The News Today
from the Ottawa Beatle Site


Postcard kindly supplied by Alan Chrisman. Acknowledgements to Cavern City Tours
who hold an annual International Beatles Convention in Liverpool. Phone 0151-236-9091


his is a LIFO system - latest items come at the top
See archived news pages
at the bottom of this page

October 29, 2022
"I will be taking a couple of weeks off from the Ottawa Beatles site news cycle as I enjoy the Super
Deluxe vinyl set of Revolver" - John Whelan

Spotify Promoting the Beatles "Revolver"

Jerry Lee Lewis passes away, Ringo Starr Pays Tribute on Facebook

"I got to see Jerry Lee Lewis at the National Arts Centre in Ottawa. Man, what a great rock and roll
show that was! R.I.P. Jerry Lee."
- John Whelan

Related Link from the CBC news services:

Jerry Lee Lewis, flamboyant and controversial rock and roll pioneer, dead at 87

October 26, 2022
The Abbey Road/EMI studios promoting the Beatles "
Revolver" Super Deluxe release in two days
time! :)

October 25, 2022
CROWN LANDS Unleash Ferocious Cover Of THE BEATLES' "Come Together" In Partnership With TSN;
by Brave Words


Juno Award-winning, powerhouse rock duo Crown Lands - Cody Bowles (vocals and drums) and Kevin Comeau (guitar, bass, and keys) - reveal a raw rendition of The Beatles’ quintessential rally song, “Come Together”, released in partnership with TSN as part of a campaign for the Canadian Men’s National Team as they gear up for the FIFA World Cup Qatar 2022™ starting November 20.


This is the first time since 1986 that Canada’s men’s team has qualified for the FIFA World Cup™ and Crown Lands’ version of the song captures the spirit of this historic occasion.


Listen to Crown Lands' cover of The Beatles' "Come Together" here, and below.


Crown Lands infuse the 1969 original with a jolt of their distinct style. Bowels chants the familiar lyrics over pummelling guitars and cascading drums creating palpable energy. Crown Lands describe, “We specifically recorded ‘Come Together’ for the purpose of a partnership opportunity and it has worked out beautifully, we’re honoured for the song to be a part of the FIFA World Cup Qatar 2022™. There is no disputing the magic that The Beatles created together and it’s nice for us to have ‘Come Together’ to add our little twist to it. In other words, we cranked the vocals up an octave, added a metric-ton of Leslie guitars and threw in some fat Taurus synth bass bombs into an already great song.”      


“Thanks to ongoing collaborations with TSN, when the opportunity to soundtrack a pivotal moment for Canadian sports came up, we knew Crown Lands had the ability to create something that would resonate with that energy and captivate fans," said JP Boucher, Senior Vice President, Marketing, at Universal Music Canada.  “Crown Lands have consistently come to the table with powerful, sophisticated original music that’s deeply rooted in the past while evolving for the future and we’re proud to say they delivered with a track that will support Team Canada through the tournament.”

Crown Lands continue to introduce themselves to the rest of the world through their high energy live shows.
This month, they join Greta Van Fleet on the final leg of their Dreams In Gold world tour as it wraps up in the
US. Early next year, they will head out with fellow Canadian rock outfit, July Talk, playing iconic venues
across their home country on The Never Remember Tour.

A really cool photo manipulation of the Beatles

From "We Love The Beatles" on Facebook

October 24, 2022
The Beatles release a second version of "Got To Get You Into My Life" (Unnumbered Mix)

Beatles' Revolver: 'It's time travel' says Giles Martin
by Mark Savage, BBC Music Correspondent

Last month, in Abbey Road's legendary Studio 3, Giles Martin performed a magic trick.

He was there to unveil something that should have been technically impossible - a remixed, reinvigorated version of The Beatles' seventh album, Revolver.


The band's first record after announcing their retirement from live performance, it saw them explore new sonic territories and styles of composition, from the chamber pop of Eleanor Rigby to the kaleidoscopic eruptions of Tomorrow Never Knows.


It took 300 hours to record (almost three times as long as the Beatles' previous album, Rubber Soul) as they experimented with tape loops, back-masking and LSD.


Fans have long been clamouring for an expanded edition of the record - but there was a problem.


Unlike their later albums, the Beatles recorded Revolver's basic tracks direct to tape, standing in a circle, playing as a band. That made it almost impossible for future generations to separate and isolate the instruments and vocals.


Until now.


Back in Abbey Road, Martin cues up Taxman, Revolver's tense and brittle opening track.


"What would it sound like without George Harrison's guitar?" he asks, pulling down a fader that eliminates him from the mix. Next, he drops out Paul McCartney's bass, so the only thing you hear is Ringo Starr's drum kit.


It's a revelation. The kick drum pedal squeaks on every beat, and the snare reverberates off the studio walls. No-one, not even Ringo, would have heard those details at the time.


Martin compares it to being given a cake and having the ability to break it down to its constituent ingredients. And it's only possible because of the technology that Peter Jackson's audio team created for the Get Back documentary.


"The dialogue editor [Emile de la Rey] was doing a really good job of removing the guitars from the dialogue, and I said to him: 'Let's have a look at Revolver. Can you separate the guitar, bass and drums?'" says Martin.


"He did a rough pass and it was so much better than anything I've ever heard. I said: 'OK, we need to work on this', and it got to a stage where it became extraordinarily good."


Martin isn't clear on how the de-mixing process works, but he knows it involves elements of AI and machine learning.


"It has to learn what the sound of John Lennon's guitar is, for instance, and the more information you can give it, the better it becomes.


"So we were going through the tapes just looking for bits where someone played a guitar with no-one else playing - and that's how the computer can can go: 'Okay, this is what I'll extract'.


"But all that means is that, when people listen to the record, the band don't have to be on each other's lap."


For his new version of Taxman, Martin discards the original's gimmicky stereo mix, which placed the instruments in the left speaker and the vocals in the right, Now, the band spreads out across the soundstage, putting the listener in the middle of a Beatles performance.


It's a technique Martin applies to the whole album. Compared to the muddy CD mixes that emerged in the 1980s, the new Revolver is bristling with life, full of presence and attack.


"People forget that it's just a young band playing in the studio," says Martin. "Everything is fairly aggressive. Everything is in your face. Everything the Beatles recorded is a little bit louder than you think it is."


Eleanor Rigby is a perfect example. Instead of using the string section as a soft underscore, Paul asked them to play in sharp, staccato stings inspired by Bernard Herrmann's score for Alfred Hitchcock's Psycho.


"Which is a funny influence if you think about it - you take the shower scene with a woman being stabbed and put it on Eleanor Rigby," reflects Martin.


An expanded, deluxe edition of Revolver captures the strings being recorded at Abbey Road, with Giles's father George Martin arranging the musicians on the fly.


"Do you want them to play the chords without vibrato?" he asks McCartney, who listens to several options before declaring he can't tell the difference.


"All those years of learning," the musicians grumble good-naturedly, "and he says it sounds the same."


McCartney eventually opts to lose the vibrato, giving the recording its razor-sharp immediacy.


"What impresses me is the speed of thought," says Martin. "You have to remember that 10 minutes before that conversation, no-one would have ever heard the Eleanor Rigby strings before. It's an amazing session."


It's one of many insights on the box set, from a rehearsal of And Your Bird Can Sing where the band can't stop laughing - "It reminds you that maybe there was some pot smoked during that time" - to a previously unheard demo of Yellow Submarine.


While Beatles historians have always attributed the song to McCartney, the newly unearthed work tape is pure Lennon. He strums a sad acoustic guitar figure and sings: "In the town where I was born / No-one cared, no-one cared..."


It's unrecognisable from the bumptious singalong it became - the words Yellow and Submarine are conspicuously absent - but Martin says the development of the song shows the Beatles at their most harmonious.


The scale of their confidence was such that the first song they tackled in the studio was Lennon's nightmarish sound collage Tomorrow Never Knows, full of sitar drones, processed vocals and unholy seagull calls (actually a speeded-up recording of McCartney laughing).


Derided at the time, it's now recognised as a landmark of psychedelia, and a pioneering example of sampling and manipulating tape loops.


"And the thing about the Beatles is they never tried it again," says Martin. "I can't work out the mentality of it, in all honesty, what was going through people's minds.


