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Actually I was very sad when this one post. My friends all definitely want to know more details when the date of birth and date of death of the personnel of The Beatles. Well I tell you all here:

John Winston Lennon was born in Liverpool, England, October 9, 1940. Died in New York City, United States, December 8, 1980 at the age of 40 years.

George Harrison was born in Wavertree, Liverpool, England, February 25, 1943. Died in Los Angeles, California, United States, November 29, 2001 at the age of 58 years.

Richard Starkey, better known by the name of Ringo Starr, born in Liverpool, England, July 7, 1940, he was still alive until now.

Sir Paul McCartney, was born in Liverpool, England, June 18, 1942. He was still alive until now.

In May 1968, a split in the body of The Beatles began a flashlight. Beginning with John and Paul wants to be a leader, replacing Brian Epstein. But a big problem developing after John always invites Yoko Ono, his new girlfriend, attended the Beatles' recording sessions at Abbey Road studios. Though the personnel of the Beatles had agreed not to invite a girlfriend or wife during the recording process. Tail of each personnel for follow-up so males simultaneously recording process, and just came to complete the parts alone.


Month in May 1968, The Beatles announced the establishment of business enterprises owned by them, Apple Corporation Ltd.. The idea of formation of this company according to the personnel of the Beatles was an attempt to curb the development of western-style communism. In 1969, the personnel of the Beatles started to engage each other and do not care anymore about a career band. John was busy with the activities of peace activists, Paul began to pursue a solo career, Ringo busy want to become a movie star, George was busy making music together his best friend, Eric Clapton. Paul sempet decided to be a unifier of the Beatles as a leader. But the idea was rejected by three other personnel. The climax George announced his resignation in that year.

Dated 13 September 1969 to be a gray day for The Beatles when John Lennon out "statement" the official, out of the Beatles. "Statement" was uttered during a trip tour Plastic Ono Band to Toronto, Canada. Then in mid February 1970, Paul McCartney's turn to make a "statement" unplug from The Beatles. "Statement" was directly submitted to John Lennon. Finally on April 10, 1970, Paul officially announced when the Beatles disbanded.

John was upset with the official announcement of this Essex, he was preceded by the article.
Year 1994 the remaining personnel of The Beatles back in the recording studio to work on the album "The Anthology". Though John Lennon is dead, three personnel of the Beatles managed to create a new single titled "Free As A Bird". This song is the work of John Lennon by Yoko Ono recorded. This album is able to achieve great success in the market during the year 1995-1996.

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 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.

"Let It Be" is a song by The Beatles, released in March 1970 as one, and as the title track from their album Let It Be. Although credited to Lennon / McCartney in general received a Paul McCartney composition.

Album reached # 1 in the United States, Australia, Italy, Norway and Switzerland and # 2 in the UK. It was the final single released by the Beatles while the band is still active. Both the album Let It Be and the only one that is long and winding road that is released after the band announced their break-up.

INSPIRATION
McCartney says he has the idea "Let It Be" after he dreamed about his mother during the tense period of sessions for The Beatles (the "White Album"). McCartney explained that his mother-who died of cancer when McCartney was fourteen-the inspiration for "Mother Mary" lyric. McCartney then said, "It was good to visit with her again. I feel very blessed to have a dream. So that I can write 'Let It Be'." He also said in an interview later about the dream that his mother had told him, " That will all be good, leave it. "


THEMES PIANO
Piano is the main theme of the Let it be, in C Major, introducing the song, but wise in the series of strong cadences, which consists of four healthy normal-bar triads increased above the left hand piano notes tempered single keystrokes, all the harmonic drive, from the start sense of confidence arises (first measure), for the melancholic and anxious sentiment (second and third step) and return to a certain gratitude, self-confident attitude (last measure).

The effects of defense gloomy mood achieved by McCartney in a mixture of primary 6. And 7. Interval, when playing chords F and C, in the middle of the theme. Harmony is as circumscribed by bass tones, inversions is also a feature worth mentioning is often in the composition, which ultimately form the settling of the tune's emotional intent.

RECORDINGS
Let It Be recording took place at Twickenham Film Studios on 3 January 1969, where The Beatles had started the previous day, which became Let It Be film. During this stage, only the group's film on a mono recording is used for syncing to film camera, and does not create multi-track recording to release. Recorded one take, only with Paul McCartney on piano and vocals. Business groups that first made on 8 January. Continue to work on the track throughout the month. Multi-track recording began on 23 January in the Apple Studio.

