old-fashioned steam radiator and, after the break, used his beer mug as an instrument to tap. (Barry Miles, “Going Underground", The Beatles: Ten Years That Shook the World, p 238)

The Beatles was an American animated television series featuring the fanciful and musical misadventures of the extraordinarily popular British rock band of the same name. It ran from 1965 to 1967 on ABC in the USA (later transmissions were reruns). The series debuted on September 25, 1965 and ended on September 7, 1969. A total of 39 episodes were produced. The series was shown on Saturday mornings at 10:30 AM until the fall of 1968, when it was moved to Sunday mornings. Each episode has a name of a Beatles song, so the story is based on its lyrics and it is also played at some time in the episode.

Season 1 (1965-3/1966)

A Hard Day's Night/I Want To Hold Your Hand: The Beatles are in Transylvania rehearsing in a haunted house with "monstrous" visitors; The Beatles went into a diving bell to hide from their fans which drops them into the ocean with a lovesick octopus. Sing Along: Not A Second Time/Devil In Her Heart

Do You Want To Know A Secret/If I Fell: The Beatles went to Dublin, Ireland for the weekend where they've met a leprechaun named Willomena Morris; John is kidnapped by Dr. Dora Florahyde and Igore, both of whom want John's brain for their monster. Sing Along: A Hard Day's Night/I Want To Hold Your Hand

Please Mr. Postman/Devil In Her Heart: Ringo lost 15 rings he bought with all of the Beatles' spendings and they're expecting a telegram from their manager Brian Epstein for more money; Ringo wanders into the woods in Transylvania where he meets a witch who wants Ringo for a husband. Sing Along: If I Fell/Do You Want To Know A Secret

Not A Second Time/Slow Down: The Beatles abandon their flight and land in Africa while trying to get away from their fans, but three girls keep tracking them down. They later encounter a few crocodiles; The Beatles are on the way to the town Ringo Ravene (named after Ringo) until they encounter a donkey that smells gold named "Gold Nose". Sing Along: Baby's In Black/Misery

Baby's In Black/Misery: Paul gets kidnapped by Professor Psycho who wants Paul to marry his creation Vampiress, half girl and half bat; The Beatles went to a wax museum where they're being followed by a vampire. Sing Along: I'll Get You/Chains

You've Really Got A Hold On Me/Chains: In Africa, Ringo ask a medicine maker named Jack to help fix the Beatles' flat tire, then he turned a worm into a snake, and it lusts for Ringo; After getting knocked out, Ringo dreams about himself as Captain Bligh from the movie "Mutiny On The Bounty". Sing Along: Slow Down/Honey Don't

I'll Get You/Honey Don't: The Beatles ran into Alan Watermain in Africa after escaping from their fans, and went out hunting for a lion; Ringo is mistaken as a bull rider, and the cowboys send him to ride on a toughest bull named Honey. Sing Along: You've Really Got A Hold On Me/Anytime At All

Anytime At All/Twist And Shout: The Beatles imagine themselves as the Three Musketeers (Plus One) while they are on a tour at a museum in France; The Beatles attend an art show where a girl tries to be like other artists. They inspire her with music. Sing Along: I'll Be Back/Little Child

Little Child/I'll Be Back: A little girl Indian wants to prove that girls are as good at trapping as boys are by trapping the Beatles; The mayor of Texas gave Ringo a golden guitar as a gift. Later it got stolen by three men, and the Fab Four went on a hunt to get the guitar back. Sing Along: Long Tall Sally/Twist And Shout

Long Tall Sally/I'll Cry Instead: The Beatles stay at a castle for the night during a fog. John and Ringo try on a couple of cursed armor suits and start to fight each other; After signing too many autographs in Japan, George's hand got swollen and suffered "autographitis". His mates took him to a hand doctor, but they went to a karate class by mistake. Sing Along: I'll Follow The Sun/When I Get Home

I'll Follow The Sun/When I Get Home: The Beatles' car broke down and they are captured by a highwayman who happens to be a car repair man; The Beatles are exploring the Notre Dame in France where they later meet the hunchback of Notre Dame: Quasimoto. Sing Along: I'll Cry Instead/Everybody's Trying To Be My Baby

Everybody's Trying To be My Baby/I Should Have Known Better: The Beatles are spend the night at a temple in Japan during a rainstorm. They are mistaken as Japanese ancestors of four girls; The Beatles are in Rome trying to find a theatre to rehearse. Their last choice is the Coliseum. Sing Along: I'm A Loser/I Wanna Be Your Man

I'm A Loser/I Wanna Be Your Man: In Hollywood, Ringo gets hired as a stuntman and ends up in the hospital after getting pulverized in many scenes; In Rome, The Beatles bought a statue of the Goddess of Musica which is actually stolen gold coins being melted down and sculptured. Sing Along: No Reply/I'm Happy Just To Dance With You

