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DESIGNED BY MICHELLE A. MERINO

THIS BOOK WAS DESIGNED USING TEXT AND ILLUSTRATIONS

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FROM THE BOOKS THE BEATLES: BEATLEMANIA FOR FANS OF

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THE FAB FOUR AND THE BEATLES ILLUSTRATED LYRICS.

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TABLE OF CONTENTS INTRODUCTION

08-09

PLEASE PLEASE ME

10-23

REVOLVE

24-39

SGT. PEPPER’S LONELY HEARTS CLUB BAND

40-55

LET IT BE

56-71

THE BEATLES THROUGH TIME

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OVER 40 YEARS AFTER THEIR FINAL RECORDS WERE MADE, THE BEATLES ARE STILL THE MOST POPULAR BAND IN POP MUSIC HISTORY. THEIR TIMELESS MUSIC IS KNOWN BY MILLIONS AROUND THE WORLD.

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TRO

FROM “I WANT TO HOLD YOUR HAND”, THE FIRST BEATLES SONG, TO CONQUERING THE AMERICAN CHARTS IN 1964, WITH BALLADS SUCH AS “YESTERDAY” AND “SOMETHING”, THEIR RECORDS FORMED THE SOUNDTRACK TO THE SWINGING SIXTIES. THE FEATURED SONGS ARE NOW SEEN AS MODERN-DAY CLASSICS. THROUGHOUT THE DECADES THEIR WORK HAS TOPPED THE CHARTS AGAIN AND AGAIN, CONVEYING THE BEATLES’ UNIVERSAL APPEAL.

THE BEATLES’ STORY, STARTING IN THE CLUBS OF LIVERPOOL AND HAMBURG, IS ONE OF SUCCESS, TRAGEDY AND TRIUMPH. THE FOUR YOUNG MEN NAMED JOHN, PAUL, GEORGE, AND RINGO THEN WENT ON TO BECOME FAMOUS MUSICIANS AND ICONS FOR A GENERATION. 9


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1963

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IT WAS THE MOMENT THE BEATLES HAD BEEN WAITING FOR, AND BRIAN EPSTEIN WAS SPARING NO EXPENSE. AFTER MONTHS OF BRIAN’S HARD WORK AND YEARS OF JOHN, PAUL, AND GEORGE PLAYING GIGS, THE THREE , JOINED BY RINGO, BOARDED

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hen they arrived at EMl’s Abbey Road studios on September 4, producer

George Martin had no idea the band had changed drummers since the June recording test. Not that it concerned him; he just hoped Ringo would impress him more than Pete Best had. Martin had brought along a song he wanted the group

A PLANE AND FLEW DOWN TO LON-

to record as the A-side of their first single, “How Do You Do It”; written by the professional songwriter Mitch Murray. After a rough run through of “Please Please Me”, the group settled down to record the Murray number with little enthusiasm. They were eager to release one of their own LennonMcCartney songs on their first

DON TO MAKE THEIR FIRST RECORD.

disc, but recorded “How Do You Do It” only to please Martin. After a break, they returned to the studio for an evening session, during which they made a number of versions of their own song “Love Me Do”, none of which pleased either the band or Martin. Paul wasn’t happy with Ringo’s drumming, the vocals weren’t going well. After 20 or more “takes” they decided to stop.

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“Rock and roll is the music that inspired me to play music. There is nothing conceptually better than rock and roll.” — John

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eturning to Abbey Road on September 11, they once again tried to get “Love

Me Do” to sound right. This time, George wasn’t taking any chances with the drumming, and brought in a session player. The new Beatle didn’t seem to mind being replaced and played tambourine on the single’s B·side, “P.S. I Love You”. For the number written by John and Paul, Ringo played only the maraca. It was a sound that would be featured several of their early recordings. After the second session, Martin and the group were satisfied and had a single to release. Apart from a few basic adverts that EMI placed in the national music papers, the record company put no promotion behind the single. Neither Parlophone nor George Martin were part of the company’s pop royalty and the small label couldn’t expect EMI to spend much advertising on an unknown group. Brian Epstein, with his local record shops, made sure that it sold well in Liverpool. He ordered 10,000 copies of the disc, a massive number that would prove difficult to sell, even though The Beatles had hundreds of fans in Liverpool. Brian had been told that this was the minimum number of copies that had to be sold to get a record into the national Top Twenty. The record was an instant hit in shops around the northwest of England and shot to Number One in Mersey Bear’s Top Twenty chart. On the strength of those regional sales, it also made the Number 17 spot in the NME. As copies of “Love Me Do” continued to sell, The Beatles made their first appearance on television on October 17. It was not a national broadcast, but a local news/review program that was put out by Manchester-based Granada TV. Pre-filmed in the Cavern on August 22, just after Ringo had replaced Pete Best, the footage showed them singing one of their many covers of US rhythm and blues numbers, Richie Barrett’s “Some Other Guy”. Producer Johnny Hamp had battled with his bosses at Granada to get the film shown, but would go on to put The Beatles on the show several more times over the coming months. He later recalled, “I first saw The Beatles in a club in Hamburg. They were very scruffy characters, but they had a beat in their music which I liked ... I got into a lot of trouble over it. Everyone said they were too rough, too untidy. But I liked them. I put them on again and again.” On October 29, Hamp even brought the group into the Granada studio, where they were filmed performing

John Lennon, 1957

“Love Me Do” and “A Taste of Honey”. The new footage was transmitted on People and Places on November 2.

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As soon as the German dates were finished, the band returned to England. By he end of 1962 was a busy period for The Beatles. Their next single was due

now, they didn’t have time to worry about promoting “Love Me Do”; the new

to be released early in the New Year, and they had been booked to play another

single was due to be released on January 11. They hoped it would be the big one.

station at Hamburg’s Star-Club through the last two weeks of December. With

The day after its release, the band appeared on the prime time Saturday night TV

the German trip looming, they went into Abbey Road on November 26, to record

pop show Thank Your Lucky Stars. This was the first time most people outside

the single before they left. George Martin had heard “Please Please Me” when

the Merseyside area had seen or heard The Beatles, and it was their first national

The Beatles ran through it at their previous session , and hadn’t liked the song

television appearance. However, the teenage audience at the show seemed to know

very much. At that time, it had a slow, mournful feel to it, and Martin had told

exactly who they were: as The Beatles mimed along to “Please Please Me”, the

the band it would be improved by increasing the tempo and livening up the har-

sound was almost drowned out by the screams of fans. The following week, all the

monies. They went away and did just that, and the version they played to him

British music papers carried excellent reviews of the new release. The single started

in November was exactly what he was looking for. After a simple three hour ses-

its climb to the Number One spot in the NMB and Melody Maker charts, making

sion, with Ringo now behind the drums, and during which they also taped the

Number Two in the trade magazine Record Retail, one which many other charts

B-side “Ask Me Why”, The Beatles had a sensational track on their hands. When

were based. George Martin’s prediction about The Beatles’ second single had come

he heard the final take of “ Please Please Me”, George Martin commented from

true. Now well-known pop names, at the beginning of February, The Beatles start-

the control room, “You’ve just made your first Number One,” and his instinct

ed on a countrywide “package” tour on which they shared the bill with other acts.

would be proved correct. The Beatles were not looking forward to the Star-Club

Headlining was the popular 16-year-old singer Helen Shapiro. This was the first

engagement, especially as it meant they would miss both Christmas and New

time that new fans across the UK had a chance to see the band live and, though

Year’s Eve at home. The engagement had been booked in the summer, before they

they were only fourth on the bill, The Beatles’ short set was always greeted by the

had signed with Parlophone. With all the excitement at home, the last thing they

deafening screams that would become commonplace at their concerts over the

wanted was to play long sets to a noisy crowd in Germany. To add to their gloom,

next three years. Driven by a frantic press campaign, “Please Please Me” topped

The Beatles weren’t even top of the bill, and the boys would have preferred to stay

the charts on February 16, by which time The Beatles had unofficially become the

in Britain promoting “Love Me Do”, instead of banging out old cover songs.

main attraction on the tour.

“At Woolen village fete I met him. I was a fat schoolboy and as he leaned an arm on my shoulder, I realized that he was drunk. We were twelve then, but in spite of his sideboards, we went on to become teenage pals.” — Paul, in the introduction to John’s first book, John Lennon In His Own Write, 1964 19


“These boys won’t make it. Four groups are out. Go back to Liverpool Mr. Epstein — you have a good business there.” — An executive of a major British record company, 1962

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or George Martin, a hit single meant a new challenge to cash in on the band’s

success with an album as soon as possible. What he didn’t want was an album that was on the usual record industry’s list of hit singles mixed in with a selection of other filler tracks because he was convinced The Beatles could do better. At first, Martin thought a live album recorded at the Cavern might be the answer for technical reasons. Instead, he decided to record The Beatles “live” in the studio with as few takes as possible. The resulting album, Please Please Me, was recorded in a one-day session on February 11, 1963, and it was a sensation. The two singles and their B-sides were included the rest of the songs were a cross section of The Beatles act at the time. There were a selection of other versions from their stage show, ranging from the ad “A Taste Of Honey” to the wild show-stopper “Twist and Shout”, alongside four original Lennon-McCartney singles. From the opening track, “I Saw Her Standing there”, the Please Please Me album confirmed that The Beatles were more than one-hit wonders. Released on March 22, 1963, it catapulted the group to the top of the UK album charts, where it would remain for the next six months.