"Even my dad, you know? He was always pretty straight-laced, but he just accepted 'Okay, well this is what we're doing'!


"I always think it's like surfing, in a way. There's been very rare times in my life where I've done creatively good things but most of the time, I'm treading water or trying to avoid getting hit by the waves.


"But the Beatles spent their whole time on the crest of a wave."


Which raises the question, why remix the album at all?


There are Beatles fans who refuse to listen to Martin's remasters and remixes, accusing him of rewriting history.


"I kind of embrace them because, in a way, they're absolutely right," Martin says. "There's no reason why you should listen to these mixes. It's not like I've deleted anything."


Instead, he likens the process to sandblasting the exterior of St Paul's Cathedral, and seeing it as Sir Christopher Wren would have done in 1697.


The surviving Beatles supervised the mixes (McCartney told him off for being "too polite" with And Your Bird Can Sing) and the idea is to preserve their songs for a new generation who primarily listen on headphones, where the original hard-panned version of Taxman is awkward and disorientating.


"I remember mixing Strawberry Fields and the young guy working at Abbey Road with me had never heard the song before," says Martin. "And there's no reason why he should. It's bloody old.


"But there's also no reason why a 26-year-old Paul McCartney shouldn't sound like a 26-year-old does now.


"So essentially, what we're doing is time travel. And I like that even now, 56 years on, we're trying to break new ground. Because that's what the Beatles did."

From the Beatles Official Facebook Pages...

The Beatles' unheard track of John Lennon singing Yellow Submarine leaves fans in tears
by George Simpson for Express

Earlier this year, Giles Martin, the son of The Beatles’ producer George Martin, announced that a treasure trove of 31 outtakes and three home demos would feature on his Super Deluxe Edition of Revolver: Special Edition, due for release on October 28. The 1966 studio album, recorded by the Fab Four after they quit live touring, features classic tracks like Eleanor Rigby and Yellow Submarine – but now the truth behind the latter is out.

John Lennon and Paul McCartney’s Yellow Submarine is a much-loved children’s song with Ringo Starr the vocals on what is also the subject and the title of The Beatles’ surreal animated movie.


According to Rolling Stone, the apocryphal origin story was that Macca wrote it quickly and Lennon tolerated it. However, one of the outtakes from the Revolver recording sessions that has been released digitally ahead of the new box set has the late star singing it himself with different lyrics.


In this melancholy version recorded at home, he sings: “In the place where I was born/No one cared, no one cared/And the name that I was born/No one cared, no one cared.”


Martin said: “I had no idea until I started going through the outtakes. This was a Lennon-McCartney thing. I said to Paul, ‘I always thought this was a song that you wrote and gave to Ringo and that John was like, ‘Oh, bloody Yellow Submarine.’ Not at all. That’s like a Woody Guthrie song. But it’s beautiful in a way, where you realise that there’s so much depth behind it. When you listen to the outtakes, even knowing the beauty of that John version, you know why Ringo ended up singing it. And it was acutely, let’s face it, the right decision to make.”


Nevertheless, fans listening to the sad Lennon version have admitted to tearing up.


One tweeted: “I don’t know how Yellow Submarine made me sob even more than it already did (long story) but of course only John Lennon could make me cry in new ways.” Another replied: “Literally [crying emoji]… but this one cuts deep I’m like damn you can really hear the pain in his voice.”


Ringo has also shared memories of how he ended up singing Yellow Submarine instead.

Speaking with USA Today, Ringo said: “The boys used to write a song for me and they’d present whatever
they thought would be good for me. They had this song and they decided to liven it up. I think Paul thought
of [a yellow submarine]. It could have been in a green submarine, but a yellow submarine is much better. Or
a deep purple submarine, that would have been like, ‘What are they talking about now?’ But, yeah, it was a
Ringo song, like ‘With A Little Help From My Friends’ was a Ringo song.”

October 23, 2022
The Beatles REVOLVER - Rarities From Around The World
by Polygram Auctions

Quirky cover by Giacomo Bondi and The Apple Pies frees up "Dr. Robert"

A cover version that would even put a smile on the face of Beatles producer George Martin - if he were still
alive today. Have a listen...

October 22, 2022
Wait, John Lennon Singing ‘Yellow Submarine’? Hear Wild ‘Revolver’ Outtake
Demo from Super Deluxe Edition has never been bootlegged or even rumored, not even among the most
hardcore Beatle geeks strong
by Rob Sheffield for Rolling Stone

The Beatles could pack an emotional punch like no other band. Their 1966 masterpiece Revolver is full of moments where John, Paul, George and Ringo reach right for the heart. But not “Yellow Submarine.” Until now. The world has always cherished this song as a cheerful kiddie novelty, something the lads whipped up fast for a laugh.


So it’s a real shock to hear John Lennon sing it, alone with his guitar, as a sad acoustic ballad. Taken from the new Super Deluxe Edition of Revolver, out October 28th, it’s one of the biggest surprises: who expected emotional depth from “Yellow Submarine”?


But like so many moments on the new edition, “Yellow Submarine” makes you rethink everything you thought you knew about the group. It shows how far they were willing to experiment on Revolver, pushing out of their comfort zones. “The whole album is them saying, ‘Hey, let’s make it all completely different,’” says Giles Martin, producer of the new version and son of the original producer George Martin. “This was the nitroglyercine that blew everything up.”


The new Revolver has plenty of surprises. It kicks harder than ever, remixed by Martin and engineer Sam Okell in stereo and Dolby Atmos, using the “de-mixing” technology developed by Peter Jackson’s audio team for the the Get Back documentary. But the Super Deluxe collection has 31 outtakes from the vaults, including three home demos. (There’s also a four-track EP with “Paperback Writer” and “Rain.”) It all captures the freewheeling spirit of the Revolver sessions — four boys running wild in the clubhouse, inventing the future.


The “Yellow Submarine” demo has never been bootlegged or even rumored, not even among the most hardcore Beatle geeks. John sings it in his melancholy confessional mode, over folkie guitar picking. He sings, “In the place where I was born / No one cared, no one cared / And the name that I was born / No one cared, no one cared.” It feels like he’s opening up to his painful childhood memories, the way he would in “Strawberry Fields Forever,” “Dear Prudence” or “Julia.” It could fit on the White Album or even Plastic Ono Band. This is “Yellow Submarine”?


Paul McCartney wrote the classic sing-along chorus. But it’s a shock just to realize John was so deeply involved, since people tend to assume he looked down his nose at it. “I had no idea until I started going through the outtakes,” Martin says. “This was a Lennon-McCartney thing. I said to Paul, ‘I always thought this was a song that you wrote and gave to Ringo and that John was like, ‘Oh, bloody ‘Yellow Submarine’” Not at all.”


The world knows it as a showcase for Ringo Starr, always the kiddie’s favorite. As Paul recalls in a new Foreword he wrote for this edition, “One twilight evening, lying in bed before dozing off, I came up with a song that I thought would suit Ringo and at the same time incorporate the heady vibes of the time. ‘Yellow Submarine’ — a children’s song with a touch of stoner influence, which Ringo still wows audiences with to this day.”


But it’s a case of John and Paul combining two imdividual fragments into a perfect whole, like “A Day in the Life” or “We Can Work It Out.” They discussed the song’s origin in a 1966 radio interview for the Ivor Novello Awards. “I seem to remember, like, the submarine,” John tells Paul. “The chorus bit, you coming in with it. And wasn’t the other bit something that I had already got going, and we put them together?” Paul agrees, “Right. Yeah.”


It’s one of two Revolver outtakes released today. The other is a fantastic high-energy early romp through “Got To Get You Into My Life,” having a bash at Stax-style Memphis R&B. No horn section yet — George Harrison plays the hook on fuzz-tone guitar, for a garage-band vibe.


But “Yellow Submarine” is the one that’s a whole new trip. In another work tape from the box set, they sing it together as a harmony duet a la the Everly Brothers. You can hear Paul pull back, generously recognizing that his mate is going deep into a personal zone and giving him all the room he needs. It’s staggering to think of John getting so vulnerable in this tune, then handing it over to Paul to rework into a Ringo hit. So many beautiful Beatles stories wrapped up in one song. It’s a tiny snippet, sitting unheard in the vault for almost 60 years. But it encapsulates so much about the unique Beatles chemistry you can hear in every moment of Revolver.