Don't Bother Me/No Reply: The Beatles are being followed by a couple of spies, all of whom are after their songbook; In Japan, The Beatles are warned about a jewel thief named Anyface who comes in disguised as Paul, which causes double trouble. Sing Along: It Won't Be Long/I Should Have Known Better

I'm Happy Just To Dance With You/Mr. Moonlight: The Beatles are in a Roman Street Festival where Paul wins a dancing bear named Bonnie; The Beatles meet Professor Ludwig Von Brilliant who is on a mission to view an eclipse. Sing Along: Don't Bother Me/Can't Buy Me Love

Can't Buy Me Love/It Won't Be Long: John is given a friendship ring from the tribe chief, which means he has to marry the chief's daughter; While picnicing in Japan, John went out for a swim in a pond with the shrinking potion in it, and got shrunk. The other Beatles think John is a doll and chases after him. Sing Along: Anna/Mr. Moonlight

Anna/I Don't Want To Spoil The Party: In Japan, Paul got lured into a ghost ship called "Anna". The other Beatles dashes off to the rescue before they might lose Paul for good; Paul, George and Ringo sneaks away from John and went to Greenwich Village for some fun time rather than going to a museum. Sing Along: Matchbox/Thank You Girl

Matchbox/Thank You Girl: John bought a trailer to stay in away from home rather than staying at a hotel so many times. They later encounter a group of natives all of whom are evacuating from a volcano; The Beatles sneaks away from their manager to get something to eat at a French bakery. Sing Along: I Don't Want To Spoil The Party/Help!

With Love From Me To You/Boys: In Hawaii, a surfer named Surf Wolf challenges George to a surfing duel; The Beatles participate in a Mr. Hollywood Contest in California. Sing Along: Please Mr. Postman/I Saw Her Standing There

Dizzy Miss Lizzy/I Saw Her Standing There: John and Paul secretly signs George up to an ice boat race, and he partners up with a girl named Lizzy; In Madrid, John and Paul went to a restaurant where John develops a hot foot with ashes in his boot. Rosita falls for John, and her boyfriend Jose challenges John to a duel. Sing Along: Ticket To Ride/From Me To You

What You're Doing/Money: The Beatles are on a fishing trip, and Ringo runs into gypsies. One of them falls for Ringo and wants to marry him. George comes in as woman claiming he's engaged to Ringo to get him back; John puts Ringo in charge to keep their money safe in his jacket pocket. Later Ringo is being followed by a mystery man who is after the money. Sing Along: Dizzy Miss Lizzy/All My Loving

Komm Gib Mir Deine Hand/She Loves You: The Beatles' mission is to climb up a mountain with the dog Gunthar to put up their own flag on top; The Beatles are about to rescue a girl who they think is held as a prisoner on a ship. As a result, her boyfriend comes to her defense...with knives. Sing Along: Bad Boy/Tell Me Why

Bad Boy/Tell Me Why: A little boy named Hans plans to run away from home and be a Beatle. The Fab Four run after Hans to bring him back with their music (Paul is for some reason is playing right handed); In Spain, Ringo is the jockey of a donkey that can run like a horse whenever she hears loud music. Sing Along: Please Please Me/Hold Me Tight

I Feel Fine/Hold Me Tight: Paul thinks Hollywood's a phony. The actor Dick Dashing wants to prove Paul he is wrong by putting him in some different movie scenes; George and Ringo went to see the Statue Of Liberty until they've spotted a man with a package which they think is a bomb. Sing Along: What You're Doing/There's A Place

Please Please Me/There's A Place: In Madrid, a bull named El Taco got knocked out, and the Beatles decide to help out with the bullfight: Ringo as the matador, and John and Paul as the bull; John's sympathy helps an educated ape named Mr. Marvelous escape from the television studio, and went out to explore the outside world. Sing Along: Roll Over Beethoven/Rock And Roll Music

Roll Over Beethoven/Rock And Roll Music: The Beatles are on their way home after visiting New York City until Paul got grabbed by an elephant named Beethoven; The Beatles are invited to play at the Duke's Palace, but they're mistaken for a string quartet. Sing Along: I Feel Fine/She Loves You

Season 2 (9-10/1966)

Eight Days A Week/I'm Looking Through You: A great movie lover named Lips Lovelace lost his ability to kiss. Paul decides to take his place in the studio with a leading lady who falls for him; The Beatles are in Egypt. They are wandering around in the pyramid until Ringo encounters a ghost who wants a body, and he chooses Ringo's. Sing Along: Run For Your Life/Girl

Help!/We Can Work It Out: Paul and Ringo went to a fashion show in Paris. Later the designs are stolen by Jaque Le Zipper. Paul chases Jaque to the Eiffel Tower, and has trouble with heights; George becomes superstitious. The Beatles encounter the Lucky Wizard who is really a crook trying to give them bad luck and rob their money. Sing Along: The Night Before/Day Tripper