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P.S. I LOVE YOU Sha la la la la la la la Sha la la la la la la la Sha la la la la la la la Sha la la la la It’s not the way you smile that touched my heart. (sha la la la la) It’s not the way you kiss that tears me apart. Uh, oh, many, many, many nights go by, I sit alone at home and I cry over you. What can I do. Can’t help myself, ‘cause baby, it’s you. Baby, it’s you. You should hear what they say about you, “cheat,” “cheat.” They say, they say you never never never ever been true. (cheat cheat) Uh oh, It doesn’t matter what they say, I know I’m gonna love you any old way. What can I do, and it’s true. Don’t want nobody, nobody, ‘cause baby, it’s you. (sha la la la la la la) Baby, it’s you. (sha la la la la la la) Uh oh, It doesn’t matter what they say, I know I’m gonna love you any old way. What can I do, when it’s true. Don’t want nobody, nobody, ‘cause baby, it’s you. (sha la la la la la la) Baby, it’s you. (sha la la la la la la) Don’t leave me all alone...

ASK ME WHY I love you, ‘cause you tell me things I want to know. And it’s true that it really only goes to show, That I know, That I, I, I, I should never, never, never be blue. Now you’re mine, my happiness still makes me cry. And in time, you’ll understand the reason why, If I cry, It’s not because I’m sad, but you’re the only love that I’ve ever had. I can’t believe it’s happened to me, I can’t conceive of any more misery. Ask me why, I’ll say I love you, And I’m always thinking of you. I love you, ‘cause you tell me things I want to know. And it’s true that it really only goes to show, That I know, That I, I, I, I should never, never, never be blue. Ask me why, I’ll say I love you, And I’m always thinking of you. I can’t believe it’s happened to me. I can’t conceive of any more misery. Ask me why, I’ll say I love you, And I’m always thinking of you.

BABY IT’S YOU It’s not the way you smile that touched my heart It’s not the way you kiss that tears my apart But how many many many nights go by I sit alone at home and cry over you What can I do, can’t help myself ‘Cause baby it’s you, baby it’s you You should hear what they say about you (cheat, cheat) They say, they say you never never ever been true (cheat, cheat) Wo ho, it doesn’t matter what they say I know I’m gonna love you any old way What can I do, then it’s true Don’t want nobody, nobody ‘Cause baby it’s you, baby it’s you Wo ho, it doesn’t matter what they say I know I’m gonna love you any old way What can I do, then it’s true Don’t want nobody, nobody ‘Cause baby it’s you Baby it’s you, don’t leave me all alone.

THERE’S A PLACE There is a place Where I can go When I feel low When I feel blue And it’s my mind And there’s no time when I’m alone I think of you And things you do Go ‘round my head The things you said Like “I love only you” In my mind there’s no sorrow Don’t you know that it’s so There’ll be no sad tomorrow Don’t you know that it’s so There is a place Where I can go When I feel low When I feel blue And it’s my mind And there’s no time when I’m alone There’s a place...

A TASTE OF HONEY A taste of honey Tasting much sweeter than wine I dream of your first kiss And then I feel upon my lips again A taste of honey Tasting much sweeter than wine I will return, yes I will return I’ll come back for the honey and you Yours was the kiss that awoke my heart There lingers still, though we’re far apart That taste of honey Tasting much sweeter than wine Oh I will return, yes I will return I’ll come back (He’ll come back) for the honey (For the honey) and you. LOVE ME DO Love, love me do You know I love you I’ll always be true So please, love me do Whoa, love me do Love, love me do You know I love you I’ll always be true So please, love me do Whoa, love me do Someone to love Somebody new Someone to love Someone like you Love, love me do You know I love you I’ll always be true So please, love me do Whoa, love me do Love, love me do You know I love you I’ll always be true So please, love me do Whoa, love me do Yeah, love me do Whoa, oh, love

LYRICS

CHAINS Chains, my baby’s got me locked up in chains, And they ain’t the kind, that you can see. Whoa, these chains of love, Got a hold on me, yeah. Chains, well I can’t break away from these chains, Can’t run around ‘cause I’m not free. Whoa, these chains of love won’t let me be, yeah. I want to tell you pretty baby, I think you’re fine. I’d like to love you, but, Darling, I’m imprisoned by these chains, my baby’s got me locked up in chains, And they ain’t the kind, that you can see. Whoa, it’s chains of love got a hold on me, yeah. Please believe me when I tell you, your lips are sweet. I’d like to kiss them but I can’t break away from all these chains, my baby’s got me locked up in chains, And they ain’t the kind that you can see. Whoa, these chains of love got a hold on me, yeah. Chains, chains of love. Chains of love. Chains of love.

MISERY The world is treating me bad, misery. I’m the kind of guy who never used to cry. The world is treating me bad, misery. I’ve lost her now for sure, I won’t see her no more, It’s gonna be a drag, misery. I’ll remember all the little things we’ve done, Can’t she see she’ll always be the only one, only one, Send her back to me cause everyone can see, Without her I will be in misery. I’ll remember all the little things we’ve done, She’ll remember and she’ll miss her only one, lonely one. Send her back to me ‘cos everyone can see, Without her I will be in misery. Oh in misery. Oh in misery.

PLEASE PLEASE ME Last night I said these words to my girl I know you never even try, girl Come on, come on, come on, come on Please, please me, woah yeah, like I please you You don’t need me to show the way, love Why do I always have to say, love Come on, come on, come on, come on Please, please me, woah yeah, like I please you I don’t want to sound complaining But you know there’s always rain in my heart I do all the pleasing with you, It’s so hard to reason with you Woah yeah, why do you make me blue? Last night I said these words to my girl I know you never even try, girl Come on, come on, come on, come on Please, please me, woah yeah, like I please you Woah yeah, like I please you Woah yeah, like I please you.

BOYS I been told when a boy kiss a girl, Take a trip around the world. Hey, hey (Bop shuop, m’bop bop shuop) Hey, hey (Bop shuop, m’bop bop shuop). Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop). My girl says when I kiss her lips. Gets a thrill through her fingertips. Hey, hey (Bop shuop, m’bop bop shuop). Hey, hey (Bop shuop, m’bop bop shuop). Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop). Well, I talk about boys. Don’t ya know I mean boys. Well, I talk about boys, now. Aaahhh, boys. Well, I talk about boys, now. What a bundle of joy! (Alright, George!) My girl says when I kiss her lips. Gets a thrill through her fingertips. Hey, hey (Bop shuop, m’bop bop shuop). Hey, hey (Bop shuop, m’bop bop shuop). Hey, hey, (Bop shuop) yeah, she say ya do (Bop shuop). Well, I talk about boys. Don’t ya know I mean boys. Well, I talk about boys, now. Aaahhh, boys. Well, I talk about boys, now. What a bundle of joy! Oh, oh, ah yeah boys. Don’t ya know I mean boys? Ooh, boys. Ah ha. Well I talk about boys now. DO YOU WANT TO KNOW A SECRET You’ll never know how much I really love you You’ll never know how much I really care Listen Do you want to know a secret Do you promise not to tell, whoa oh, oh Closer Let me whisper in your ear Say the words you long to hear I’m in love with you Listen Do you want to know a secret Do you promise not to tell, whoa oh, oh Closer Let me whisper in your ear Say the words you long to hear I’m in love with you I’ve known the secret for a week or two Nobody knows, just we two Listen Do you want to know a secret Do you promise not to tell, whoa oh, oh Closer Let me whisper in your ear Say the words you long to hear I’m in love with you.

PLEASE PLEASE ME

I SAW HER STANDING THERE Well, she was just seventeen, You know what I mean, And the way she looked was way beyond compare, So how could I dance with another, Oh when I saw her standing there. Well she looked at me, And I, I could see, That before too long I’d fall in love with her, She wouldn’t dance with another, Oh when I saw her standing there. Well my heart went boom when I crossed that room, And I held her hand in mine. Oh we danced through the night, And we held each other tight, And before too long I fell in love with her, Now I’ll never dance with another, Oh when I saw her standing there. Well my heart went boom when I crossed that room, And I held her hand in mine. Oh we danced through the night, ANNA (GO WITH HIM) Anna, You come and ask me, girl, To set you free, girl, You say he loves you more than me, So I will set you free. Go with him (Anna), Go with him (Anna), Anna. Girl, before you go now, I want you to know, now, That I still love you so, But if he loves you more, Go with him. All of my life, I’ve been searching for a girl, To love me like I love you. Oh, now, but every girl I’ve ever had, Breaks my heart and leave me sad. What am I, what am I supposed to do, Anna. Just one more thing, girl, You give back your ring to me, and I will set you free. Go with him. All of my life, I’ve been searching for a girl, To love me like I love you. But let me tell you now, But every girl I’ve ever had, Breaks my heart and leave me sad. What am I, what am I supposed to do, Anna. Just one more thing, girl, You give back your ring to me, And I will set you free. Go with him (Anna) Go with him (Anna) You can go with him, girl (Anna) Go with him.