The MonaLisa Twins brilliantly cover Day Tripper

Flashback: Wings Let 'Em In

Promo from Cash Box, June 26, 1976

Paul McCartney - Let 'Em In. With Hot City Horns (Kenji Fenton, David Burton and
Mike Davis). First show in Kraków ever, second time in Poland ever.
Live at Tauron Arena, Kraków - 03-12-2018.

October 21, 2022
The Beatles: Sir Paul's unpublished appearance in Dandy revealed
by the BBC news services

The half-finished strip shows The Beatles star waking up and catching a bus


An unpublished comic strip featuring Sir Paul McCartney has gone on display in a museum.


In 1963 - soon after The Beatles released their first single - the musician said it was his dream to appear in The Dandy.


The half-finished storyboard, created by cartoonist Nigel Parkinson, has gone on display at Liverpool Beatles Museum.


It shows the musician waking up and catching a bus before being chased by fans.


The strip also refers to some of his famous lyrics, from songs including A Hard Day's Night, Ticket to Ride and I Want To Hold Your Hand.


Mr Parkinson, who draws Dennis the Menace for The Beano, said: "It was nerve-wracking drawing Sir Paul.


"I've drawn lots of celebrities before and normally I capture them quite quickly.


"But I have been looking at him on TV since 1962, have seen him in magazines and I've seen him in concert a couple of times, so I thought it would be quite hard to capture all the different factors of his personality."


Although the idea was never completed, Sir Paul did feature in the final issue of the long-running comic in 2012, alongside characters including Desperate Dan.


Mr Parkinson sent two copies of the last edition to the musician after they sold out.

"He emailed me to say:


"He told me some members of his family said it was the greatest thing he'd ever been associated with."


Cartoonist Nigel Parkinson said it was "nerve-wracking" drawing Sir Paul

The incomplete storyboard is on display at Liverpool Beatles Museum in Mathew Street

Ottawa Beatles Site spotlight on Derek Taylor

October 20, 2022
Paul McCartney's Epiphone Casino that he used on Taxman and Paperback Writer
From "Buskin with The Beatles" on Facebook...

John Lennon introduces Esther Phillips: "And I Love Him"

by Robert Palmer, New York Times, March 19, 1982

ESTHER PHILLIPS sat rocking in a chair at Fat Tuesday's, the jazz club at 17th Street and Third Avenue where she is performing through Sunday. She had flown into New York City from Los Angeles earlier in the day and said she was tired, but her pianist, George Spencer, had been rehearsing the three New York musicians who were hired to back her, and after several hours they were beginning to sound impressively tight.


So Miss Phillips picked up a microphone, carried it over to the table where she was sitting, and began to sing along. Her voice had the richness, the range, the supercharged emotion and the grainy, textured edge that have been her trademarks since the early 1950's, when she made her first recordings as Little Esther. The club would be empty of fans until later in the evening, but she did not seem to be holding anything back.


Although she is still petite enough to make a convincing Little Esther, Miss Phillips has a voice that is not at all small. She already had it in her early teens, and it attracted the attention of Johnny Otis, the Los Angeles bandleader and recording artist.


Triumph at the Barrelhouse


''I was born in Galveston, Tex., in 1935, lived in Houston, and moved to Los Angeles when I was 5,'' Miss Phillips recalled during a break from her rehearsal. ''By that time I was singing in the sanctified church, and by the time I was 12 or 13 I was singing like Dinah Washington; that was who I wanted to be. One night my teen-age sister told me that since I liked to sing so much, she was going to take me out to make some money. She dressed me up to make me look older and entered me in an amateur contest at the Barrelhouse, Johnny Otis's nightclub in Watts. I won the $10 first prize. My sister and her friends kept $9, gave $1 to me, and took me home. That was in 1949.''


Mr. Otis was impressed by the young singer, but she slipped away before he could find out her name. He scoured amateur shows in the Watts area of Los Angeles hoping to run into her again, and several months later he did. ''He came to my house and asked my mother if I could sing with him,'' Miss Phillips said. ''She was working as a domestic in those days. She said I could, but when the band toured, she made sure I had a tutor to teach me my lessons, and she went with me, too, carrying a baseball bat. That's the truth!''


Johnny Otis had begun his career as a swing band drummer, but by 1949 he was an important innovator in the emerging rhythm-and-blues field. In addition to helping run the Barrelhouse and leading his band, he also made records and served as a talent scout for the Newark-based Savoy label. In 1950, Savoy enjoyed the No. 1 rhythmand-blues hit of the year with Mr. Otis's ''Double Crossing Blues.'' The record featured a vocal by Little Esther and the Robins, and over the next few years Miss Phillips sang in several more Otis band hits. She also toured with the group, playing in dance halls, theaters and tobacco warehouses across the country.


''Johnny was a great cartoonist as well as a musician, and he put out a newspaper on the band bus,'' Miss Phillips remembered with a smile. He called it The Black Dispatch. One night the trumpet player had me in a corner talking to me when my mother wasn't looking, and the next day there was a great big cartoon of us in The Dispatch. Everything that happened, Johnny would get in the back of that bus and draw a cartoon of it.''


The Otis band broke up in 1951 and Miss Phillips began making records for the Federal label. She was one of America's most popular rhythm-and-blues vocalists, but she was also developing a jazz orientation. ''I began to like Sarah Vaughan, and also Charlie Parker, who played prettier than anybody I ever heard in my life,'' she said. ''I started singing some of his saxophone solos while I was still in Johnny Otis's band and the guys used to look at me and ask each other what I was doing.''


Life was a constant round of touring and recording; the gradual coming-of-age that is such an important part of most teen-agers' lives is something Miss Phillips missed almost entirely. ''Sometimes I feel bad about being in the business all my life,'' she reflected. ''It doesn't seem normal. I was never a cheerleader at a game, and whenever teen-agers were dating and going to dances, I was working at dances. But I guess I wasn't meant to have those experiences.'' A Trunkful of Ups and Downs


Hers has been a career with more than its share of ups and downs. The high points included some impressive recordings for Decca, Atlantic and other labels and exciting mid-1960's performances at the Newport and Monterey Jazz Festivals and in London, where she appeared with the Beatles on the BBC television show ''Ready, Steady, Go.'' The low points included a frequently unsettled personal life and an on-again, off-again drug problem that was finally cured after therapy in the late 1960's.


In 1971, Miss Phillips signed with a new record label, C.T.I. ''That was a real good company,'' she said, ''and my producer at C.T.I., Creed Taylor, is one of the greatest producers I know. I had a lot of fun on that label because he allowed me to stretch out and say whatever I wanted to say.''


Mr. Taylor's principal accomplishment at C.T.I. was the creation of a fresh, commercially-successful fusion of jazz improvisation with pop polish and dance rhythms. The records he made with Miss Phillips were pop-jazz gems, and one of them, a funk-tinged remake of the standard ''What a Difference a Day Made,'' became an influential dance record and a substantial hit. Miss Phillips was nominated for a Grammy in 1973 for her performance of the song. Aretha Franklin was given the award instead, but Miss Franklin turned around and gave the trophy to Miss Phillips.


'Between Record Labels'


C.T.I. eventually succumbed to major-label competition, and in recent years Miss Phillips has been ''between record labels.'' This situation may be the result, at least in part, of the uncategorizable nature of her talent. Her own assessment of this talent is straightforward. ''I sing jazz, blues and ballads,'' she says. ''I've always loved the blues, and I try to stay as close to the blues as I can.'' But one can't call what Miss Phillips does pure blues, pure jazz or pure soul; it has elements of all three.


Furthermore, the raw intensity she must have learned to project when she was singing in sanctified churches is always evident in her work. Her performances of pop standards like ''Lover Man'' are emotionally charged and often musically challenging; she seldom skims over a telling lyric or takes the easy way around a harmonic impasse. What would a profit-minded record company do with a singer as gifted, as original and as searing as Miss Phillips?


Fortunately, one can hear her sing at Fat Tuesday's this weekend without waiting for an adventurous company to rise to the challenge. Her shows are at around 9 and 11 P.M. and 1 A.M. tonight and tomorrow night and at 9 and 11 only on Sunday. The cover charge is $8.50, with a $5 minimum, or one can sit at the bar for an $8 admission charge that includes the price of one drink.


The number to call for reservations is 533-7902.