I'm Down/Run For Your Life: The Beatles are on a tour at a wine factory where Ringo accidentally knocks down a vat of wine. If it doesn't get fixed in two hours, the factory will go out of business; The Beatles are on a tour at the Palace of Versailles. Ringo gets knocked out by a statue, and dreams about the days of Marie Antoinette. Sing Along: Eight Days A Week/Paperback Writer

Drive My Car/Tell Me What You See: The Beatles are helping a young man and his girlfriend get their old jalopy running in a car race; The Beatles are visiting "the man of a thousand faces". They're fooling around with a makeup machine, and changing into different characters. (Look for Jimmy Durante and Sweet Pea from "Popeye" in it) Sing Along: Yesterday/We Can Work It Out

I Call Your Name/The Word: Ringo is convinced to let go his pet frog Bartholomew in the swamp. Later a movie producer offers a filming deal to Ringo and the frog, and the fabs have dashed off to find Bartholomew (George Harrison is briefly seen playing left-handed in one scene); The Beatles are being punished after gazing at the girls' unveiled faces. The only way to get out of the situation is to say the password: love. Sing Along: I Feel Fine/Wait

All My Loving/Day Tripper: The Beatles are in India where they are learning how to charm an animal, and they're face to face with a tiger. They're using music to tame it when it's about to claw John and Ringo; The Beatles went on a trip out in space with a beautiful woman who is actually an alien taking them on a one-way trip from Earth. Sing Along: I'm Looking Through You/Nowhere Man

Nowhere Man/Paperback Writer: The Beatles walk into a cave for some exploring which is a home of a hermit who wants to be alone. He tries to get rid of them, but no luck; The Beatles are each writing a story of how they met. They each wrote a fictional story: Ringo as a theatre actor, Paul as a scientist, George as a secret agent, and John as a war pilot. Sing Along: And I Love Her/Michelle

Season 3 (9-10/1967)

Penny Lane/Strawberry Fields: The Beatles are jealous of a detective named James Blonde who gets more attention from many women. The fabs are planning to stop some thieves from robbing Penny Lane so they can be heroes; The Beatles are using music to add some color and happiness to the children at the orphanage. Sing Along: Good Day Sunshine/Rain

And Your Bird Can Sing/Got To Get You Into My Life: The Beatles and a couple of hunters and out on a hunt for a rare bird called a green double-breasted tropical woosted that can sing anything; The Beatles are in India, learning how to escape from their bodies. It works, but the problem is that the souls' bodies are moving by themselves, and they must get them before it's too late. Sing Along: Penny Lane/Eleanor Rigby

Good Day Sunshine/Ticket To Ride: Ringo thinks he's a jinx. When the Beatles arrive at Carney Island, it starts to rain. Their music turns a rainy day into a sunny day again, and makes Ringo happy; The Beatles each have their own hobby. Ringo's is catching birds: an English term for girls. Paul releases the only one Ringo caught, and he runs after her. Sing Along: Strawberry Fields Forever/And Your Bird Can Sing

Taxman/Eleanor Rigby: The Beatles get knocked out while carrying tons of money to bank, and dream about the days of Robin Hood; A bunch of kids claim that an elderly lady named Eleanor Rigby is a witch, the fabs tell them the true story about Eleanor as a song. Sing Along: Got To Get You Into My Life/Here, There And Everywhere

Tomorrow Never Knows/I've Just Seen A Face: The Beatles fell into a well and end up in the inner world with lot of foreign natives. The chief wants the fabs to marry his daughters, and they began to run away; Ringo lost his singing voice. For treatment, his three mates send Ringo to a haunted house to scare his voice back. Sing Along: She Said She Said/Long Tall Sally

Wait/I'm Only Sleeping: The Prince of Krapotkin's girlfriend's in grave danger. The Beatles are helping him to save her from the Prime Minister who wants to marry her; John tells a story to a couple of children. Then he doses off and dreams about him helping King Arthur and Merlin slay the dragon. He and his mates play music to make the dragon go to sleep. Sing Along: Penny Lane/Eleanor Rigby.


Source : http://en.wikipedia.org/wiki/The_Beatles_(TV_series)

The Beatles: Rock Band is a music video game being developed by Harmonix Music Systems, published by MTV Games, and distributed by Electronic Arts.The game will consist of songs from The Beatles, from their first album Please Please Me, to their penultimate album Abbey Road, as well as previously unreleased material according to Dhani Harrison, son of George Harrison.
The game will be released internationally on September 9, 2009

Coinciding with the release of the remastered versions of The Beatles catalogue.The game will be shipped as a bundle with themed instrument controllers, but all existing Rock Band and compatible music game accessories can be used. The game will incorporate many of the gameplay features of the Rock Band series. However, the game will not be an expansion pack for the Rock Band series, as Harmonix co-founder Alex Rigopulos has stated that this game "...is a new, full game title production built from the ground up".