Master taking recorded on 31 January 1969, as part of the 'Apple Studio performance' to Get Back project. McCartney played piano (a Blüthner Flügel of Leipzig), Lennon played bass, Billy Preston played organ and George Harrison, Ringo Starr and the role they assumed in the conventional guitar and drums. This is one of the two performances of the song. The first version, which lasted 27-A, will serve as the basis for all officially released versions of the song. The other version, take 27-B, conducted as part of a 'live studio performance', along with "Two of Us" and "The Long Road and winding." This performance, in which Lennon and Harrison's harmonised with McCartney and Harrison lead vocal contribution to the soft guitar solo, it can be seen in the film Let It Be.

On 30 April 1969, Harrison overdubbed a new guitar solo in the capture of 31 January that year. He overdubbed solo on 4 January 1970. First solo overdub the original one used to release, and the second is used to overdub solo album release of the original. Some fans believe that one of two versions of the song-based foundation that, in general, different guitar solos, but also some differences in the overdubs and Mixes.

The Days Leading To 1963

The Days Leading To 1963

“The story began in Harold Macmillan’s “never had it so good” ’50s Britain. It should be fiction: four teenagers with no more than eight O’Levels between them, running and biking and busing and busking all over Liverpool in search of new chords and old guitars and half-decent drum kit and any gig at all.

They were determined to amount to something – in George’s words “we just had this amazing inner feeling of: ‘We’re going to do it’. I don’t know why... we were just cocky” – and make a record (in Ringo’s words you’d kill for that bit of plastic and make some money and have a laugh and shout. That would do to be going on with.

The Beatles

Six years later, they were the four most famous and musical men on earth, the best dressed and on a good day the most captivating people anyone can remember. The narrative that began where Paul met John and clicked at a garden fete in leafy Liverpool, and ended in high dudgeon in high-end London, is so far fetched that it needs the power of a song punctuating every page to remind you with a joyous jolt that it was all true.

We didn’t dream it... though it came out of John’s dream of the “man on a flaming pie” who said “You are Beatles with an ‘A’”. It did all happen. The whole wonderful thing did happen, a long time ago, on the Mersey, on the Elbe, by the Thames and the Hudson River.

Chronicles of The Beatles

The History of The Beatles can be traced back to March 1957, when John Lennon and his childhood friend, Pete Shotton started a group called "The Black Jacks" to play Skiffle and America Rock and Roll. They soon change the name to "The Quarry Men". Their gigs were mostly neighborhood events.

July 6, 1957, John Lennon along with "The Quarry Men" had just finished performing at St. Peter's Parish Church in Woolton, Liverpool when fellow group member and childhood friend Ivan Vaughn introduced him to a guitarist named James Paul McCartney who played "Twenty Flight Rock" for John. A recording was made of the Quarry Men's performance by Bob Molyneux, a member of St Peter's Youth Club. Paul was asked by Pete Shotten to join the band, during a chance encounter on July 20. On Oct 18, Paul made his debut performance.

In Sept John entered "The Liverpool College of Art". Paul and George Harrison were students at "Liverpool Institute High School for Boys". During their daily hour-long bus commute, they became friends discovering a mutual interest in music.

On Feb 6, 1958, Paul introduced George to John. George persisted over time to convinced a reluctant John to allow him to join The Quarry Men-even following him on his dates with his future wife Cynthia Powell.
on Aug. 29th, 1958, John accepted George into The Quarry Men, which would then grow into seven members.
During that Summer of 1958, The Quarrey Men (John Lennon, Paul McCartney, George Harrison, playing guitars, John Lowe on piano, and Collin Hanton on drums) made two demo recordings: That'll Be The Day" and "In Spite Of All The Danger", the latter being a McCartney-Harrison composition.

The Quarry Men disbanded in 1959 due to lack of gigs. George joined another group which disbanded, then, he and fellow group member Ken Brown united with John and Paul for seven Saturday performances at the new Casbah Club, from Aug 29, 1959 until Oct 10 when a financial dispute ended their relationships with the club and Ken Brown. The trio continued as "Johnny and the Moondogs" with Paul on drums. Ken formed a group with Pete Best, the son of the Casbah's club owner and continued performing there.

In Jan. 1960, John invited a fellow art student Stu Sutcliff to join the group on the condition he got his own bass. In May They renamed themselves The "Beetles" (as a tribute to Stu's favorite band "Buddy Holly & The Crickets", then, The"Silver Beetles". Allan Williams became their manager. In June, they modified their name to the "Silver Beatles".

In early May a 25 year old drummer - Tommy Moore - joined them. On May 18th they began a nine day tour in Scotland backing performer Johnny Gentle. Tommy left the group afterwards due to financial obligations.

In July 1960 they discover a drummer - Norman Chapman - who joined them until he was called for national service duty.