October 19, 2022
Rick Wakeman's piano tribute to the late drummer Alan White

Rick Wakeman, keyboardist for the "Yes" rock band, pays tribute to his fellow band member Alan White.

The drummer performed with John Lennon and Yoko Ono on their "Live Peace In Toronto 1969" album
and also played drums on John Lennon's smash hit "Instant Karma! (We All Shine On)".

Watch Alan White play drums on "Instant Karma" by John Lennon

Vinyl Sales Soared 22% in First Half of 2022, Per RIAA Mid-Year Report
by Jem Aswad for Variety (originally published by Variety on September 21, 2022)


U.S. recorded-music revenue climbed 9%, streaming revenues are up 10% and vinyl sales soared a whopping 22% in the first half of 2022, according to the Recording Industry Assn. of America’s mid-year report released on Wednesday.


Total revenue climbed 9% to $7.7 billion at estimated retail value; total streaming revenues rose 10% to $6.5 billion, and paid streaming-service subscriptions are up to 90 million, with their revenues rising 10% to $5 billion and comprising almost two-thirds of the first half total. However, the report notes, at wholesale value, revenues grew 8% to $4.9 billion.


Streaming represented 84% of total revenue, with physical next at 10%, digital downloads at 3% and synch at 2%.


But the most exciting statistic for many is the continuing rise in vinyl sales, which have been climbing consistently since 2006. The number of units shipped rose 15.7% over the same period last year — from 18.8 million to 21.8 million — and dollar value is up from $460.5 million to $570.2 million. CD sales continued their slow downward slide, going from 18.4 million to 17.7 million and $204.3 million to $199.7 million.


While vinyl sales rose a jaw-dropping 97% in the same period last year, that number was dramatically skewed by the pandemic, which forced the closure of most record stores for many months, although mail-orders thrived during that period.


Although physical product claims just 10% of total revenue, the continuing rise of vinyl carries much stronger impact: While the number of CDs and vinyl units shipped is comparable, vinyl brings in much more revenue (and costs more to manufacture).


“Today’s report is good news for artists, songwriters, streaming services, and fans — everyone with a stake in music’s future,” said RIAA chief Mitch Glazer. “We truly are seeing the power of recorded music’s rising tide to lift all boats across the music family.


“Indeed, artists share of music revenues have risen faster than labels’ and a recent UK study found that label investment in artists has doubled over the last five years while A&R spending on new talent has grown two and a half times faster than company revenues. Songwriters and publishers have seen tremendous growth as U.S. collectives like ASCAP and BMI reported record payments reflecting an increase in the writer/publisher share of music revenues of 50% since the CD era. Digital services also have had unprecedented success as earnings at just one major service rose 22% last year pushing it to over 400 million active listeners worldwide. And 2022 is already shaping up as one of the strongest years ever for live music — roaring back after the long struggle against the pandemic."

October 18, 2022
Klaus Voormann poses with the new Revolver boxed set
Photo culled from "Buskin with The Beatles" on Facebook...

How the Beatles' Revolver ripped up the rulebook for popstars
Ahead of a new remix, GQ speaks to producer Giles Martin about revising the daring 1966 record, and how it
paved the way for the experimental eras of artists like Kate Bush, Kanye West and Radiohead
By Fergal Kinney for GQ

Before Revolver, the template for pop stardom was as follows: stars got bigger, stars got safer. If you’ve seen Baz Luhrmann’s Elvis, you’ll know how the provocative teen idol was tamed for middle America. The Beatles’ Revolver – released this month in a blockbuster new reissue and remixed by Giles Martin, son of original Beatles producer Sir George Martin – was the album that ripped up that template forever, for those who dared. It laid down a challenge that has been taken up by artists from Kate Bush to Kanye West.


By 1966, Beatleamania was in full swing. To outsmart the screaming fans at that summer’s NME Poll Winners show, the group dressed as chefs and entered the venue via the tradesman’s entrance, holding plates of food. But the four Beatles were growing restless. London was where it was at, and touring was becoming a drag. More than his bandmates, Paul McCartney was for the first time absorbing the new culture all around him – theatre, art, cinema, classical music and the avant-garde. When The Beatles entered Abbey Road studios in April that year, their ambitions were bigger, and stranger, than before.


Revolver,” says Giles Martin, “is The Beatles turning [away from] the four-headed beast that wears a suit and has a moptop. They went on holiday, discovered pot, had all these ideas and just exploded into the studio.” In this sense, explains Martin, it’s more a concept album than Sgt Pepper. “Every song sounds different and it’s them trying to push the boundaries - and pushing my dad - into new directions that they didn’t even know was possible.”


Martin began work on the new Revolver immediately after working with Peter Jackson on 2021’s The Beatles: Get Back. “It was like going from a band that had already opened their Christmas presents and didn’t want to play with their toys,” says Martin, “to a band on Revolver who are just unwrapping their presents and having all of their ideas.”


Remember the moment in Get Back when Paul and John’s conversation in a crowded cafeteria is suddenly isolated? To remix Revolver, Martin used the technology pioneered for that film to separate the instruments. A few years ago, this technology would have been unthinkable. “There are so many surprises because there are so many ideas,” he says. “You have to be careful and respect the original, but I had no idea that Ringo was drumming on “For No One”. The finger snaps on “Here There and Everywhere”. There’s a bunch of things.”


The final test was Martin sitting alone in a room in Los Angeles with Sir Paul McCartney. The Beatles legend had his finger on a big button that could alternate between the 1966 version and the 2022 edition. A daunting day at work? “It’s fun!” laughs Martin, “it’s intimate, the passion is all about the music. He remembers making and mixing the album, and I make sure that if he has any comments I address them.” On the album’s opener “Taxman” – inspired by that era’s Labour government’s 95% supertax on high earnings – Martin had left the guitar solo sounding “a bit too polite.” McCartney said no. “It should be loud, that’s the whole point. He still got the punk, aggressive nature of it even though he’s 80.”


Revolver is the high point of The Beatles’ inclusive experimentation. Sessions began with the revolutionary “Tomorrow Never Knows'” Indian-influenced exhortations to “turn off your mind, relax and float downstream.” And yet, it’s the same album that contains "Here, There And Everywhere", which McCartney still regards as the finest love song he ever wrote. Love songs, drug songs, and love songs about drugs – the Motown stomp of “Got To Get You Into My Life” was McCartney’s love letter to marijuana, which had just arrived in the group’s social scene (a giggly demo of “And Your Bird Can Sing”, John Peel’s favourite Beatles song, will leave you in no doubt of that.) As an album, it’s the soundtrack of a moment of unique working-class ascendency in culture; an optimistic moment underlined by the England football team winning the World Cup one week after Revolver’s release.


The Revolver reissue also shows stranger roots to the most familiar of material. “Yellow Submarine”, still bellowed out in British primary school halls in 2022, was testament to the band’s genuine affection for children’s music (producer George Martin had form too, producing “Nellie The Elephant” a decade earlier). It began life, however, as a dour, melancholy Lennon demo, beginning “In the place where I was born / no one cared, no one cared.” The demo is released for the first time on the new Revolver reissue.


In the modern day, what Revolver has changed is profound. It created an entirely new trope in pop music: the artist that enters the mainstream, and then bends the mainstream to their will. Though Kate Bush’s earliest hits were highly ambitious, it would take her walking away from touring in 1979 – as The Beatles did – to begin her period of hugely inventive studio masterpieces. Or the left turn in Kanye West’s career following the stark minimalism of 808s & Heartbreak in 2008, beginning his purple patch of high studio experimentation. The 2000 release of Kid A by Radiohead was a similarly defining break with their past. Getting weird has since become a necessary rite of passage for any self-respecting artist.


Revolver predicted the future, and the future kept on playing catch-up. In 1980, The Jam took the “Taxman” bassline straight to the top of the charts again on their “Start!” single. “People say Oasis sound like the Beatles,” says Giles Martin, “but what they actually sound like is ‘She Said She Said’ and ‘Rain’ from those sessions.” Only with dance music would “Tomorrow Never Knows” really be matched – it is hard to imagine any other song from 1966 being used as part of a Chemical Brothers set at the Haçienda.


Perhaps, though, Revolver’s biggest capacity to surprise is its role in a pop culture story that – almost sixty years later – is losing none of its appeal. Thirty-per-cent of The Beatles’ streams come from those aged 18 to 24, a figure set to rise in the aftermath of the phenomenal success of Peter Jackson’s Get Back. In pop music, this was not supposed to happen. People were not supposed to be this excited about songs that were hits before their mothers were born. 