TWIST AND SHOUT Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C’mon c’mon, c’mon, c’mon, baby, now (Come on baby) Come on and work it on out (Work it on out) Well, work it on out, honey (Work it on out) You know you look so good (Look so good) You know you got me goin’, now (Got me goin’) Just like I knew you would (Like I knew you would) Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C’mon, c’mon, c’mon, c’mon, baby, now (Come on baby) Come on and work it on out (Work it on out) You know you twist your little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer, now (Twist a little closer) And let me know that you’re mine (Let me know you’re mine) Well, shake it up, baby, now (Shake it up, baby) Twist and shout (Twist and shout) C’mon, c’mon, c’mon, c’mon, baby, now (Come on baby) Come on and work it on out (Work it on out) You know you twist your little girl (Twist, little girl) You know you twist so fine (Twist so fine) Come on and twist a little closer, now (Twist a little closer) And let me know that you’re mine (Let me know you’re mine) Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby) Well, shake it, shake it, shake it, baby, now (Shake it up baby).

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1966

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THE BEATLES RELEASED REVOLVER IN EARLY AUGUST 1966, AND THE ALBUM MARKED A GREAT LEAP FORWARD IN THE BAND’S MUSICAL PROGRESS. RECORDED DURING LENGTHY STUDIO SESSIONS, FROM APRIL THROUGH

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ll of the ideas that the individual Beatles members had been working in their

home studios were developed as finished tracks at the Abbey Road studios. The sheer variety of the finished album was astonishing. While the songs on Rubber Soul had a common feel to them, the collection on Revolver was the opposite. As

MAY, IT SHOWED THAT THE MUSIC

the trailer singles “Yellow Submarine” and “Eleanor Rigby” suggested, no two tracks were similar. Even the cover artwork , designed by their old friend Klaus Voorman, was completely different than anything on their previous record sleeves. The four Beatles’ portraits were drawn in fine lines, their hair longer than before,

THE BAND WAS MAKING IN THE STU-

and scattered with small photographs of The Beatles of the past, dating from 1962 to 1965, as if to say, “The Beatles have changed”. To celebrate Lennon and McCartney’s achievements as songwriters, on August

DIO WAS VERY DIFFERENT TO WHAT

6 the BBC produced a radio documentary called The Lennon and McCarrney Songbook, which featured the two reviewing 15 versions of their songs by artists including Ella Fitzgerald, Peggy Lee, and The Mamas and The Papas. The show was recorded at Paul’s house in London. Acts like Lee and Fitzgerald cover-

THEY HAD BEEN PLAYING ON STAGE.

ing Beatles songs proved that the group had been accepted by the “easy listening” mainstream, many of whom were usually snobbish about pop music.

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“Do you remember when everyone began analyzing Beatle songs — I don’t even think I ever understood what some of them were supposed to be about.” — Ringo

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s the new album climbed the charts worldwide through August 1966, The Beat-

les played the final dates of their last tour, and then went their separate ways until the end of November. Paul McCartney, with a little help from George Martin, wrote the score for a movie, The Family Way. The music was not written for “rock” instruments, as might have been expected, but a classical line-up of brass and strings. At the end of September, John Lennon flew to America to begin shooting How I Won the War, an anti-war film being made by the director of both Beatles movies, Richard Lester. Lennon played the part of Corporal Gripweed, a supporting role. The film was set in World War II, which meant that John needed a radical image change. The first thing to go was his long hair. His new army-regulation short back and sides haircut made news headlines around the world. He was also provided with old-fashioned, wire, round-framed glasses. Unlike the haircut, which he soon grew back, John liked the new spectacles. They quickly became part of the John Lennon image and was soon fashionable around the world. How I Won The War was an odd “art house” movie and not an obvious box-office hit but, with John Lennon’s name prominent in the cast list, it was more successful than it might otherwise have been. Meanwhile, George Harrison, who had been exploring Indian music since he had first discovered the sitar while The Beatles were making Help!, traveled to India to learn more about the instrument. There, he studied under the world-renowned sitar master, one of the few Indian musicians famous in the West, Ravi Shankar. When he arrived in India, George checked into the Taj Mahal Hotel in Bombay under the alias Sam Wells, but news that a Beatle was in town soon leaked out and George was chased by the press everywhere he went. To resolve the problem he held a press conference, then moved to another hotel.

Ringo Starr, 1967

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ingo relaxed at his Surrey mansion with his family, and visited John on loca-

tion in Spain. Lennon was probably glad for the company; he would later admit that spending seven weeks in the desert, most of the time just standing around, was not his idea o fun. Filming started early in the day and evenings were spent in a drab rented house nearby. However, the distractions meant that he did a lot of songwriting including a number that would become one of The Beatles’ all-time classics when it was released as a single early the following year. With all four Beatles taking a substantial time from the band for the first time in years, rumors started to circulate worldwide that the group had broken up in Britain, the Sunday Times newspaper printed an article that read almost like an obituary. It discussed why The Beatles might be splitting up and wondered what life would be like without the group. The BBC also hinted at the group’s breakup in news bulletins and, as The Beatles didn’t comment, their silence made the end of the band seem even more likely. In fact, the four musicians weren’t sure what the future held, and certainly didn’t feel obliged to respond to media speculation. Normally, Brian Epstein would have quashed the rumors immediately but, by now the Beatles manager was often in the hospital, suffering from depression, which had resulted in a suicide attempt. When filming finished, John returned to London and, on November 6, 1966, met the woman who would change his life forever: Yoko Ono. The link between the two was Paul McCartney, who had become increasingly involved in the London “underground” arts scene. By the fall of 1966, he was also helping to finance several arts projects, including the International Times alternative newspaper and the lndica bookshop and art gallery in the St. James’s area of London. It was at an lndica art show that John met the Japanese artist. Yoko, who at that time lived in New

“I can’t forgive Paul and George for the way they treated Yoko at first, but I can’t help loving them either.” — John

York City, was well-known on the Sixties modern art scene as a “concept artist”, staging “happenings” and performances. It was at one such event that the founder of lndica, John Dunbar, introduced Lennon to Ono.

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ennon recalled there being a sort of underground clique in London. “John

Dunbar, who was married to Marianne Faithfull, had an art gallery in London called lndica, and I’d been going around to galleries a bit on me off days in between records, also to a few exhibitions in different galleries that showed sort of unknown artists or underground artists.” Lennon had heard about “this amazing woman” who staged happenings, and went to the gallery preview the night before her exhibition opened. He was fascinated by works such as a single apple that was on sale for $400 (£200) exclaiming, “Two hundred quid to watch the apple decompose,” and, most of all, by a ladder that led up to a painting on the ceiling. The painting was a black canvas with a spyglass hanging from a chain. Lennon immediately climbed the ladder and peering through the spyglass to read, in tiny letters, the word “yes”. When introduced by Dunbar, Yoko had no idea who John was. According to a later interview with Lennon, she’d only heard of Ringo, “which means ‘apple’ in Japanese,” and had no interest in The Beatles or their music. When they met, Yoko handed John a card which said “breathe” on it. Although John was naturally suspicious of “arty” people and events, he was immediately attracted to Ono’s outrageous sculptures and performance art, as well as her simple attitude to life. “Whether it’s art or music,” she told him, “you do what you do, and don’t have to justify it in any way to anyone-it simply is what it is.” Lennon agreed with her completely. Over the next few months, John and Yoko met several more times at art events, and began to write to each other regularly. That, however, was all that happened between them for some time.

“All we want to be are four rock and rollers, but we aren’t allows because of Apple. We have to become businessmen.” — Ringo 35


I

n October, 1966, Brian Epstein informed EMI that there would be no tracks

for a new Beatles album in time for Christmas, so the company decided to release the first Beatles “greatest hits” collection of Beatles Oldies. The back cover added the slogan, “But Goldies!”, but, in fact, the 16-track album did have one new song for UK fans: John Lennon’s cover of the Larry Williams track “Bad Boy”, which had been issued in America in 1965. For the first time, all the Beatles recordings since 1962, except for their two German-language songs, were now available on both sides of the Atlantic. At the end of November, having led almost totally separate lives since the final concert in San Francisco, all four Beatles came together to begin new recordings. Most of the tracks they now worked on would end up on their next album, Sgt. Pepper’s Lonely Hearts Club Band. Among the new songs was one that John brought to the session that he had written while filming in Spain. It was called “Strawberry Fields Forever”, and when released, in February 1967, with “Penny Lane”, it was hailed by many as the greatest singles in the history of pop music.

“The thing is, we’re all really the same person. We’re just four parts of the one.” — Paul 37


AND YOUR BIRD CAN SING You tell me that you’ve got everything you want And your bird can sing But you don’t get me, you don’t get me You say you’ve seen Seven Wonders and your bird is green But you can’t see me, you can’t see me When your prized possessions start to weigh you down Look in my direction, I’ll be ‘round, I’ll be ‘round When your bird is broken will it bring you down You may be awoken, I’ll be ‘round, I’ll be ‘round You tell me that you’ve heard every sound there is And your bird can swing But you can’t hear me, you can’t hear me.

TAXMAN Let me tell you how it will be There’s one for you, nineteen for me Cos I’m the taxman, yeah, I’m the taxman Should five per cent appear too small Be thankful I don’t take it all Cos I’m the taxman, yeah I’m the taxman If you drive a car, I’ll tax the street If you try to sit, I’ll tax your seat If you get too cold I’ll tax the heat If you take a walk, I’ll tax your feet Taxman! Cos I’m the taxman, yeah I’m the taxman Don’t ask me what I want it for (Aahh Mr. Wilson) If you don’t want to pay some more (Aahh Mr. Heath) Cos I’m the taxman, yeah, I’m the taxman Now my advice for those who die Declare the pennies on your eyes Cos I’m the taxman, yeah, I’m the taxman And you’re working for no one but me Taxman!

