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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.