Revolver Special Edition by the Beatles is released 28 October.

October 17, 2022
Love Me Do comes back to 20 Forthlin Road

Neo-Jazz singer-songwriter Ni Maxine

Flashback: Dick James "Step Inside Love" promo in Billboard Magazine, May 11, 1968

October 16, 2022
The Making of The Beatles REVOLVER Album Cover

by Parlogram Auctions

Historical Flashback: "Beatles Honored For Charity Work"
by Cash Box, Sept 5, 1964

October 15, 2022
The Beatles share new video for 'Taxman'
by Sam Kemp for Far Out Magazine


The Beatles have shared an official video for ‘Taxman’ directed by Danny Sangra. The single is the first track from the newly remixed and the expanded special edition of Revolver – set for release on October 28th.


‘Taxman’ was recorded between April and May 1966. Penned by George Harrison, the song was intended as an attack on the top rate of income tax introduced by Harold Wilson’s Labour government, otherwise known as the ‘super-rich’ tax rate. It also just so happens to include a wink to the Batman TV theme tune. What’s not to love?


Infused with elements of James Brown’s 1966 hit, ‘I Got You’, Lee Dorsey’s ‘Get Out Of My Life Woman’ and The Spencer Davis Group’s ‘Somebody Help Me’, ‘Taxman’ evolved over the course of about 24 hours, with McCartney offering up a thrilling guitar solo in the studio. And yet, it still emerged as one of the starkest tracks on Revolver and serves as a brilliant opener for one of The Beatles’ most cohesive albums.


Revolver marked a huge shift in The Beatle’s ethos. It helped usher in a new age of experimental, avant-garde production and was essential to their creative evolution. Today, it remains many Beatles fans’ favourite record by The Fab Four. Now, you can fall in love with Revolver all over again with this newly expanded and re-mixed Special Edition. The album is available from October 28th, 2022, with 5CD and 4LP Super Deluxe Box Sets available, as well as 2CD Deluxe, Picturedisc 1LP, 1CD, download and streaming options.


The album features new Stereo and Dolby Atmos mixes by Giles Martin. You’ll also find previously unreleased session recordings and demos. The Super Deluxe CD and vinyl sets also include a new book featuring a forward by Paul McCartney. Check out the video below.

Paul McCartney in
Saltaire featured in Songs the Beatles Gave Away
by Emma Clayton for Telegraph & Argus

Paul McCartney with the Black Dyke Mills Brass Band

ON June 30, 1968 Paul McCartney visited Saltaire to record an instrumental tune called Thingumybob, which
he had written especially for a brass band to play.

Accompanied by his Old English Sheepdog, Martha, he spent a morning in Victoria Hall, and in the street, recording the track with Queensbury’s Black Dyke Mills Brass Band. The recording of Thingumybob was for a theme tune for a TV sitcom.


Now the Saltaire recording is featured in a new book taking an in-depth look at songs written by the Fab Four, never recorded or released by the Beatles, but instead made famous by other artists.


The Songs The Beatles Gave Away is by Colin Hall, who was given access to interviews he and Bob Harris, legendary music broadcaster and former Old Grey Whistle Test presenter, conducted in 2008/9 with Sir Paul McCartney, Sir George Martin, Cilla Black and others. The book brings together these exclusive interviews for the first time and takes a whole new look at the Beatles’ legacy.

Writes Colin: “Throughout the Sixties it seemed everything the Beatles touched turned to gold. John Lennon and Paul McCartney’s compositional talents got better all the time, as did George Harrison’s. Every new single and album marked a startling progression that took the group and its fans in new, exciting directions.


“No group has been quite so attuned to the zeitgeist of their time. Where the Beatles went others eagerly followed. Through it all Lennon and McCartney rarely wasted a song. Tunes that somehow didn’t work for the Beatles themselves would be stored away, on tape or in the memory, to be returned to at some time in the future, more often than not to offer to other artists for whom they were deemed better suited.


“And once the Beatles were up and running, John and Paul were occasionally moved to compose brand new songs specifically intended for other artists. They were encouraged by their manager Brian Epstein, who knew this would keep the Beatles brand on the charts beyond the time enjoyed by the group’s own releases. John and Paul were well aware that the ‘pop’ scene of the late 50s and early 60s was notoriously fickle. The big ‘stars of today’ had a tendency to become the ‘havebeens of tomorrow’. Journalists would frequently pose the question of how long they thought the Beatles would last. Their replies were always modest, realistic and based on their experience of who and what had gone before. As the Beatles began to top music charts around the world, Lennon and McCartney were eager to establish their reputation as composers, so that when the bubble finally burst they could continue to earn a healthy income as writers.


“During the Sixties, many artists ‘covered’ songs written by John and Paul that the Beatles had already recorded and released, but not as singles. Beatles albums were eagerly seized upon and songs composed by John and Paul were turned into hits by acts such as Marmalade with Ob-la-di, Ob-lada and Joe Cocker with With a Little Help from My Friends.


“My focus has been those heady days of the Sixties when the 45rpm single bossed the world of ‘pop’ music and the charts. The singles featured here, however, were not ‘covers’ of Beatles. For want of a better expression, they are tunes John, Paul and George ‘gave away’. They are a separate Beatles songbook: a body of work released by other artists fortnate enough to be gifted original tunes, some composed for them, others originally written with the Beatles in mind, but not actually released by the group themselves.


“My story also encapsulates the amazing journey the Beatles made from the early days as the Quarry Men and Silver Beatles to the heady days of Beatlemania and beyond, to the years when they ceased touring.”


The book, says Colin, is about the post-war music scene: “Coming out of the deprivation and rationing of the war years, they were fuelled by an energy the like of which we are unlikely to experience again.”


The Quarrymen


In his preface, Bob Harris writes: “It was a moment of fabulous energy - a glorious Rock ’n’ Roll fuelled transition as the austere, ration-book, post-war age of the monochrome Fifties burst into the new, exciting culture explosion of the technicolour Sixties.”


The Songs The Beatles Gave Away was inspired by the 2009 Radio 2 documentary on which Colin worked with Bob Harris and his wife, Trudie Myerscough-Harris. Colin has since spoken to artists such as John Clay who played with the Black Dyke Mills Band and McCartney in Saltaire. The book is illustrated with photographs from Colin’s collection, those donated by friends and promotional photos from the period. Liverpool-born Colin is a regular contributor to music publications and in 2006 was invited by Bob Harris to contribute to Sony Award-winning Radio 2 documentary The Day John Met Paul. Its follow-up, The Songs The Beatles Gave Away, was the inspiration for Colin’s book.


The Songs The Beatles Gave Away, Great Northern Books, £19.99. Call (01274) 735056 or visit

October 14, 2022
Ringo Starr gets Covid 19 again and cancels his remaining tour!

Get well Ringo! Your health comes first before the touring! From Ringo's Official Facebook pages...

Related link: Ringo Starr cancels North American tour with Covid by BBC News

"Think For Yourself" - The Beatles - Full Instrumental Recreation (4K)
by Michael Sokil

The Beatles "Sgt. Pepper" still soaring high at the #1 slot on Billboard while the Monkees "Headquarters" is at #3 for September 16, 1967

October 13, 2022
Paul McCartney's brother Mike was the original Beatles drummer
by Celebretainment for InsideNova

Sir Paul McCartney's brother Mike McCartney was The Beatles original drummer but lost out on the gig of a lifetime.


Younger sibling Mike, 78, has revealed that he was the first person to pick up the sticks behind two of the eventual Fab Four - Paul and John Lennon - when they started out as The Quarrymen, but after he broke his arm at Scout camp he was left with nerve damage which meant his drumming days were over.


When asked if he had been The Beatles original drummer in an exclusive interview with BANG Showbiz, he replied: "Yes."


Further explaining the situation, Mike has said: "I was The Beatles drummer, but I broke my arm in the Scouts. It was when John used to come to the house in Forthlin Road with The Quarrymen, before George was even there. I broke my arm at camp and it affected the nerves that control the wrist. They were dead.


"I had to have electric shocks and hot stuff put on my arm to get the nerves back. For a couple of years, I had to wear a support strap with a wire.