The game allows players to perform in virtual bands by providing up to four players with the ability to play three different peripherals modeled after music instruments (a guitar peripheral for lead guitar and bass guitar gameplay, a drum peripheral, and a microphone for vocals). These peripherals are used to simulate the playing of rock music by hitting scrolling notes on-screen. Both Game Informer and early retail listings state that the game will include support for up to three vocalists on separate microphones to recreate the Beatles' "fabulous harmonies".All currently available Rock Band peripherals will be compatible with their respective console version of The Beatles: Rock Band. Similarly, newly designed peripherals for The Beatles: Rock Band will be backwards compatible with other Rock Band titles. Controllers from Guitar Hero games will also work with the game.

In a press release for the game, it was announced that "a limited number of new hardware offerings modeled after instruments used by John Lennon, Paul McCartney, George Harrison and Ringo Starr" would be made available. A "Special Edition" bundle of the game will include one Höfner bass controller, one Beatles-inspired Ludwig-branded drum controller with a vintage replica Beatles kick drum head, a microphone, a microphone stand, and yet-to-be-revealed "additional special content". Standalone instrument peripherals and game software will also be made available separately from the bundle on September 9, 2009.

Abbey Road Studio and J-rocks

J-Rocks is a music group to take the origin of a flow of Japanese pop / rock, and established since 2003. J-Rocks personel is Iman (vocal, guitar), Sony (guitar), Wima (bass) and Anton (drums).

In 2005, they released an album of Topeng SAHABAT under the label Aquarius Musikindo. They also fill the two songs in the OST album DEALOVA namely Into the Silent and Serba Salah.

Two years later, J-Rocks issued second album, SPIRIT, which displays a variety of beat and the flow of music such as Rock 'n Roll (Juwita Heart), Waltz / Victorian (Tersesal), Blues, Classic. On this second album, J-Rocks recording together with Prisa.

Why write this post? What is the relationship with Abbey Road Studio?

J-Rocks, just go back to Jakarta, after the golden opportunity for the recording at Abbey Road Studios, London, UK. When recording, the Ambassador of Indonesia to the UK, Yuri Thamrin, come visit and meet the personnel J-Rocks.

"Proud we also recorded the time, Mr. Dubes come. I know he has been looking and reading all about the J-Rocks," Anton said the drum, when found in Plaza Senayan, Jakarta, Thursday (23/10).

Yuri previously served spokesman Ministry of Foreign Affairs, had also expressed pride and gratitude on the performance of J-Rocks.

"Time is the proud because he is easier job as ambassador of Indonesia. Because of his name and maintain the J-Rocks come to the UK for the recording, one thing is extraordinary," said Anton again.

The four songs in the middle-mastering in Australia is planned to be made in the form of a mini-album, but the owner of the album Topeng SAHABAT and SPIRIT is not yet know precisely when the album was released, except the single Falling in Love will be coming in November.

The four songs in the middle-mastering in Australia is planned to be made in the form of a mini-album, but the owner of the album and Topeng SAHABAT SPIRIT is not yet know precisely when the album was released, except the single Falling in Love will be coming in November.

During 11 days in the UK, J-Rocks fill the stage at the opportunity KBRI, visiting Liverpool, Beatles Museum, watch the football rivalry between England vs Kazakstan.

Abbey Road Studio is a historic recording studio, built in 1931, is very sticky with legendary group The Beatles, because most of the album and single they recorded in studio style 'Gregorian' is for 8 years (1962-1970). Abbey Road and even elected to the title of the album The Beatles, which was launched in 1969.

Up to now, Abbey Road Studios was a successful print board with dozens of artists over the world such as Cliff Richard, Radiohead, Pink Floyd, Oasis, Green Day and U2.

The First Time The Beatles Recordings

Do you know the beatles first recording?
Abbey Road Studios, established in November 1931 by EMI in London, England, is a recording studio located at number 3 Abbey Road, in St John's Wood in the City of Westminster.
Therein the first time the beatles recordings.
Abbey Road Studios is most closely associated with The Beatles, who recorded 90% their albums and singles there between 1962 and 1970.

In the early part of the 1960s, EMI's Abbey Road Studios was equipped with EMI-made British Tape Recorders (BTR) which were developed in 1948, essentially as copies of German wartime recorders. The BTR was a twin-track, valve (Vacuum tube) based machine. When recording on the twin-track machine there was very little opportunity for overdubbing the recording was essentially that of a live performance.