FOR NO ONE Your day breaks, your mind aches You find that all the words of kindness linger on When she no longer needs you She wakes up, she makes up She takes her time and doesn’t feel she has to hurry She no longer needs you And in her eyes you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years You want her, you need her And yet you don’t believe her when she said her love is dead You think she needs you And in her eyes you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years You stay home, she goes out She says that long ago she knew someone but now he’s gone She doesn’t need him Your day breaks, your mind aches There will be time when all the things she said will fill your head You won’t forget her And in her eyes you see nothing No sign of love behind the tears Cried for no one A love that should have lasted years.

DOCTOR ROBERT Ring my friend, I said you call Doctor Robert Day or night he’ll be there any time at all, Doctor Robert Doctor Robert, you’re a new and better man He helps you to understand He does everything he can, Doctor Robert If you’re down he’ll pick you up, Doctor Robert Take a drink from his special cup, Doctor Robert Doctor Robert, he’s a man you must believe Helping everyone in need No one can succeed like Doctor Robert Well, well, well, you’re feeling fine Well, well, well, he’ll make you... Doctor Robert My friend works for the national health, Doctor Robert Don’t pay money just to see yourself with Doctor Robert Doctor Robert, you’re a new and better man He helps you to understand He does everything he can, Doctor Robert Well, well, well, you’re feeling fine Well, well, well, he’ll make you... Doctor Robert Ring my friend, I said you’d call Doctor Robert Ring my friend, I said you’d call Doctor Robert Doctor Robert.

I WANT TO TELL YOU I want to tell you My head is filled with things to say When you’re here All those words they seem to slip away When I get near you The games begin to drag me down It’s all right I’ll make you maybe next time around But if I seem to act unkind It’s only me, it’s not my mind That is confusing things I want to tell you I feel hung up and I don’t know why I don’t mind I could wait forever, I’ve got time Sometimes I wish I knew you well Then I could speak my mind and tell Maybe you’d understand I want to tell you I feel hung up and I don’t know why I don’t mind I could wait forever, I’ve got time I’ve got time I’ve got time.

I’M ONLY SLEEPING When I wake up early in the morning Lift my head, I’m still yawning When I’m in the middle of a dream Stay in bed, float up stream (Float up stream) Please, don’t wake me, no, don’t shake me Leave me where I am, I’m only sleeping Everybody seems to think I’m lazy I don’t mind, I think they’re crazy Running everywhere at such a speed Till they find there’s no need (There’s no need) Please, don’t spoil my day, I’m miles away And after all I’m only sleeping Keeping an eye on the world going by my window Taking my time Lying there and staring at the ceiling Waiting for a sleepy feeling... Please, don’t spoil my day, I’m miles away And after all I’m only sleeping Ooh yeah Keeping an eye on the world going by my window Taking my time When I wake up early in the morning Lift my head, I’m still yawning When I’m in the middle of a dream Stay in bed, float up stream (Float up stream) Please, don’t wake me, no, don’t shake me Leave me where I am, I’m only sleeping.

LYRICS

GOT TO GET YOU INTO MY LIFE I was alone, I took a ride I didn’t know what I would find there Another road where maybe I could see another kind of mind there Ooh, then I suddenly see you Ooh, did I tell you I need you Every single day of my life You didn’t run, you didn’t lie You knew I wanted just to hold you And had you gone you knew in time we’d meet again For I had told you Ooh, you were meant to be near me Ooh, and I want you hear me Say we’ll be together every day Got to get you into my life What can I do, what can I be When I’m with you I want to stay there If I’m true I’ll never leave And if I do I know the way there Ooh, then I suddenly see you Ooh, did I tell you I need you Every single day of my life Got to get you into my life Got to get you into my life I was alone, I took a ride I didn’t know what I would find there Another road where maybe I could see another kind of mind there Then suddenly I see you Did I tell you I need you Every single day?

REVOLVER

HERE, THERE AND EVERYWHERE To lead a better life I need my love to be here... Here, making each day of the year Changing my life with the wave of her hand Nobody can deny that there’s something there There, running my hands through her hair Both of us thinking how good it can be Someone is speaking but she doesn’t know he’s there I want her everywhere and if she’s beside me I know I need never care But to love her is to need her everywhere Knowing that love is to share Each one believing that love never dies Watching her eyes and hoping I’m always there I want her everywhere and if she’s beside me I know I need never care But to love her is to need her everywhere Knowing that love is to share Each one believing that love never dies Watching her eyes and hoping I’m always there I will be there and everywhere Here, there and everywhere.

SHE SAID SHE SAID She said I know what it’s like to be dead I know what it is to be sad And she’s making me feel like I’ve never been born I said Who put all those things in your hair Things that make me feel like I’m sad And you’re making me feel like I’ve never been born She said you don’t understand what I said I said no no no you’re wrong When I was a boy, everything was right Everything was right I said Even though you know what you know I know that I’m ready to leave ‘Cause you’re making me feel like I’ve never been born She said you don’t understand what I said I said no no no you’re wrong When I was a boy, everything was right Everything was right I said Even though you know what you know I know that I’m ready to leave ‘Cause you’re making me feel like I’ve never been born She said I know what it’s like to be dead I know what it’s like to be dead I know what it is to be sad I know what it is to be sad.

GOOD DAY SUNSHINE Good day sunshine, Good day sunshine, Good day sunshine. I need to laugh, and when the sun is out I’ve got something I can laugh about, I feel good, in a special way. I’m in love and it’s a sunny day. Good day sunshine, Good day sunshine, Good day sunshine. We take a walk, the sun is shining down, Burns my feet as they touch the ground. Good day sunshine, Good day sunshine, Good day sunshine. And then we lie, beneath a shady tree, I love her and she’s loving me. She feels good, she knows she’s looking fine. I’m so proud to know that she is mine. Good day sunshine, Good day sunshine, Good day sunshine. Good day sunshine, Good day sunshine, Good day sunshine, Good day sunshine.

ELEANOR RIGBY Ah, look at all the lonely people Ah, look at all the lonely people Eleanor Rigby picks up the rice in the church where a wedding has been Lives in a dream Waits at the window, wearing the face that she keeps in a jar by the door Who is it for? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Father McKenzie writing the words of a sermon that no one will hear No one comes near Look at him working, darning his socks in the night when there’s nobody there What does he care? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Ah, look at all the lonely people Ah, look at all the lonely people Eleanor Rigby died in the church and was buried along with her name Nobody came Father McKenzie wiping the dirt from his hands as he walks from the grave No one was saved All the lonely people (Ah, look at all the lonely people) Where do they all come from? All the lonely people (Ah, look at all the lonely people) Where do they all belong? 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 a yellow submarine Yellow submarine, yellow submarine We all live in a 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 a yellow submarine Yellow submarine, yellow submarine We all live in a yellow submarine Yellow submarine, yellow submarine Full speed ahead, Mr. Parker, full speed ahead! Full speed over here, sir! Action station! Action station! Aye, aye, sir, fire! Heaven! Heaven!] As we live a life of ease (A life of ease) Everyone of us (Everyone of us) has all we need (Has all we need) Sky of blue (Sky of blue) and sea of green (Sea of green) In our yellow (In our yellow) submarine (Submarine, ha, ha) We all LOVE YOU TO live in a yellow submarine Yellow submarine, yellow submarine We all live Each day just goes so fast I turn in a yellow submarine Yellow submarine, yellow submarine We all live in a around, it’s past You don’t get time yellow submarine Yellow submarine, yellow submarine We all live in a yellow to hang a sign on me Love me while submarine Yellow submarine, yellow submarine you can Before I’m a dead old man A lifetime is so short A new one can’t TOMORROW NEVER KNOWS be bought But what you’ve got means Turn off your mind, relax and float down stream It is not dying, it is not dying such a lot to me Make love all day long Lay down all thoughts, surrender to the void It is shining, it is shining Yet Make love singing songs Make love you may see the meaning of within It is being, it is being Love is all and love all day long Make love singing songs is everyone It is knowing, it is knowing And ignorance and hate mourn the There’s people standing round Who’ll dead It is believing, it is believing But listen to the colour of your dreams It screw you in the ground They’ll fill is not leaving, it is not leaving So play the game “Existence” to the end Of you in with all their sins, you’ll see I’ll the beginning, of the beginning Of the beginning, of the beginning Of the make love to you If you want me to. beginning, of the beginning Of the beginning, of the beginning.

39


41


PEP

SGT. PER’S

1967

43


AS 1966 CAME TO AN END, THE BEATLES’ RECORD LABEL, PARLOPHONE, RELEASED A COLLECTION OF BEATLES OLDIES. ON DECEMBER 10, THEIR “GREATEST HITS” ALBUM PROVED HOW FAR THE GROUP HAD COME

T

he Beatles released “Strawberry Fields Forever” as a single in February 1967.

Considered a masterpiece by critics, it was named for a Salvation Army children’s home close to where John Lennon had lived as a boy in Allerton, Liverpool.