On Aug 6th, 1960, they invited their friend Pete Best to become their permanent drummer after having played together several times during their performances at the Casbah club Their manager Alan Williams, having been told about the vivid night-life and the love of rock and roll in Hamburg Germany, arrainged gigs for some of the groups he managed. On Aug 18th, 1960, posing as students, The Beatles began a series of gigs in Hamburg, and John renamed the group The Beatles. They initially stayed in Hamburg until Dec 1st. The atmosphere was filled with promiscuity, booze and pills. They would return periodically until Feb, 1962.

The line-up of The Beatles now comprised John Lennon (rhythm/ vocals), Paul McCartney (rhythm/vocals), George Harrison (lead/ vocals), Stuart Sutcliffe (bass/vocals) and Pete Best (drums).
After their first Hamburg tour ended (George was deported for being underage, and their dispute with their current boss lead to a police complaint about an attempted fire to his premises. - resulting in the arrest or Pete and Paul) Stu left the group after becoming engaged to photographer Astrid Kirchherr who was partially responsible for The Beatles' "Mop Tops") the beatles broke up for about a month, and Paul was urged by his father to get a job in a factory.

Pete Best became the sex symbol of The Beatles, and his distinctive drumming style was nicknamed by the press the "atom beat". However, his popularity caused jealousy among the rest of the Beatles.
On Feb 9th 1961, The Beatles first performed at the Cavern Club; Pete's mother -Mona- assisted in getting them this booking. They returned to Hamburg Apr 1st1961, to work at the "Top Ten" club until Jul 2nd. A dispute started by John over discontinuing the paying of percentages to their manager Alan Williams for that gig, lead to Alan terminating his relationship with The Beatles.

The Beatles were approached by Producer Bert Kampfert ("Wonderland By Night") at the Top Ten Club and asked if they would be willing to record with Tony Sheridan. The Beatles were soon signed to a Polydor recording contract as the Beat Brothers, and from June 22nd to 23rd they recorded "My Bonnie", "In the School Hall", "Cry for A Shadow" and "Ain't She Sweet".
Saturday Oct 28th. 1961, Brian Epstein, received three requests at his record store for "My Bonnie" by The Beatles. You was informed that they were currently performing at The Cavern Club. After watching the beatles perform at the Cavern Club in Liverpool He introduced himself. Later, he consulted with his friend Alan - who was then still bitter about their disloyalty - about his wishes to Manage them. He took over their management at a 25% percentage.

On New Year's Day 1962, the group was granted an audition with Decca's A&R department, headed by Dick Rowe with his assistant Mike Smith. Mike liked them, as well as The Tremeloes who were also auditioning that day, but was forced to select only one by Dick. Brian Poole And The Tremeloes were selected because of their superior performance (The Beatles has partied until 4:30 am that morning-and were tired), and because The Tremoloes lived just a mile away and would cost the company less in travel expenses.
On Jan 24th, the band signed a management contract with Brian Epstein.
April 10 th, Stu Sutcliff died of a brain hemorrhage; he had been complaining of headaches ever since their first Hamburg tour.

June 4th, The Beatles auditioned for George Martin and EMI/Parlophone Records, and was offered a contract, however, George expressed concern about the drumming skills of Pete Best, asking them to bring in a session drummer.

Ringo Starr had been playing with The Beatles on several dates when Pete Best was sick. George began urging the others to replace Pete - who was perceived to have prompted jealousy among the other members because of his good looks and sex-appeal.

Enter Ringo Starr
Aug 16th, The Beatles persuaded Brian Epstein to fire Best; Jimmy Hutchinson was first offered the drumming spot but declined, and Ringo Star was hired, due in part because of his superior drumming, and his more compatible personality. Although, he had an offer from Gerry and the Pacemakers, he finaly settled on The Beatles because they had gotten a record contract.

Sept 4th,Producers George Martin and Ron Richards began their first Beatles recording session in which "Love Me Do" -written by Paul in 1958- was recorded in Mono on a two-track tape, with Ringo on Drums. Martin complained about Ringo's timing to John, Paul and George, and indicated that he would hire a session drummer, and suggested that John include the harmonica solo.

"How Do You Do It" was Martin's choice for their first single, however "Love Me Do" won out and "How Do You Do It" was offerred to Gerry and the Pacemakers. This lineup was on the initial Parlophone 45 release of October 5, 1962. 

Sept 11th, A new Mono recording session for "Love Me Do" & "PS I Love You" with Session Drummer Andy White, and Ringo on the Tamborine and Maracas. This lineup was on the album version, and the U.S. release on April 27, 1964 on Tollie Records. "Please Please Me" was originally planned for the B-side, however George Martin insisted it's pace was too slow. Although The Beatles attempted a faster-paced version, they were not satisfied with the results, and put off re-recording their first number 1 song until Feb 11th 1963. 