The first two Beatles albums, Please Please Me and With The Beatles, were recorded on BTR two track machines; with the introduction of four-track machines in 1963 (the first 4-track recording was "I Want to Hold Your Hand") there came a change in the way recordings were made—tracks could be built up layer by layer, encouraging experimentation in the recording process.[citation needed]

In 1968 eight-track recorders became available, but Abbey Road was somewhat slow in adopting the new technology and a number of Beatles tracks (including "Hey Jude") were recorded in other studios in London to get access to the new eight-track recorders.

The Beatles' final album, Let It Be, was the only one to be recorded using a transistorised mixing console rather than the earlier valve consoles. Engineer Geoff Emerick has said that the transistorised console played a large part in shaping the album's overall sound, lacking the aggressive edge of the valve consoles.

At the time Paul McCartney says:"We would say, 'Try it. Just try it for us. If it sounds crappy, OK, we'll lose it. But it might just sound good.' We were always pushing ahead: Louder, further, longer, more, different".

And in the end The Beatles created the album.

What is it that makes Revolver a contender – why are people drawn to listen to it, and why do they invariably fall in love with it when they do? That Revolver is a good album has never really been questioned by critics, but in 1966, they were still excited about Rubber Soul which had been released only 8 months earlier. Brian Wilson of the Beach Boys memorably summed up Rubber Soul as containing “all good stuff”2, and he credits it with inspiring his own contender for the title “best album of all time", Pet Sounds. Many of the 14 songs on Revolver (10 in the USA) were similar in style and instrumentation to those on Rubber Soul. Even the sound of the sitar, in a superficial sense at least, represents a retread of Rubber Soul. Revolver was, in fact, made to the same formula as Rubber Soul. That is to say that they both have the same number of songs, many of which are in the same styles - soul or rhythm'n'blues with ornamentations, or classically influenced ballads, and folk-rock. Both albums start with an up-tempo bass- driven tune, and both feature a Ringo Starr vocal approximately midway through the running order. George Harrison himself said that there wasn't “much difference between Rubber Soul and Revolver. To me, they could be Volume 1 and Volume 2”3.

He's right, to a degree. There are songs on Revolver which, in musical terms at least, would have fit perfectly well on Rubber Soul – “Here, There and Everywhere”, for example, or “Dr Robert”. In fact, so similar in style are some of these songs that Yesterday and Today, an LP released only in the USA between Rubber Soul and Revolver, combines leftover tracks and singles from the former with four tracks from the latter without creating a noticeably jarring effect.

And yet these two albums sit on opposite sides of a gulf. Sure, Rubber Soul has a sitar on it, but there is nothing really Indian in the arrangement or playing. Rubber Soul was written and recorded after Lennon and Harrison first encountered LSD, but there is no song on the album which tries to capture the experience in sound though it makes itself felt, tentatively, in some of the lyrics. Rubber Soul was written and recorded whilst Paul McCartney was living a “Bohemian” lifestyle, but this is reflected only conservatively in his songs. Revolver, however, is characterised by the presence of all three of these influences, fully devoured and digested.

Another key difference between the two albums is that, whereas Rubber Soul is filled like the Beatles' earlier work with songs celebrating sex and sexual love, on Revolver all three songwriters have gone “beyond” writing simple love songs. That is not to say that they had lost interest in sex – Paul McCartney's authorised biography and its account of sexual escapades in Swinging London make that much clear – but rather that there was no longer such a thrill in writing about it in metaphor. There are no songs about “holding hands”, “driving”, “one night stands”, or even anything as outright suggestive as “Girl”. Instead there are explorations of loneliness (“Eleanor Rigby”, “For No One”), innocence (“Yellow Submarine”, “Here, There and Everywhere”4), and the dream-state (“Tomorrow Never Knows”, “I'm Only Sleeping”). Only “Dr Robert” really carries on the practice of double-entendre, but for the purpose of talking about drugs rather than sex. Perhaps this is also attributable to the fact that both Lennon and McCartney were in steady but unsatisfying relationships, and therefore had more complex feelings to work out: the songs on Revolver are about relationships in their last throes.

Unfortunately, even if critics of the day had recognised that Revolver was a vast leap forward from Rubber Soul, they would soon be distracted from their admiration by its showboating and much-esteemed successor, Sgt. Pepper's Lonely Hearts Club Band and its associated single, “Strawberry Fields Forever”/“Penny Lane”. Sgt. Pepper needs little summation: almost everybody who owns any records owns a copy of that album and in 1967 it had a powerful global impact with serious critics, the underground and, for want of a better word, the “overground” - meaning almost everybody else. People tell stories about hearing Sgt. Pepper for the first time which sound more like accounts of religious epiphany: there are almost no similar Revolver stories. A leap forward Revolver may have been, but it didn't knock people for six like Sgt. Pepper.