SINCE THEIR FIRST SINGLE RELEASE

John had written three versions of the track on his return from Spain after the filming of How I Won the War and in the studio, he, George Martin, and the other Beatles pieced the different versions together in late December 1966. It was a

JUST FOUR YEARS EARLIER.

groundbreaking track that used every new piece of recording technology that was available in the mid-sixties, including the mellotron; an early electronic keyboard that imitated other instruments and tricks like cymbals recorded backward. Eventually, two versions of the song emerged in the recording studio, a rock version and, later, an orchestral one, which was arranged by George Martin. After John added his vocals, the later version was marked as the final one, until Lennon decided the song should begin with the electric rock version and end with the orchestral. Martin spotted a problem, however, because the two versions were in different keys, but by slowing one down and speeding the other up, Martin was able to match both the key and speed of the recordings. The end product was like nothing ever heard on a pop single. 45


“There’s no past and there’s no future. Time is a very misleading thing. All there is ever, is the now. We can gain experience from the past, but we can’t relive it; and we can hope for the future, but we don’t know if there is one.” ― — George

T

he other side of the single was equally memorable and, again, named for a Liver-

pool landmark: Penny Lane. Unlike the Lennon song, which only referred to Strawberry Fields in the title, the Paul McCartney song described details of the street for which it was named. Including classical wind and brass instruments, the elegant feel of “Penny Lane” was given a final touch with a piccolo trumpet, played by David Mason, who Paul had seen playing on a TV concert a few days earlier. The Beatles wanted two promotional film clips. These were produced by Tony Bramwell and directed by Peter Goldmann, who made TV music shows in Sweden. Early in January, Goldmann arrived in England and started looking around for suitable locations, as well as watching The Beatles recording at Abbey Road. He chose Knole Park, near Sevenoaks in Kent, and Stratford in East London. In Knole Park, in a large wooded area about 20 miles south-east of London, he shot two sequences for “Strawberry Fields Forever” and one for “Penny Lane.” Inspired by Richard Lester’s work on A Hard Day’s Night, the band didn’t attempt to mime a “performance”, but acted out a series of sequences that seemed to reflect the music. It was an attempt to capture the “atmosphere” of the tunes, an approach repeated by later pop videos through the Seventies, Eighties, and even today. The urban area of Stratford was used as a substitute for the area around Penny Lane in Liverpool. Here, the group walked the streets and rode white horses. Goldmann and the crew, without The Beatles, later traveled to Liverpool to shoot some of the landmarks mentioned in the song, including the barber’s shop and the bus shelter in the middle of the roundabout, which they cut with the sequences filmed with the group. Finally, more footage was filmed at Knole Park. This time the band sat at a dinner table and were served with their instruments by “servants” in wigs. Originally, it was intended that both tracks would go on The Beatles’ next album but, when EMI reminded the group that a new single was overdue, they agreed to release “Strawberry Fields Forever” and “Penny Lane” as a double-A-side single. One of the first rock records to feature English rather than American place names in its lyrics,

George Harrison, 1967

it was named by more than one music writer as the greatest pop single of all time as soon as it came out. Nevertheless, though it reached the Number One spot on the U.S charts, it only hit Number Two in the UK, and was The Beatles’ first single not to top the charts in their home country since their debut, “Love Me Do” in 1962. 47


A

By the time recording sessions came to an end, early in April, a “concept” had

s The Beatles continued recording their new album, more records were being

emerged for The Beatles’ new album. Paul had the idea that the “band” in one of

broken. In March 1967, the UK music paper Disc and Music Echo reported that

his songs, “Sgt. Pepper’s Lonely Hearts Club Band” should represent The Beatles,

there were no less than 446 versions of “Yesterday “ recorded by various artists on

and the album would be the 20-year-old Pepper Band giving an open-air concert

the market. At the beginning of May, EMI announced that the total world sales of

on a bandstand in a park. The album would start with sounds of the band tuning

The Beatles’ records, including singles and albums, had reached 200 million.

up, with audience noise in the background, and end with the “Sgt. Pepper” theme repeated. Although Rubber Soul had, in fact, been more of a “concept” album,

In May, Paul McCartney met his future wife, Linda Eastman. At the time of their

with a common sound running through it, Sgt. Pepper is often considered the

meeting, Linda was a professional photographer and was in the UK on an assign-

first, because of the Pepper Band’s “performance” linking the acts in this way.

ment to take photographs of the “Swinging Sixties” musicians in London, for a book to be called Rock and Other Four Letter Words. The two met in a late-night

One of the most radical moments on Sgt. Pepper came on the final track, “A Day

London club, the Bag O’Nails, where they were watching a performance by the

In The Life”. Paul McCartney had the idea of filling the empty space after John’s

British R&B star Georgie Fame. They later went on to the Speakeasy club to hear

final chorus with an orchestral climax, with each musician playing from his lowest

the psychedelic hit-makers of “A Whiter Shade of Pale”. They met again four days

to highest note, though not necessarily at the same speed, and becoming louder

later at the launch party for the Sgt. Pepper album, which took place at Brian Ep-

as they played. George Martin booked 40 musicians from top London classical

stein’s home in Belgravia.

orchestras, and each was given a prop, including false noses, masks, and pieces of a gorilla costume, in order to create a carnival atmosphere.

However, though they were immediately attracted to each other, it would be some time before the couple began seeing each other regularly. After her assignment was finished, Linda went back to New York City and didn’t meet up with Paul again until he and John Lennon were in the city to announce the formation of The Beatles’ Apple company in May 1968.

“I was just thinking of nice words like Sergeant Pepper and Lonely Hearts Club, and they came together for no reason… They’re a bit of a brass band in a way, but also a rock band because they’ve got this San Francisco thing.” — Paul 49


A

s Martin and McCartney took turns in conducting, the assembled musicians

created a crescendo for the middle of the song. This arrangement was influenced by experimental classical music, in which Paul was interested, and was totally out of the ordinary for a pop music record. There was, however, a problem with how to finish the arrangement. Ending suddenly on the top note would have been an anti-climax, and The Beatles’ first idea was to finish with all four of the band humming the final chord. This was recorded, but did not seem a powerful enough way to end the track. Instead, the humming was replaced with the same chord played on three pianos and a harmonium. The crash of the chord was overdubbed four times, and lasted an incredible 53 seconds, almost a fifth of the length of the whole track, and nearly half the length of “Please Please Me”. It was an incredible climax to a remarkable song, and an equally amazing album. Since Rubber Soul, The Beatles had taken tight control over the cover art of their albums and, for Sgt. Pepper, they were determined to have something special on the sleeve. Lennon and McCartney contacted a friend, the famous pop artist Peter Blake, and told him that they needed a group portrait of the fictional “Pepper” band. Blake suggested that the band could be surrounded by the audience, made up of people The Beatles admired or thought important. The four Beatles gave Blake a list of musicians, writers, film stars, comedians, sportsmen, and other key figures, then Blake set about making life-size cardboard cutouts of each.

“I used to think anyone doing anything weird was weird. Now I know that it is the people that call others weird that are weird.” ― — Paul 51


T

he celebrity crowd included Hollywood stars such as Marlon Brando and

Mae West, and writers including Edgar Allan Poe, H.G. Wells, and George Bernard Shaw, as well as fellow rock musicians Dion and Bob Dylan; over 50 characters in all, including the former Beatles bass player Stuart Sutcliffe. In front of the assembled cutouts was a bass drum with the “Sgt. Pepper” logo painted on it in bright fairground-style lettering. Behind the drum stood The Beatles themselves, in colorful silk military uniforms, with moustaches and holding brass band instruments. To their left were four dummies (from the famous Madame Tussauds waxwork museum) of The Beatles during the early “mop top” period. Another new development on the Sgt. Pepper album sleeve was the inclusion of song lyrics. Now a normal feature of pop and rock albums, it was only after Sgt. Pepper that singers and bands regularly started to include lyrics on the album covers and dust sheets. As soon as the album came out, on June 1, 1967, the cover attracted almost as much attention as the music. With its double “gatefold” sleeve and sheet of cutout “Pepper” items, including badges, uniform stripes, and a moustache, it set a new standard in rock album packaging. The final bill for the cover came to over £2,800 ($5 ,600) equivalent to £37,500 ($75,000) today. In 1967, it was a staggering sum and was estimated to be 100 times the average cost of an album cover at the time. Sgt. Pepper had taken some 700 hours to record, and an estimated £50 ,000 ($100,000) to produce. On its release, the album shot to the top of the charts all over the world. It stayed at the Number One slot in the UK for 27 weeks, and for 19 in the USA. The critics loved it, with even classical music reviewers raving, and

“We’re more popular than Jesus Christ now. I don’t know which will go first. Rock and roll or Christianity. Jesus was all right, but his disciples were thick and ordinary. It’s them twisting it that ruins it for me.” — John 53


LOVELY RITA Ahh-ahh-ahh-ahh-ahh Lovely Rita, meter maid Lovely Rita, meter maid Lovely Rita, meter maid Nothing can come between us When it gets dark I tow your heart away Standing by a parking meter When I caught a glimpse of Rita Filling in the ticket in her little white book In a cap she looked much older And the bag across her shoulder Made her look a little like a military man Lovely Rita, meter maid May I inquire discreetly When are you free to take some tea with me? Rita Took her out and tried to win her Had a laugh and over dinner Told her I would really like to see her again Got the bill and Rita paid it Took her home and nearly made it Sitting on a sofa with a sister or two Oh lovely Rita, meter maid Where would I be without you? Give us a wink and make me think of you Lovely Rita, meter maid They’ll never believe it.