"If I hadn’t broken my arm, I’d have been a Beatle. But I did break my arm and I’m not a Beatle. You always have to deal in reality, not dreams."


After guitarist George Harrison joined the band it was drummer Pete Best who got the job of performing with The Beatles when they went to Hamburg, Germany, before he was being fired from the group in 1962 and ultimately replaced by Ringo Starr who completed the line-up as Beatlemania swept across the globe.


Rather than regret what could have been, Mike reinvented himself with the stage name Mike McGear and formed the trio The Scaffold with Roger McGough and John Gorman, performing comedy, music and poetry.


The Scaffold had several chart hits between 1966 and 1974, including the 1968 UK Christmas Number One 'Lily the Pink' and 1967 single 'Thank U Very Much', which was the favourite song of the late Queen Elizabeth The Queen Mother and former British Prime Minister Harold Wilson.


Mike spilled: "I wrote 'Thank U Very Much' . It was The Queen Mother and Prime Minister Harold Wilson's favourite record. And then I wrote his most hated ... it was a song called 'Yesterday's Men' about his deposed government."


Mike is also a renowned photographer and has published books documenting the early years of The Beatles and the group backstage and on tour, and in 2005 he exhibited a collection of photographs that he had taken in the 1960s entitled 'Mike McCartney's Liverpool Life'.


His latest book, 'Mike McCartney’s Early Liverpool', is an insight into the rebuilding of Liverpool post World War II and how, due to the cultural explosion of the Merseybeat scene and nightlife, Liverpool was firmly put on the UK cultural map. Mike documented this pivotal time period as he experienced it, and now reveals many unseen/unpublished images from his personal collection and artistic works.


Discussing his life-long passion for photography at the Atlas Gallery in London at a preview of photographs from the tome, Mike said: "I take photos everyday. Because you can't not take photographs. Photography is something that is part of your very soul."


The Collector’s Edition of 'Mike McCartney’s Early Liverpool' is available at now.

October 12, 2022
Giles Martin says that he could only remix The Beatles’ Revolver album in stereo because of
Peter Jackson’s AI-powered audio separation technology: “It opened the door”
by Ben Rogerson for MusicRadar

Special Edition CD and vinyl box sets will be available here, there and everywhere on 28 October

Originally developed for the Get Back documentary series, and later used by Paul McCartney so that he could ‘duet’ with John Lennon at the Glastonbury Festival, Peter Jackson’s AI-powered audio separation technology has now been called upon by producer Giles Martin for his new stereo mix of The Beatles’ Revolver album.


Martin had already remixed Sgt. Pepper's Lonely Hearts Club Band, the White Album, Abbey Road and Let It Be, but thought that, due to the fact that The Beatles only had access to 4-track recorders when they created Revolver in 1966, that album and others, such as Rubber Soul, were off the table, because multiple instruments (guitars, bass, drums, etc) were bounced onto a single track.


However, the game changed when Jackson’s WingNut Films Productions got involved, and Martin got talking to the company’s Machine Learning Engineer Emile de la Rey.


“He developed this system and it got to the stage when it became remarkable,” Martin told Mark Ellen at Word In Your Ear, “and at the end of Get Back I said to Emile ‘I’ve got this Revolver album - do you want to have a go at doing it?’


“I sent him Taxman, and he literally sent me guitar, bass and drums separately - you can even hear the squeak of Ringo’s foot pedal on his kick drum. It’s alchemy… and we honed it and we worked together on it, and it ended up being the situation where I could have more than just the four tracks to work with, and that’s why we could do the stereo mix of Revolver. It opened the door.


Martin gives the analogy of a cake being ‘unbaked’ and separated into its original ingredients - flour, eggs, sugar, etc - which enabled him to take Revolver’s songs and put them back together in a different way.


Speaking to Variety  about the Get Back documentary in 2021, Peter Jackson said. “To me the sound restoration is the most exciting thing. We made some huge breakthroughs in audio.”


Explaining further, he added: “We developed a machine learning system that we taught what a guitar sounds like, what a bass sounds like, what a voice sounds like. In fact we taught the computer what John sounds like and what Paul sounds like.


“So we can take these mono tracks and split up all the instruments - we can just hear the vocals, the guitars. You see Ringo thumping the drums in the background but you don’t hear the drums at all. That allows us to remix it really cleanly.”


Paul McCartney, meanwhile, brought the technology to a festival audience when he performed I’ve Got A Feeling - a track from 1970 album Let It Be that was recorded during the iconic 1969 rooftop gig - with a ‘virtual’ John Lennon during his Glastonbury set earlier this year.


The new special editions of Revolver will be released on 28 October on CD and vinyl. New Dolby Atmos mixes will be available digitally.


Find out more on The Beatles’ website.

October 11, 2022
Ringo gets over Covid 19 and resumes his tour

Above image is from Billboard, November 25, 1967.

October 10, 2022
Is This the World's BEST Sounding Beatles Cassette? MoFi/MFSL Alert

October 9, 2022
Happy Birthday!

October 7, 2022
Leave the West Behind - How Russia Pirated the Beatles

After the fall of Communism in the U.S.S.R., a former underground producer became a hero to a nation starved of the Beatles and rock and roll.


The Beatles (Битлз) were a symbol of emerging counterculture throughout the world, and in few places was this more dangerous to the establishment than the Soviet Union. The Communist Party valued culture, and state-run media offered only Soviet folk, classical, and other traditional styles of music and dance to the nation. As culture changed in the 1960s, censorship against Western music became even more strict.


But the emerging black market – helped immensely by Radio Luxembourg – brought rock and roll to Soviet youth. For years, music was recorded onto discs made of discarded x-rays, called “ribs” or “bones”. The process of making these records was called “Roentgenizdat”; pilfered x-rays were cut into circles by hand and a cigarette was used to burn the center hole. A reverse engineered phonograph was usually used to etch the grooves at 78 RPM and was good for 5-10 plays. Opportunists raided the refuse of medical facilities for more material. Peddlers hid the discs up their sleeves, selling them for 3 rubles each. Friends arranged to buy different discs, forming lending circles and tape recording each other’s music. Unknowing customers asked for specific titles in shops, and unscrupulous shopkeepers often simply retrieved an unlabeled disc from a back room, hand-wrote the requested title on it, and sold it. Who knows how many Russians went years thinking any given song was something else entirely! Eventually roentgenizdat fell out of favor as people moved on to tape reels and, later, cassettes.


The Beatles were a specific target of the Communist government, banned even after the Rolling Stones (among others) had state-sanctioned music released officially. They were widely bootlegged and were a favorite for smuggling from travelling sailors and actors returning home. It was a dangerous practice; being caught could mean having international travelling rights revoked by the state, removal from the Communist Party, or expulsion from university. Vendors caught making or selling smuggled discs or copies of could be subject to jail time. Sellers developed code to protect themselves from undercover police, asking prospective sellers trivia about British or American rock and roll. Failing the quiz meant no sale. Genuine recordings and even some pirated copies could cost half a month’s wages.


Of course, there is subject to speculation what level of influence this illicit import of mop top propaganda had on the Soviet youth. A 2009 documentary titled How The Beatles Rocked The Kremlin examined how Western rock and roll – and the Beatles specifically – helped bring about a cultural revolution which became political. Even for citizens who didn’t understand the words of the songs that were not overtly political, the music awakened the desire for freedom from an oppressive government.


“Of course, the processes by which the Beatles and their music promoted change in the Soviet Union are complex and elusive. From Stalinist times, culture had often been an agent for change in a society where other political processes were suppressed and unavailable…Their music arrived at just the moment when the hopes of a young generation were being dashed by Brezhnev’s crackdowns. What was conveyed through the music, and what was troubling to the Kremlin was a youthful spirit of freedom and unchecked energy. Everyone I met from the Soviet Beatles generation emphasized the word Freedom, and talked about how their music somehow freed the ‘slave within us.’” – Leslie Woodhead, director of How The Beatles Rocked The Kremlin


Only two official EMI-licensed LPs were issued during Communist rule in the U.S.S.R., and only then not until 1986 after much consideration by the Communist government what the safe amount of exposure of the Beatles to its people could be allowed. A Taste Of Honey was a 16-song compilation consisting of songs released pre-1965. The cover utilized the four individual portraits included in The Beatles (“The White Album”)A Hard Day’s Night was issued that same year, omitting When I Get Home from the original UK release due to its suggestive lyrics. Both were issued on the state-owned Melodiya (also known as “Melodia”) label.