What is perhaps most important about Revolver, however, is the very way in which it was created, with new influences being absorbed and then shared. This was the last album which would demonstrate so completely the band's often noted “telepathy”5. In this instance, they were able to separate and explore their own interests, with their own circles of friends, but without every losing the underlying connection with the “hive mind”. People talked, throughout 1965 and 1966, of the imminent breakup of the Beatles, but the band laughed them off: "I've just read about how I'm leaving the group, as well. What can you do about that!”

This period of expansion saw Lennon, McCartney and Harrison absorb a range of new influences and promptly feed them back to the others. This meant that, even without any special interest in Indian music, Lennon was nonetheless able to draw upon its structures and sounds to shape his own music. Although Paul McCartney did not himself take LSD until much later in 19667, he was able to evoke key aspects of the experience when writing “Yellow Submarine” in May that year8, and when helping to shape that quintessential evocation of an LSD trip, “Tomorrow Never Knows”. After 1966, for whatever reason, they were less able or less willing to share experiences and discoveries in this way, and began really to drift apart.

Part of the appeal of Revolver might be in the very fact that it really represents the Beatles as not only great songwriters and performers, but as the quintessential “gang”. The album has at least one which is a true group effort, and to which all three songwriting Beatles contributed substantially - namely, “Taxman”. Everyone brings something fascinating to the mix - even Ringo Starr, whose drumming on “Rain” and “Tomorrow Never Knows” is astounding, and original. By contrast, by the time they started work on Sgt. Pepper at the end of the same year, a real sense of ownership of particular songs had emerged. They continued to share ideas, but never again intermingled them to the same degree as in the songs on Revolver.

Q : What’s going to come out of the next recording sessions?
John Lennon : Literally anything. Electronic music, jokes... one thing’s for sure – the next LP is going to be different. (NME, 11/3/66, p.3)

So, Rubber Soul is the last gasp of the “loveable mop- tops” whilst Revolver, a more varied and complex work, is the birth of The Beatles as fully-fledged rock stars. It is a futuristic album, in fact, which might explain its slow increase in reputation over the distinctly “period” Rubber Soul, as the rest of the world has caught up with it. The following chapters expand upon the idea that Revolver represents a synthesis of Lennon, McCartney and Harrison's three distinct avenues of interest during 1965-66, namely LSD, India and Art.

The Beatles Lyrics

Artist : John Lennon, Paul McCartney, George Harrison, Ringo Starr.
Band : The Beatles


Please Please Me - 1963

I Saw Her Standing There
Misery
Anna (Go To Him)
Chains
Boys
Ask Me Why
Please Please Me
Love Me Do
P.S. I Love You
Baby It's You
Do You Want To Know A Secret
A Taste Of Honey
There's A Place
Twist And Shout

With The Beatles - 1963

It Won't Be Long
All I've Got To Do
All My Loving
Don't Bother Me
Little Child
Till There Was You
Please Mister Postman
Roll Over Beethoven
Hold Me Tight
You Really Got A Hold On Me
I Wanna Be Your Man
Devil In Her Heart
Not A Second Time
Money (That's What I Want)

A Hard Day's Night - 1964

A Hard Day's NightI Should Have Known Better
If I Fell
I'm Happy Just To Dance With You
And I Love Her
Tell Me Why
Can't Buy Me Love
Any Time At All
I'll Cry Instead
Things We Said Today
When I Get Home
You Can't Do That
I'll Be Back

Beatles For Sale - 1964

No ReplyI'm A Loser
Baby's In Black
Rock And Roll Music
I'll Follow The Sun
Mr. Moonlight
Medley: Kansas City / Hey, Hey, Hey, Hey
Eight Days A Week
Words Of Love
Honey Don't
Every Little Thing
I Don't Want To Spoil The Party
What You're Doing
Everybody's Trying To Be My Baby

Help! - 1965

Help!The Night Before
You've Got To Hide Your Love Away
I Need You
Another Girl
You're Going To Lose That Girl
Ticket To Ride
Act Naturally
It's Only Love
You Like Me Too Much
Tell Me What You See
I've Just Seen A Face
Yesterday
Dizzy Miss Lizzy

Rubber Soul - 1965

Drive My CarNorwegian Wood (This Bird Has Flown)
You Won't See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I'm Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life

Revolver - 1966

TaxmanEleanor Rigby
I'm Only Sleeping
Love You To
Here, There And Everywhere
Yellow Submarine
She Said, She Said
Good Day Sunshine
And Your Bird Can Sing
For No One
Doctor Robert
I Want To Tell You
Got To Get You Into My Life
Tomorrow Never Knows

Sgt. Pepper's Lonely Hearts Club Band - 1967

Sgt. Pepper's Lonely Hearts Club BandWith A Little Help From My Friends
Lucy In The Sky With Diamonds
Getting Better
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite!
Within You Without You
When I'm Sixty Four
Lovely Rita
Good Morning, Good Morning
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
A Day In The Life