GETTING BETTER It’s getting better all the time I used to get mad at my school The teacher’s that taught me weren’t cool You’re holding me down Filling me up with your rules I’ve got to admit it’s getting better A little better all the time I have to admit it’s getting better It’s getting better since you’ve been mine Me used to be angry young man Me hiding me head in the sand You gave me the word I finally heard I’m doing the best that I can I’ve got to admit it’s getting better I used to be cruel to my woman I beat her and kept apart from the things that she loved Man I was mean but I’m changing my scene And I’m doing the best that I can I admit it’s getting better A little better all the time Yes I admit it’s getting better It’s getting better since you’ve been mine...

WHEN I’M SIXTY FOUR When I get older losing my hair Many years from now Will you still be sending me a valentine Birthday greetings, bottle of wine? If I’d been out till quarter to three Would you lock the door? Will you still need me, will you still feed me When I’m sixty-four? You’ll be older too And if you say the word I could stay with you I could be handy, mending a fuse When your lights have gone You can knit a sweater by the fireside Sunday mornings go for a ride Doing the garden, digging the weeds Who could ask for more? Will you still need me, will you still feed me When I’m sixty-four? Every summer we can rent a cottage in the Isle of Wight If it’s not too dear We shall scrimp and save Grandchildren on your knee Vera, Chuck & Dave Send me a postcard, drop me a line Stating point of view Indicate precisely what you mean to say Yours sincerely, wasting away Give me your answer, fill in a form Mine for evermore Will you still need me, will you still feed me When I’m sixty-four? Ho!

SHE’S LEAVING HOME Wednesday morning at five o’clock as the day begins Silently closing her bedroom door Leaving the note that she hoped would say more She goes downstairs to the kitchen clutching her handkerchief Quietly turning the backdoor key Stepping outside she is free She (We gave her most of our lives) Is leaving (Sacrificed most of our lives) Home (We gave her everything money could buy) She’s leaving home after living alone For so many years (Bye bye) Father snores as his wife gets into her dressing gown Picks up the letter that’s lying there Standing alone at the top of the stairs She breaks down and cries to her husband “Daddy our baby’s gone Why would she treat us so thoughtlessly? How could she do this to me?” She (We never thought of ourselves) Is leaving (Never a thought for ourselves) Home (We struggled hard all our lives to get by) She’s leaving home after living alone For so many years (Bye bye) Friday morning at nine o’clock she is far away Waiting to keep the appointment she made Meeting a man from the motor trade She (What did we do that was wrong) Is having (We didn’t know it was wrong) Fun (Fun is the one thing that money can’t buy) Something inside that was always denied For so many years (Bye bye) She’s leaving home Bye bye.

A DAY IN THE LIFE I read the news today, oh boy About a lucky man who made the grade And though the news was rather sad Well I just had to laugh I saw the photograph. He blew his mind out in a car He didn’t notice that the red lights had changed A crowd of people stood and stared They’d seen his face before Nobody was really sure If he was from the House of Lords. I saw a film today, oh boy The English army had just won the war A crowd of people turned away But I just had to look Having read the book I’d love to turn you on. Woke up, fell out of bed, Dragged a comb across my head Found my way downstairs and drank a cup, And looking up I noticed I was late. Found my coat and grabbed my hat Made the bus in seconds flat Found my way upstairs and had a smoke, Somebody spoke and I went into a dream. I read the news today oh boy Four thousand holes in Blackburn, Lancashire And though the holes were rather small They had to count them all Now they know how many holes it takes to fill the Albert Hall. I’d love to turn you on.

WITHIN YOU WITHOUT YOU We were talking about the space between us all And the people who hide themselves behind a wall of illusion Never glimpse the truth, then it’s far too late, when they pass away We were talking about the love we all could share When we find it, to try our best to hold it there with our love With our love, we could save the world, if they only knew Try to realise it’s all within yourself No one else can make you change And to see you’re really only very small And life flows on within you and without you We were talking about the love that’s gone so cold And the people who gain the world and lose their soul They don’t know, they can’t see, are you one of them? When you’ve seen beyond yourself then you may find Peace of mind is waiting there And the time will come when you see we’re all one And life flows on within you and without you.

SGT. PEPPER’S LONELY HEARTS CLUB BAND

BEING FOR THE BENEFIT OF MR. KITE! For the benefit of Mr. Kite There will be a show tonight on trampoline The Hendersons will all be there Late of Pablo Fanques’ fair, what a scene Over men and horses hoops and garters Lastly through a hogshead of real fire In this way Mr. K will challenge the world The celebrated Mr. K Performs his feats on Saturday at Bishopsgate The Hendersons will dance and sing As Mr. Kite flies through the ring, don’t be late Messrs K. and H. assure the public Their production will be second to none And of course Henry the Horse dances the waltz The band begins at ten to six When Mr. K performs his tricks without a sound And Mr. H will demonstrate Ten somersets he’ll undertake on solid ground Having been some days in preparation A splendid time is guaranteed for all And tonight Mr. Kite is topping the bill.

FIXING A HOLE I’m fixing a hole where the rain gets in And stops my mind from wandering Where it will go I’m filling the cracks that ran through the door And kept my mind from wandering Where it will go And it really doesn’t matter if I’m wrong I’m right Where I belong I’m right Where I belong See the people standing there Who disagree and never win And wonder why they don’t get in my door I’m painting my room in the colourful way And when my mind is wandering There I will go Ooh ooh ooh ah ah Hey, hey, hey, hey And it really doesn’t matter if I’m wrong I’m right Where I belong I’m right Where I belong Silly people run around They worry me and never ask me Why they don’t get past my door I’m taking the time for a number of things That weren’t important yesterday And I still go Ooh ooh ooh ah ah I’m fixing a hole where the rain gets in Stops my mind from wandering Where it will go oh Where it will go oh I’m fixing a hole where the rain gets in And stops my mind from wandering Wher it will go.

SGT. PEPPER’S LONELY HEARTS CLUB BAND We’re Sgt. Pepper’s Lonely Hearts Club Band We hope you have enjoyed the show Sgt. Pepper’s Lonely Hearts Club Band We’re sorry but it’s time to go Sgt. Pepper’s lonely, Sgt. Pepper’s lonely Sgt. Pepper’s lonely, Sgt. Pepper’s lonely Sgt. Pepper’s Lonely Hearts Club Band We’d like to thank you once again Sgt. Pepper’s one and only Lonely Hearts Club Band It’s getting very near the end Sgt. Pepper’s lonely, Sgt. Pepper’s lonely Sgt. Pepper’s Lonely Hearts Club Band.

LYRICS

GOOD MORNING GOOD MORNING Good morning, good morning Nothing to do to save his life call his wife in Nothing to say but what a day how’s your boy been Nothing to do it’s up to you I’ve got nothing to say but it’s ok Good morning, good morning Going to work don’t want to go feeling low down Heading for home you start to roam then you’re in town Everybody knows there’s nothing doing Everything is closed it’s like a ruin Everyone you see is half asleep. And you’re on your own you’re in the street. After a while you start to smile now you feel cool Then you decide to take a walk by the old school. Nothing had changed it’s still the same I’ve got nothing to say but it’s ok Good morning, good morning People running round it’s five o’clock Everywhere in town is getting dark Everyone you see is full of life. It’s time for tea and meet the wife Somebody needs to know the time, glad that I’m here. Watching the skirts you start to flirt now you’re in gear. Go to show you hope she goes. I’ve got nothing to say but it’s ok. Good morning, good morning.

LUCY IN THE SKY WITH DIAMONDS Picture yourself in a boat on a river With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly A girl with kaleidoscope eyes Cellophane flowers of yellow and green Towering over your head Look for the girl with the sun in her eyes And she’s gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies Everyone smiles as you drift past the flowers That grow so incredibly high Newspaper taxis appear on the shore Waiting to take you away Climb in the back with your head in the clouds And you’re gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Picture yourself on a train in a station With Plasticine porters with looking-glass ties Suddenly someone is there at the turnstile The girl with kaleidoscope eyes Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Aaaaahhhhh... Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds.

WITH A LITTLE HELP FROM MY FRIENDS What would you think if I sang out of tune Would you stand up and walk out on me? Lend me your ears and I’ll sing you a song And I’ll try not to sing out of key Oh I get by with a little help from my friends Mm I get high with a little help from my friends Mm gonna try with a little help from my friends What do I do when my love is away? (Does it worry you to be alone?) How do I feel by the end of the day? (Are you sad because you’re on your own?) No I get by with a little help from my friends Mm I get high with a little help from my friends Mm gonna try with a little help from my friends (Do you need anybody?) I need somebody to love (Could it be anybody?) I want somebody to love (Would you believe in a love at first sight?) Yes I’m certain that it happens all the time (What do you see when you turn out the light?) I can’t tell you, but I know it’s mine Oh I get by with a little help from my friends Mm I get high with a little help from my friends Oh I’m gonna try with a little help from my friends (Do you need anybody?) I just need someone to love (Could it be anybody?) I want somebody to love Oh I get by with a little help from my friends Mm gonna try with a little help from my friends Oh I get high with a little help from my friends Yes I get by with a little help from my friends With a little help from my friends.