After the fall of the Soviet Union in 1991, piracy of Western music and movies was as rampant as ever. For Western copyright holders it was a catch-22; piracy arose because of their inability to release legitimate issues of their goods, and because it was so widespread most companies saw little benefit to trying to fight it.


“Foreign sound recordings, as of the present moment, are not protected in Russia. There is no point of entering a market in which you are going to get ripped off and there is nothing you can do about it.” – Eric H. Smith, executive director of the International Intellectual Property Alliance, 1993


It was then that a producer and promoter named Andrei Tropillo (Cyrillic: Андрей Тропилло) took advantage of this vacuum. In 1990, Tropillo was put in charge of the St. Petersburg branch of Melodiya. He created his own label, Antrop, and began issuing Beatles, Pink Floyd, Led Zeppelin, and others. Many of these releases bore printed disclaimers “Recorded from radio broadcast” which were attempts to get around what little copyright law existed at the time, but in reality the Beatles discs were sourced from the 1987/88 compact disc masters. Antrop functioned as a legitimate record label and, because they used Melodiya facilities, the releases bore two catalog numbers – the Melodiya numbers being continued from the legitimate releases dating back decades. Manufacturing of the discs was humorously credited to “Rock’n’Roll Parish of United Evangelical-Lutheran Church of Russia” after Tropillo moved the Antrop headquarters from Melodiya to the St. Petersburg Evangelical-Lutheran Church.

Tropillo often made changes to the album artwork — sometimes subtle, sometimes not so much — at least in part to circumvent copyright law. Cover text was translated to Cyrillic/Russian, including decorative text such as that used on Rubber Soul or Magical Mystery Tour. On the cover to Sgt. Pepper’s Lonely Hearts Club Band, Tropillo placed a head shot of himself in the crowd behind the Beatles, and one of notable Russian Beatles fan Kolya Vasin. On Abbey Road, John was made barefoot instead of Paul.


Presented here are the covers and original-language track information for each of the Antrop releases, including some special notes about each album.

Beatles For Sale carries a distinctive light blue border around the cover photo, likely an
easy way to cover the original cover text and logos.

Beatles For Sale, back cover. Notice the “B” in the top middle which was taken from
an early Beatles logo.

Revolver and Sgt. Pepper’s Lonely Hearts Club Band were issued as a double LP, with the front and back covers featuring the (edited) covers, respectively. Karl
Marx is replaced with noted Russian Beatles fan Kolya Vasin, and Andrei Tropillo’s face appears in the top row. The cover of Револьвер features completely different
photos than the original cover.

Magical Mystery Tour and Yellow Submarine were issued as a double LP, with the front and back covers featuring the (edited) covers, respectively.

Early pressings of Битлз mistakenly omit Piggies from the track list, but it does appear on
the album. The poster was edited to feature the lyrics in Russian. The discs were each
labelled Side 1/Side 2 in early pressings, but were later changed to Side 1/Side 2/Side
3/Side 4.

The Antrop version of Abbey Road features a barefoot John instead of Paul, as it is on
the original, official version. The back cover did not feature translated song titles.

The back cover featured the translated song titles next to the original English titles.

October 6, 2022
Ringo Starr to release "Live At The Greek Theatre" on November 25, 2022

Norwegian Wood - The Beatles - Full Instrumental Recreation (4K) - Feat. Perry Stanley & Sam

The Beatles "Revolver" LP Chart Position on Cash Box for November 19, 1966

October 5, 2022
What Is The BEST SOUNDING Version of The Beatles Abbey Road? SOLVED!

Klaus Voormann's "Revolver 50" book is now out

This is the advertisement for the Beatles "Help!" album that appeared in Billboard Magazine on August 14, 1965

On December 12, 1964 "Beatles '65" becomes the topselling Beatle disk up until that point in time

October 4, 2022
Paul McCartney’s Brother Just Found the First Color Photo of The Beatles
Technically, it's the first color photo of the Quarrymen
by Tobias Carroll for Inside Hook

Photo credit: Mike McCartney

It’s worth a reminder that Paul wasn’t the only artistic-minded member of the McCartney family coming of age in post-war Liverpool. His younger brother Mike was involved in a number of acclaimed albums over the years, and has also received plenty of notice for his work as a photographer. And, as budding photographers tend to do, the young Mike McCartney took plenty of images of the world around him — including of his brother and his brother’s bandmates.

And so, as The Telegraph reports, the younger McCartney recently came upon a photograph in his archives which is believed to be the first color photo of The Beatles ever taken. It dates back to 1958, when the band was playing under the name of the Quarrymen. McCartney told The Telegraph that he believes that this was taken on George Harrison’s first show with the group; he was 15 at the time.


“This may have been George’s first performance with the group,” he said in an interview. “John, without his glasses, couldn’t see a thing — but we could clearly see from his red cheeks that he was bevvied.”

McCartney also chalked up the lack of many color photos of The Beatles to the price of color film at the time. “[I]t would have been a special present from dad to get colour film for me,” he told The Telegraph.

This photograph is a fascinating glimpse of the band before they were The Beatles — both literally and figuratively. And if that exploration into musical history intrigues you, it’s not the only early image from McCartney that’s recently re-emerged.

Yoko Ono, Sean Lennon and the folks at Studio One send Get Well Wishes to Ringo!

From the Beatles Official Facebook pages...

October 3, 2022
Ringo Starr cancels tour due to health problems

From Ringo's Official Facebook pages...

The Beatles: Rare images of early Cavern Club gigs found
by the BBC  

Rare photos of The Beatles performing in their early days at Liverpool's Cavern Club have been discovered.


The images were taken in 1961, a year before their debut single Love Me Do was released.


The photos show Sir Paul McCartney and John Lennon singing, with George Harrison on guitar and a partly-obscured original drummer Pete Best.


Historian Mark Lewisohn described them as "whippet-thin under-nourished lads" following their tour to Germany.

The band, who were then aged between 18 and 20, had recently returned from performing in Hamburg, where they had been "slogging 500 stage hours in 90 days", he said.


"So slender has this marathon made them, it's as if their heads and bodies are stranger.


"A look emphasised by the unusual clothes - leather trousers and cotton tops. No other photos show them dressed this way."


Mr Lewisohn, who has written a number of books about the band, said the photos showed The Beatles playing to a lunchtime or evening audience in July 1961.


"Three months from here, John and Paul went to Paris and returned with what became known as 'The Beatle haircut'.


"Days later, Brian Epstein saw The Beatles in the Cavern, offered to become their manager and set them on a course that changed our world."


Pete Best was dropped from the band in 1962 and replaced by Ringo Starr.

Ringo Starr still has aspirations at 82: 'My aim is to be Frank Sinatra'
by Melissa Ruggieri for USA TODAY (originally published on Sept. 22, 2022)

Ringo Starr will tell you with a grin that he’s really good at hanging.


He might go for a walk on the beach with Toto guitarist Steve Lukather, a member of his All-Starr Band for a decade, given the appropriate location. Or engage in some of his other talents, such as painting or photography. Of course, the gym always beckons the Beatles icon, a seemingly ageless 82.


“I don’t like that word, ‘rest,’ ” he says.


On this day, Starr is checking in from a hotel room in Florida, where the legendary drummer and his All-Starr Band – Colin Hay, Edgar Winter, Hamish Stuart, Warren Ham, Gregg Bissonette and Lukather – are playing a round of shows on the tour that runs through October.


Starr is disappointed that rain and lightning have thwarted his beach strolling plans, but the eternally chipper, “peace and love”-spouting musician is happy to talk about his third extended play in two years – cleverly titled “EP3” – a four-song release featuring Lukather, Linda Perry and Dave Koz.


Question: You are in amazing shape. What kind of regimen do you adhere to?


Answer: I go to the gym a lot. I work out to get my heart racing to shift the stuff that gets jammed in your arteries. I’m a vegetarian and I (drum) when we’re on tour. If I’m at home, I’m painting, I’m doing something. I have two ways: I’m busy or I’m not. I can handle both of those; it’s the bit in the between that gets you crazy. ... Just keep moving as much as you can. If you’re in the gym, you’re on the treadmill and lifting weights and you have a program. When I get back to LA, I have my trainer three times a week. I work out nearly every weekday, sometimes six days a week. How hard is it to go and do something good for yourself for an hour?