Love Me Do
U.K. Chart Entry Date : 11th October 1962
Highest Position : 17     Weeks on Chart : 18 Weeks
During Oct. '62, The Beatles performed in England on the bill with Little Richard - who was backed on organ by sixteen-year-old Billy Preston.
They again performed with them in Hamburg during Nov and Dec '62.

EMI, approached Vee Jay Records in the Summer of 1962, after Capitol Records turned down their U.S. option for the distribution of "I Remember You", by Frank Ifield, and The Beatles' releases.
Vee Jay released the single Please Please Me b/w Ask Me Why in the US, on 25 February 1963 (VJ 498) under the name "Beattles". 

The Beatles next U.S. release, on May 27 1963 - Vee Jay (VJ522)- "From Me To You" b/w Thank You Girl peaked at #116 on Billboard, August 10th, 1963. Their U.S.next release "She Loves You" - Sept.16, 1963 , failed to chart at all it's first time. It entered the charts on Jan 25th, 1964 and reached #1. On Feb. 9th 1964, The Beatles Debuted on The Ed Sullivan Show in New York City.

The Beatles 68 Up To 70

Apple, the Rooftop and Abbey Road. And in the end, these last years were a time of plentiful confusion a time to break down and a time to build up. The Beatles started their own company, Apple Corps with five creative divisions – records, films etc – and then went public with an offer that anyone with an artistic need could come to them and get help. Is there, even now, a machine to count such numbers?

The promise was that all sincere supplicants would be given encouragement, succour, a contract and maybe an envelope full of money. At the same time, The Beatles flew to foothills of the Himalayas to learn meditation. There, between sessions with the Maharishi, they wrote songs for what would become The ‘White’ Album. When recording started, the songs had come in such profusion that, famously, The White Album had thirty of them – enough for two high-class musicals. They sped from one track to another, content that the unity of the album would transcend the disparity in the style and content of the tracks.

It was always their strength that they wrote bewitching singles. New songs were written to suit themselves; sometimes written alone. This new work could virtually be recorded solo, spontaneously, simply. Following the White Album(and the magnificent Hey Jude) they made Let It Be and with the final regal glory of Abbey Road they left their grieving fans a legacy that will never be matched. In the inevitable breaking down of old liaisons, there was room for growth.

John met and married Yoko; Paul met and married Linda. George matured far beyond his years, settled into his spiritual space and expressed himself writing classic songs; Ringo was now writing his own numbers and was widely acknowledged as a supreme drummer and a very good actor. To everything there is a season. That the rift between The Beatles, evolved with much public angst was a pity but this is not a perfect world is it? Relationships anyway, were repaired long ago. And in the end, the equation between the love they took and the love they made was intact into infinity. They still represent the twentieth century’s greatest romance.

The Beatles 65 Up To 67

These were the years of dash and daring. Sweeping out of the final (and wonderfully old-fashioned) 1964 family Christmas Shows into the wider world of 1965, The Beatles would soon find themselves figureheads of a movement far beyond “pop” where a counter-culture / alternative society was made flesh. National boundaries were presumed to be doomed. Millions of minds were to become expanded and many trousers would soon be spandex though the music would continue to pour out of them breaking in great waves over uncharted, challenging Reason and warming the heart, the Beatles would tire of those great sweating stadiums where they now played to screaming crowds who could no longer hear them. In the studio years (1966 onwards), supported by the steady hand of the great George Martin, they would produce songs which would be forever fresh and which still set the standards against the newcomers have to test themselves. Greatly turned on by the Spirit of the Age and by the “tea-parties” of those times, the Beatles provided a sound-track for the plottings of the baby boomers – millions of them – whose enlightenment (however compromised it may have been by the material world in the harsh times since) still provides a hedge against humankind’s grosser instincts.

They go into the studio which brings an amazed world the mighty whirligig of Sgt Pepper, Penny Lane and Strawberry Fields here on the screen in surreal and glorious colour. They sing Baby You’re A Rich Man and they all are, but they don’t buy an island in Greece. It was the great glory of The Beatles that they could absorb and transmute so much, first in those tiny houses in Liverpool, listening to eclectic 1940s wireless, then to r’n’r and r&b and to Dylan and the poets and soon to music and messages from India. Unafraid of growth, dogged individuals with a powerful devotion to the group ethic, The Beatles accepted each other’s offerings and really “cooked” to make each record a feast that left us breathless with admiration. They never stood still.