Magical Mystery Tour - 1967

Magical Mystery TourThe Fool On The Hill
Flying
Blue Jay Way
Your Mother Should Know
I Am The Walrus
Hello, Goodbye
Strawberry Fields Forever
Penny Lane
Baby, You're A Rich Man
All You Need Is Love

The Beatles (The White Album) - 1968

Back In The U.S.S.R.Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
Wild Honey Pie
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
Martha My Dear
I'm So Tired
Blackbird
Piggies
Rocky Raccoon
Don't Pass Me By
Why Don't We Do It In The Road?
I Will
Julia
Birthday
Yer Blues
Mother Nature's Son
Everybody's Got Something To Hide Except Me And My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Revolution 1
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night

Abbey Road - 1969

Come TogetherSomething
Maxwell's Silver Hammer
Oh! Darling
Octopus's Garden
I Want You (She's So Heavy)
Here Comes The Sun
Because
You Never Give Me Your Money
Sun King
Mean Mr. Mustard
Polythene Pam
She Came In Through The Bathroom Window
Golden Slumbers
Carry That Weight
The End
Her Majesty

Let It Be - 1970

Two Of UsDig A Pony
Across The Universe
I Me Mine
Dig It
Let It Be
Maggie Mae
I've Got A Feeling
One After 909
The Long And Winding Road
For You Blue
Get Back

Past Masters. Volume One - 1988

Love Me DoFrom Me To You
Thank You Girl
She Loves You
I'll Get You
I Want To Hold Your Hand
This Boy
Komm, Gib Mir Deine Hand
Sie Liebt Dich
Long Tall Sally
I Call Your Name
Slow Down
Matchbox
I Feel Fine
She's A Woman
Bad Boy
Yes It Is
I'm Down

Past Masters. Volume Two - 1988

Day TripperWe Can Work It Out
Paperback Writer
Rain
Lady Madonna
The Inner Light
Hey Jude
Revolution
Get Back
Don't Let Me Down
The Ballad Of John And Yoko
Old Brown Shoe
Across The Universe
Let It Be
You Know My Name (Look Up The Number)

Live At The BBC. Disk 1 - 1994

Beatle GreetingsFrom Us To You
Riding On A Bus
I Got A Woman
Too Much Monkey Business
Keep Your Hands Off My Baby
I'll Be On My Way
Young Blood
A Shot Of Rhythm And Blues
Sure To Fall (In Love With You)
Some Other Guy
Thank You Girl
Sha La La La La!
Baby It's You
That's Alright (Mama)
Carol
Soldier Of Love
A Little Rhyme
Clarabella
I'm Gonna Sit Right Down And Cry (Over You)
Crying, Waiting, Hoping
Dear Wack!
You Really Got A Hold On Me
To Know Her Is To Love Her
A Taste Of Honey
Long Tall Sally
I Saw Her Standing There
The Honeymoon Song
Johnny B. Goode
Memphis, Tennessee
Lucille
Can't Buy Me Love
From Fluff To You
Till There Was You

Live At The BBC. Disk 2 - 1994

Crinsk Dee NightA Hard Day's Night
Have A Banana!
I Wanna Be Your Man
Just A Rumour
Roll Over Beethoven
All My Loving
Things We Said Today
She's A Woman
Sweet Little Sixteen
1822!
Lonesome Tears In My Eyes
Nothin' Shakin'
The Hippy Hippy Shake
Glad All Over
I Just Don't Understand
So How Come (No One Loves Me)
I Feel Fine
I'm A Loser
Everybody's Trying To Be My Baby
Rock And Roll Music
Ticket To Ride
Dizzy Miss Lizzy
Medley: Kansas City / Hey, Hey, Hey, Hey
Set Fire To That Lot!
Matchbox
I Forgot To Remember To Forget
Love These Goon Shows!
I Got To Find My Baby
Ooh! My Soul
Ooh! My Arms
Don't Ever Change
Slow Down
Honey Don't
Love Me Do

Anthology 1 - 1995

Free As A BirdThat'll Be The Day
In Spite Of All The Danger
Hallelujah, I Love Her So
You'll Be Mine
Cayenne
My Bonnie
Ain't She Sweet
Cry For A Shadow
Searchin'
Three Cool Cats
The Sheik Of Araby
Like Dreamers Do
Hello Little Girl
Besame Mucho
Love Me Do
How Do You Do It
Please Please Me
One After 909
Lend Me Your Comb
I'll Get You
I Saw Her Standing There
From Me To You
Money (That's What I Want)
You Really Got A Hold On Me
Roll Over Beethoven
She Loves You
Till There Was You
Twist And Shout
This Boy
I Want To Hold Your Hand
Moonlight Bay
Can't Buy Me Love
All My Loving
You Can't Do That
And I Love Her
A Hard Day's Night
I Wanna Be Your Man
Long Tall Sally
Boys
Shout
I'll Be Back
You Know What To Do
No Reply
Mr. Moonlight
Leave My Kitten Alone
Eight Days A Week
Medley: Kansas City / Hey, Hey, Hey, Hey