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IT

BE

LET

1970

59


IN 1969 THE BEATLES WERE STILL HAVING HIT RECORDS. HOWEVER, THEIR BUSINESS AFFAIRS WERE IN A MESS THAT WAS CAUSED BY THE DEATH OF BRIAN EPSTEIN AND THE FORMATION OF THE APPLE COMPA-

I

n January, John Lennon revealed the truth about the band’s finances to the

UK music paper Disc and Music Echo. The story was picked up immediately by the news media worldwide. He described how the money was pouring out more quickly than even The Beatles’ earnings could maintain. Paul McCartney was

NY. “APPLE IS LOSING MONEY,” JOHN

slightly more optimistic, but suggested hiring a top New York law firm, Eastman and Eastman, to help untangle the financial mess. Although the company Paul wanted to hire had a long history in the music and publishing business, the other Beatles were hesitant because the head of the company, Lee Eastman, was about

SAID. “IF IT CARRIES ON LIKE THIS,

to become Paul’s father-in-law. Eventually, however, all four signed up to the arrangement, though Lennon, Harrison, and Starr still had their doubts. On John ‘s suggestion, the three began talking to New Yorker Allen Klein. Klein was a music manager who had negotiated millions in overdue royalties for The Rolling Stones.

WE’LL BE BROKE IN SIX MONTHS.”

After reading Lennon’s view of the Beatles’ finances, he rushed to London to offer his services. John was impressed by Klein’s no-nonsense approach, in contrast to the polite manners of the Eastmans and signed him on as his personal representative after just one meeting. George and Ringo soon did the same.

61


“The beatles were always a great band. Nothing more, nothing less.” — Paul

I

n July 1969, The Beatles terminated their relationship with Brian Epstein’s com-

pany, NEMS. NEMS was then put up for sale and, as it claimed a 25% commission on all the band’s record royalties, it was In The Beatles’ interest to buy NEMS. The Epstein family later said they would have preferred to sell it to The Beatles rather than an outside bidder, but were anxious about the managerial struggle going on with the band. Instead, they sold NEMS to an investment company though, soon after, Klein managed to buy The Beatles out of their NEMS contract. Klein reached an agreement with EMI that The Beatles would release at least two albums a year until 1976. The arrangement was almost wrecked when John Lennon told Klein and the other Beatles that he wanted a “divorce” from the group, but Klein persuaded him not to ruin the deal by making his wish to leave the band public. Instead, in interviews, Lennon gave the impression that though he was now more interested in personal projects, he would still play with The Beatles as and when required. In mid-September 1969, just a couple of weeks before the release of Abbey Road, rumors that Paul McCartney was dead began to circulate in America. The gossip started in Des Moines, Iowa, in a high school magazine article, and spread like wildfire after a local radio station interviewed a fan who claimed to have found “hidden clues” in various songs and photographs of the band that revealed that Paul had died. The gossip quickly became a widespread urban myth, which alleged that Paul had been killed in a car accident in 1966 and replaced by a look-alike named William “Billy” Shears, the name of the fictitious leader of the Sgt. Pepper band. Clues were said to have been hidden on records, and could be revealed by playing discs backward. One such piece of “evidence” suggested that John says, “I buried Paul” in a slow, deep voice over the final refrain of “Strawberry Fields Forever”. This was dismissed by Lennon, who asserted that he had actually said, “cranberry sauce”. The most famous claim, however, was made soon after Abbey Road appeared. In the cover photograph, Paul McCartney was the only one crossing the road in bare feet and some said that Paul McCartney, 1970

this was symbolic of a corpse. When the story appeared in the Chicago Sun-Times on October 21, newspapers and journals began to take it more seriously and, early in November, Life magazine finally ended the stories with an article called, The Case of the Missing Beatle: Paul is Still With Us. 63


J

ohn Lennon, meanwhile, was paying more attention to his other interests than

to The Beatles. In September 1969, he and Yoko played a “Rock ‘n’ Roll Revival” concert in Toronto, Canada, with the Plastic Ono Band. Alongside Eric Clapton on guitar, Klaus Voorman on bass, and Alan White on drums, they played old songs like “Blue Suede Shoes” and “Money”, as well as John’s 1968 song “Yer Blues”, and a yet-to-be-released number called “Cold Turkey”. They also performed a new song, “Give Peace A Chance”, and two of Yoko Ono’s experimental pieces. The concert was released on Apple as a live album, Live Peace in Toronto, on December 12. John made the news in November 1969, when he returned his MBE award to Buckingham Palace as a protest against Britain’s involvement in a war in the African region of Biafra. However, the impact of this political gesture was lessened by John joking to the press that it was also a protest at the solo single “Cold Turkey” slipping down the UK charts. As Christmas approached, John and Yoko were once more promoting their peace efforts, this time by paying for huge billboards to be put up in 11 major cities around the world, each declaring, “War Is Over! If You Want It, Happy Xmas from John & Yoko.” Two years later, the slogan would be featured on John’s hit single with the Plastic Ono Band, “Happy Xmas (War Is Over)”. The third solo single by John Lennon to appear on the Apple label, “Instant Karma (We All Shine On)”, was recorded in a single day at the end of January 1970, and released on February 20. It reached Number Three in the US charts and Number Five in the UK.

“We were pretty good mates until the Beatles started to split up and Yoko came into it. It was more like old army buddies splitting up on account of wedding bells.” — Paul 65


L

ike Lennon, the other Beatles also began concentrating on their own projects.

In late January, 1970 , Paul began work on his first solo album, McCartney, at Abbey Road, using the alias Billy Martin. It was released in April, and topped the Billboard chart in America. Ringo’s movie with Peter Sellers, The Magic Christian, opened in February 1970, just as the drummer returned to the studio to start work on his own solo album, Sentimental Journey, which was also released in late April. George, too, worked through 1970 on his solo debut, which would appear as the album All Things Must Pass, with a chart-topping single “My Sweet Lord”, at the end of November. By now it was becoming clear to the public that, as a band, The Beatles had almost come to an end. However, The Beatles had yet to decide what to do with the studio and film material from the Get Back project. Director Michael Lindsay-Hogg had completed a first version of the film, which was now called Let It Be. When The Beatles watched it, they saw that they had not finished recording two of the songs they had been working on, George’s “I Me Mine” and John’s “Across The Universe”. For the Lennon song, the band decided to use a recording made back in 1968 while, for “I Me Mine”, George, Paul, and Ringo met up for the last-ever studio session by The Beatles as a group, on January 3, 1970. The four Beatles were still not happy with the sequence of the recordings, so George and John decided to invite the legendary American producer Phil Spector to take over the project. As with the choice to appoint Allen Klein, Paul claimed he was not consulted about Spector and, as the producer began work early in April with Ringo adding drum tracks, McCartney announced publicly that he would be leaving The Beatles because of “personal, business, and musical differences.”

“I’m really glad that most of our songs were about love, peace and understanding.” ― — Paul 67


A

lmost immediately after, the title track from the album, “Let It Be”, was re-

leased and hit Number One on the US charts. It was followed early in May by the Let It Be album and the movie, which premiered in New York on May 13. Paul McCartney was outraged by Spector’s work on the album, particularly the orchestral arrangement of “A Long And Winding Road”. Paul insisted that it had been done without his approval. Spector’s work proved to be the final straw. On December 31, 1970, Paul McCartney began legal procedures in the London High Court, charging Allen Klein with mismanagement of Apple funds. He then began proceedings to dissolve The Beatles partnership. With the aptly titled Let It Be, the group that came together as Liverpool teenagers in the late Fifties and helped to define the Sixties, bowed out in the first year of the Seventies. It had been just eight years since they had made their first single and only six since they took America, and the rest of the world, by storm. In that time they changed popular music, and the music business, forever.

“I don’t intend to be a performing flea anymore. I was a dreamweaver, but although I’ll be around I don’t intend to be running at 20,000 miles an hour trying to prove myself. I don’t want to die at 40.” — John 69


BABY IT’S YOU It’s not the way you smile that touched my heart It’s not the way you kiss that tears my apart But how many many many nights go by I sit alone at home and cry over you What can I do, can’t help myself ‘Cause baby it’s you, baby it’s you You should hear what they say about you (cheat, cheat) They say, they say you never never ever been true (cheat, cheat) Wo ho, it doesn’t matter what they say I know I’m gonna love you any old way What can I do, then it’s true Don’t want nobody, nobody ‘Cause baby it’s you, baby it’s you Wo ho, it doesn’t matter what they say I know I’m gonna love you any old way What can I do, then it’s true Don’t want nobody, nobody ‘Cause baby it’s you Baby it’s you, don’t leave me all alone.

TWO OF US Two of us riding nowhere Spending someone’s Hard earned pay You and me Sunday driving Not arriving On our way back home We’re on our way home We’re on our way home We’re going home Two of us sending postcards Writing letters On my wall You and me burning matches Lifting latches On our way back home We’re on our way home We’re on our way home We’re going home You and I have memories Longer than the road that stretches out ahead Two of us wearing raincoats Standing so low In the sun You and me chasing paper Getting nowhere On our way back home We’re on our way home We’re on our way home We’re going home You and I have memories Longer than the road that stretches out ahead Two of us wearing raincoats Standing so low In the sun You and me chasing paper Getting nowhere On our way back home We’re on our way home We’re on our way home We’re going home.

I ME MINE All through the day, I me mine I me mine, I me mine All through the night, I me mine I me mine, I me mine Now they’re frightened of leaving it Everyone’s weaving it Coming on strong all the time All through the day I me mine I-I-meme-mine, I-I-me-me-mine I-I-me-me-mine, I-I-me-me-mine All I can hear, I me mine I me mine, I me mine Even those tears, I me mine I me mine, I me mine No-one’s frightened of playing it Everyone’s saying it Flowing more freely than wine All through the day I me mine I-I-me-me mine, I-I-me-me mine I-I-me-me mine, I-I-meme mine All I can hear, I me mine I me mine, I me mine Even those tears, I me mine I me mine, I me mine No-one’s frightened of playing it Everyone’s saying it Flowing more freely than wine All through your life I me mine.