Anthology 2 - 1996

Real LoveYes It Is
I'm Down
You've Got To Hide Your Love Away
If You've Got Trouble
That Means A Lot
Yesterday
It's Only Love
I Feel Fine
Ticket To Ride
Yesterday
Help!
Everybody's Trying To Be My Baby
Norwegian Wood (This Bird Has Flown)
I'm Looking Through You
12-Bar Original
Tomorrow Never Knows
Got To Get You Into My Life
And Your Bird Can Sing
Taxman
Eleanor Rigby
I'm Only Sleeping
Rock And Roll Music
She's A Woman
Strawberry Fields Forever
Penny Lane
A Day In The Life
Good Morning, Good Morning
Only A Northern Song
Being For The Benefit Of Mr. Kite!
Lucy In The Sky With Diamonds
Within You Without You
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
You Know My Name (Look Up The Number)
I Am The Walrus
The Fool On The Hill
Your Mother Should Know
Hello, Goodbye
Lady Madonna
Across The Universe

Anthology 3 - 1996

A BeginningHappiness Is A Warm Gun
Helter Skelter
Mean Mr. Mustard
Polythene Pam
Glass Onion
Junk
Piggies
Honey Pie
Don't Pass Me By
Ob-La-Di, Ob-La-Da
Good Night
Cry Baby Cry
Blackbird
Sexy Sadie
While My Guitar Gently Weeps
Hey Jude
Not Guilty
Mother Nature's Son
Rocky Raccoon
What's The New Mary Jane
Step Inside Love / Los Paranoias
I'm So Tired
I Will
Why Don't We Do It In The Road?
Julia
I've Got A Feeling
She Came In Through The Bathroom Window
Dig A Pony
Two Of Us
For You Blue
Teddy Boy
Medley: Rip It Up / Shake, Rattle And Roll / Blue Suede Shoes
The Long And Winding Road
Oh! Darling
All Things Must Pass
Mailman, Bring Me No More Blues
Get Back
Old Brown Shoe
Octopus's Garden
Maxwell's Silver Hammer
Something
Come Together
Come And Get It
Ain't She Sweet
Because
Let It Be
I Me Mine
The End

The Beatles 1 - 2000

Love Me DoFrom Me To You
She Loves You
I Want To Hold Your Hand
Can't Buy Me Love
A Hard Day's Night
I Feel Fine
Eight Days A Week
Ticket To Ride
Help!
Yesterday
Day Tripper
We Can Work It Out
Paperback Writer
Yellow Submarine
Eleanor Rigby
Penny Lane
All You Need Is Love
Hello, Goodbye
Lady Madonna
Hey Jude
Get Back
The Ballad Of John And Yoko
Something
Come Together
Let It Be
The Long And Winding Road

Let It Be... Naked - 2003

Get BackDig A Pony
For You Blue
The Long And Winding Road
Two Of Us
I've Got A Feeling
One After 909
Don't Let Me Down
I Me Mine
Across The Universe
Let It Be

Love - 2006

BecauseGet Back
Glass Onion
Eleanor Rigby
Julia
I Am The Walrus
I Want To Hold Your Hand
Drive My Car
The Word
What You're Doing
Gnik Nus
Something
Blue Jay Way
Being For The Benefit Of Mr. Kite!
I Want You (She's So Heavy)
Helter Skelter
Help!
Blackbird
Yesterday
Strawberry Fields Forever
Within You Without You
Tomorrow Never Knows
Lucy In The Sky With Diamonds
Octopus's Garden
Lady Madonna
Here Comes The Sun
The Inner Light
Come Together
Dear Prudence
Cry Baby Cry
Revolution
Back In The U.S.S.R.
While My Guitar Gently Weeps
A Day In The Life
Hey Jude
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
All You Need Is Love

Across The Universe [Soundtrack] - 2007

GirlHold Me Tight
All My Loving
I Want To Hold Your Hand
With A Little Help From My Friends
It Won't Be Long
I've Just Seen A Face
Let It Be
Come Together
If I Fell
Dear Prudence
Flying
Blue Jay Way
I Am The Walrus
Being For The Benefit Of Mr. Kite!
Because
Something
Oh! Darling
Strawberry Fields Forever
Revolution
While My Guitar Gently Weeps
Across The Universe
Helter Skelter
Happiness Is A Warm Gun
Blackbird
Hey Jude
Don't Let Me Down
All You Need Is Love
Lucy In The Sky With Diamonds