THE LONG AND WINDING ROAD The long and winding road that leads to your door Will never disappear I’ve seen that road before it always leads me here Leads me to your door The wild and windy night that the rain washed away Has left a pool of tears crying for the day Why leave me standing here, let me know the way Many times I’ve been alone and many times I’ve cried Anyway you’ll never know the many ways I’ve tried And still they lead me back to the long and winding road You left me standing here a long, long time ago Don’t leave me waiting here, lead me to you door But still they lead me back to the long and winding road You left me standing here a long, long time ago Don’t keep me waiting here (Don’t keep me wait), lead me to you door Yeah, yeah, yeah, yeah.

LYRICS LET IT BE

DIG A PONY I dig a pony Well you can celebrate anything you want Well you can celebrate anything you want Ooh. I do a road hog Well you can penetrate any place you go Yes you can penetrate any place you go I told you so, all I want is you. Ev’rything has got to be just like you want it to Because I pick a moon dog Well you can radiate ev’rything you are Yes you can radiate ev’rything you are Ooh. I roll a stoney Well you can imitate ev’ryone you know Yes you can imitate ev’ryone you know I told you so, all I want is you. Ev’rything has got to be just like you want it to Because I feel the wind blow Well you can indicate ev’rything you see Yes you can indicate ev’rything you see Ooh. I dug a pony Well you can syndicate any boat you row Yes you can syndicate any boat you row I told you so, all I want is you. Everything has got to be just like you want it to.

GET BACK Jojo was a man who thought he was a loner But he knew it wouldn’t last Jojo left his home in Tucson, Arizona For some California grass Get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back Jojo. Go home Get back, get back Back to where you once belonged Get back, get back Back to where you once belonged Get back Jo Sweet Loretta Martin thought she was a woman But she was another man All the girls around her say she’s got it coming But she gets it while she can Get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged Get back Loretta. Go home Get back, get back Get back to where you once belonged Get back, get back Get back to where you once belonged.

ONE AFTER 909 My baby says she’s traveling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby, don’t be cold as ice Said she’s traveling on the one after 909 I begged her not to go and I begged her on my bended knees You’re only fooling around, only fooling around with me I said move over once, move over twice Come on baby, don’t be cold as ice Said she’s traveling on the one after 909 Picked up my bags, run to the station Railman says you got the wrong location Picked up the bag, run right home Then I find I got the number wrong Well, said she’s traveling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby, don’t be cold as ice Said she’s traveling on the one after 909, yeah Picked up my bags, run to the station Railman says you got the wrong location Picked up my bags, run right home Then I find I got the number wrong Well, she said she’s traveling on the one after 909 I said move over honey I’m traveling on that line I said move over once, move over twice Come on baby, don’t be cold as ice She said she’s traveling on the one after 90 She said she’s traveling on the one after 90 She said she’s traveling on the one after 909.

LET IT BE When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom, let it be And in my hour of darkness She is standing right in front of me Speaking words of wisdom, let it be Let it be, let it be Let it be, let it be Whisper words of wisdom, let it be And when the broken-hearted people Living in the world agree There will be an answer, let it be For though they may be parted There is still a chance that they will see There will be an answer, let it be Let it be, let it be Let it be, let it be Yeah, there will be an answer, let it be Let it be, let it be Let it be, let it be Whisper words of wisdom, let it be Let it be, let it be Ah, let it be, yeah, let it be Whisper words of wisdom, let it be And when the night is cloudy There is still a light that shines on me Shine on until tomorrow, let it be I wake up to the sound of music, Mother Mary comes to me Speaking words of wisdom, let it be Let it be, let it be Let it be, yeah, let it be Oh, there will be an answer, let it be Let it be, let it be Let it be, yeah, let it be Whisper words of wisdom, let it be.

FOR YOU BLUE Because you’re sweet and lovely girl I love you Because you’re sweet and lovely girl it’s true I love you more than ever girl I do I want you in the morning girl I love you I want you at the moment I feel blue I’m living every moment girl for you Walk, walk cat walk. (Go, Johnny, go. Same old the twelve bar blues. Elmore James got nothing on this baby.) I’ve loved you from the moment I saw you You looked at me that’s all you had to do I feel it now I hope you feel it too Because you’re sweet and lovely girl I love you Because you’re sweet and lovely girl it’s true I love you more than ever girl I do Rhythm and blues.

ACROSS THE UNIVERSE Words are flowing out like Endless rain into a paper cup They slither wildly as they slip away across the universe. Pools of sorrow waves of joy Are drifting through my opened mind Possessing and caressing me. Jai Guru Deva. Om Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Images of broken light, which Dance before me like a million eyes, They call me on and on across the universe. Thoughts meander like a Restless wind inside a letter box They tumble blindly as they make their way across the universe. Jai Guru Deva. Om Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Sounds of laughter, shades of life Are ringing through my opened ears Inciting and inviting me. Limitless undying love, which Shines around me like a million suns, It calls me on and on across the universe Jai Guru Deva, om. Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Nothing’s gonna change my world Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva Jai Guru Deva.

MAGGIE MAY Oh dirty Maggie Mae they have taken her away And she never walk down Lime Street any more Oh the judge he guilty found her for robbing a homeward bounder That dirty no good robbing Maggie Mae This is a part of Liverpool, they returned me to Two pounds ten a week, that was my pay.

I’VE GOT A FEELING I’ve got a feeling, a feeling deep inside Oh yeah, oh yeah, that’s right I’ve got a feeling, a feeling I can’t hide Oh no, no, oh no, oh no Yeah, I’ve got a feeling Oh please believe me I’d hate to miss the train Oh yeah, yeah, oh yeah And if you leave me I won’t be late again Oh no, oh no, oh no Yeah, yeah, I’ve got a feeling, yeah I got a feeling All these years I’ve been wandering around Wondering how come nobody told me All that I’ve been looking for was somebody Who looked like you I’ve got a feeling that keeps me on my toes Oh yeah, oh yeah I’ve got a feeling I think that everybody knows Oh yeah, oh yeah, oh yeah Yeah, yeah I’ve got a feeling, yeah, yeah Everybody had a hard year Everybody had a good time Everybody had a wet dream Everybody saw the sunshine Oh yeah, oh yeah, oh yeah Everybody had a good year Everybody let their hair down Everybody pulled their socks up Everybody put their foot down Oh yeah Everybody had a good year (A feeling deep inside) Everybody had a hard time (Oh yeah) Everybody had a wet dream (Oh yeah) Everybody saw the sunshine Everybody had a good year (A feeling I can’t hide) Everybody let their hair down (Oh no) Everybody pulled their socks up (Oh no no) Everybody put their foot down, oh yeah I’ve got a feeling I got a feeling Oh yeah I got a feeling, yeah Oh my soul, so odd.

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B

THE

IN A LITTLE UNDER A DECADE, THE BEATLES BECAME MORE FAMOUS THAN ANYONE COULD HAVE PREDICTED. FEATURING PHOTOGRAPHS

E

OF THE ICONIC GROUP FROM THE EARLY DAYS

A

TO THEIR BREAK-UP, THIS TIMELINE IS A VISU-

E

T

S

L

AL ACCOUNT OF THEIR CAREER.

VISUAL TIMELINE 73


— DAILY MIRROR EDITORIAL, NOVEMBER 1963

BUTTY, NOISY, HAPPY, HANDSOME BEATLES.”

“YOU HAVE TO BE A SOUR SQUARE NOT TO LOVE THE

1963

75


TO THE CORE.” —RINGO

“WE’RE UNASSUMING, UNAFFECTED AND BRITISH

1964

77


WOULD KNOW US.” — JOHN

FUN, BUT THAT WHEN WE WENT OUTSIDE NO ONE

TO BE ABLE TO GET ALL THE CREDIT AND ALL THE

“I’D LIKE TO BE RICH AND FAMOUS BUT INVISIBLE —

1965

79


THEN BANG, YOU HAVE A JIGSAW PUZZLE.” — PAUL

ING, THINKING, LETTING OTHERS THINK OF BITS —

“THERE’S A LOT OF RANDOM IN OUR SONGS… WRIT-

1966

81


— KURT VONNEGUT, TIMEQUAKE

REPLY, ‘THE BEATLES DID’.”

I KNOW OF ANY ARTISTS WHO PULLED THAT OFF. I

ALIVE AT LEAST A LITTLE BIT. I AM THEN ASKED IF

ARTISTS IS TO MAKE PEOPLE APPRECIATE BEING

“I SAY IN SPEECHES THAT A PLAUSIBLE MISSION OF

1967

83


DON’T HAVE A CLUE WHAT IT IS ABOUT.” — PAUL

RECORD BUSINESS IS BEING RUN BY PEOPLE WHO

“THE TROUBLE IS THAT SO MUCH OF THE POP AND

1968

85


— GEORGE

“IT’S BEING HERE NOW THAT’S IMPORTANT.”

1969

87


THE LOVE YOU MAKE.” —PAUL

“AND, IN THE END THE LOVE YOU TAKE IS EQUAL TO

1970

89


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Beatles Book Redesign