The four songs on the new EP all have an element of positivity and hope, especially “Let’s Be Friends.” Did you look around at the world at the moment and think, OK, let’s try to find some unity here?


I think I looked around the world many years ago. I think we, as far as I and the band were concerned, started looking in the ’60s in San Francisco with the hippies and we wanted a lot of peace and love. Every song I’ve done on this EP leads to peace and love. I was offered songs that I didn’t like the attitude of the song, so I didn’t (record it).


I’m not sure people would expect to hear Dave Koz with you. How did it come about to have him on the album?


Dave Koz is getting me a lot of publicity (laughs). He’s America’s premiere sax player. (“Free Your Soul”) is quite a long track and we felt like jamming through it. When Dave came in, it worked perfectly.


Do you think you’ll add any of the new songs to the setlist on this current tour?


No. I used to say (in concert), “I’d like to thank the five of you for buying my CD” (laughs). People are there to see me from the Beatles days and (hear) the Beatles songs and some songs through the rest of my life. This year for the first time, we’re doing “Yellow Submarine” and I put in “Octopus’s Garden.” I never wanted to do two underwater songs. But the audience, thank you, Lord, they love it.


You’ve been doing the All-Starr Band tours for 30-plus years. Did you ever envision it going on this long and with this type of variation in musicians?


It was a good idea in 1989. Someone asked somebody to ask me, would Ringo go on tour? I didn’t have a band but I said yes. Then I said, “What have I said yes to?” So I had to start calling people like Dr. John and Billy Preston and Levon Helm. The first band had three drummers. I was so insecure. … But then everybody was saying yes. I had to close up my phone book. Then I decided we’re going to change the whole band every time. You have to have hits (to be in the All-Starr Band), that’s part of the deal. I’ve had some really incredible players and several who didn’t want to put in 100%.


And they were not invited back?




What’s it like backstage before you all go on? Any rituals?


We all get backstage and the band runs on and then I have 30 seconds of fear.


Really, still?


Still! It’s so far out. It's like, oh, God, it’s not going to work. My brain takes over. That’s why I run on stage. My aim is to be Frank Sinatra and just stroll on, like (affects a smooth-crooner-with-cocked-eyebrow voice), “Hey, how are you doing?” I saw him once and I wish I could do that. He started singing behind the curtain, so relaxed. He was so great. I still haven’t managed to do that. I have a moment of fear and then I run on and as soon as I grab that mic, I’m home. It all just fades away and we’re there to have fun.

WORCESTER - Ringo Starr and His All Starr Band, featuring Steve Lukather, Colin Hay, Edgar Winter, Warren Ham,
Gregg Bissonette, and Hamish Stuart at The Hanover Theatre, Friday, June 3, 2022.
Photo credit: Allan Jung/Telegram & Gazette

October 2, 2022
Flashback to the to the Beatles Monthly Book July 1964 introduction

In 1964 the Four Preps created a novelty song entitled "A Letter to the Beatles"

The Beatles "Don't Pass Me By" Goes #1 in Scandinavia

Nicholas Schaffner writes the following from his book "The Beatles Forever"

October 1, 2022
From the 1968 edition of McCall's Magazine

The Beatles’ Revolver 2022 Box Set: Andre’s Exclusive Review

by Andre Gardner for 102.9 Classic Rock MGK

On October 28th, The Beatles Revolver Special Edition sets will be released worldwide through
Apple/Universal.  With this album, The Beatles pushed the recording studio, and songwriting, to their limits, with incredibly inventive songs recorded in an entirely different way, and generating sounds never before heard in a studio or captured on tape.  In fact, manipulation of that tape was a key element of the sound of Revolver.

This special edition follows the similar format of most of the previous four SE releases: a remixed album by Giles Martin and Sam Okell at Abbey Road Studios, a mono mix of the album, and several discs of outtakes, demos, and rough mixes, available on CD, vinyl or digital. The only difference is, this time, there’s no DVD/Blu-ray included with the deluxe set. A stellar 100+ page book is also included, with many rare photos of the band in the studio, of master tape boxes and track sheets, a new Klaus Voorman graphic novel telling the story of the making of the album’s cover, and in-depth descriptions of the songs on the set.

As my second favorite album of all time, after The Beatles (White Album), Revolver was a set I was really looking forward to hearing. This was the album that expanded my musical horizons like no other did, and the thought of hearing outtakes, demos and early mixes of the songs I hold so dear was very exciting.

When I hosted “Breakfast With The Beatles Sunday,” which I ended back in January, I used to love playing and talking about tracks from the Let It Be, Abbey Road, The Beatles (White Album), and Sgt. Pepper box sets weeks before release, so you were one of the first in the world to hear them. In lieu of that, I thought I’d share my thoughts on this special set, which I have literally been listening to nonstop since I first received it.

Two bits of caution: there are several spoilers in this review, so read at your own risk! Also, this review represents my opinion and mine alone. Your mileage may vary.

I’ll look at the set disc by disc:


CD ONE – REVOLVER New Stereo Mix


Once again, the team of Giles Martin and Sam Okell were tasked with the job of remixing a Beatles album.  In the case of Revolver, though, the job was a bit more problematic than it was for the other box sets.  The reason was the album was recorded on a four-track tape machine and, in the cases of many of the songs, multiple instruments were recorded onto one single track.  Until recently, it would have been impossible to separate those instruments and do a remix “from scratch” but, now, thanks to cutting edge technology developed by Get Back director Peter Jackson’s team, it can be done.


The result, to my ears, is certainly a better balanced and clearer mix of the album, no question, but at what cost?  Yes it’s true some Beatles fans have scoffed over the rather dramatic nature of the 1966 stereo mixes, but that was the way we’ve heard them for over 55 years.  The sounds on the ’66 mix are tight, harsh in spots, heavily compressed, reversed, slowed down, sped up, and treated to heaps of the Ken Townshend-Abbey Road invention, artificial double-tracking, but it is PERFECT that way to me.  I LIKE hearing the sound of the amplifier hum at the beginning of “Taxman.”  On this 2022 mix, the hum is gone.  I LIKE hearing the first syllable of Paul’s “Eleanor Rigby” vocal in two channels, before it shifts to just one.  I know that was a mixing error by young Geoff Emerick, but that is planted in my musical DNA forever.  The 2022 mix, though, has perfectly balanced stereo vocals throughout.  Yes it sounds great, but is it BETTER?  It depends who you ask.


On “Yellow Submarine,” Martin and Okell saw fit to model the stereo mix after the original MONO mix, a practice they have followed in their previous works.  Having said that, for the first time, the guitar strum on the first note of the new stereo mix is now there, as is John’s “a life of ease” line, which had only previously been reserved for the mono mix.  This was the highlight of the remix disc for me.


The vocals on “She Said She Said” are just too flippin’ loud, I’m sorry.


On “Got To Get You Into My Life,” there is a keyboard bit at the end fade that gets faded out and faded back in on the original 1966 stereo mix, as the chords played didn’t exactly match what was going on with the rest of the song.  On this new 2022 version, the keyboard part plays throughout the end fade and, to me, it sounds clunky.


Overall, while it is a ‘cleaner’ stereo mix of the album, it lacks the punch and raw aggression of the original, is flat in spots and, dare I say, seems poorly mixed in a number of places, particularly in some of the vocals.  To me, Revolver spotlighted The Beatles’ harmonies like no other album, and spreading the voices out in the stereo picture takes a little away from my listening experience.


I will end the review of CD ONE on an up note:  on a few songs, Giles and Sam let the fades go on just a wee bit longer.  Love that!


CD TWO – Sessions One


NOW we’re getting to the gold.  There was some early concern there wouldn’t be enough outtake material to warrant a standalone version of Revolver, that maybe Rubber Soul and Revolver would be combined into one set but, thankfully, that wasn’t necessary. There are lots of incredible alternate versions on this set to keep fans interested for sure and, like the previous editions, the outtakes are arranged chronologically by the date they were recorded.


Every one of these sessions tracks are special, though several have appeared before as part of The Beatles Anthology series in the mid-90s.  The nice part about the previously-released versions is, with a few exceptions, there is extra audio at the beginning, end, or both on the tracks.


Kicking off the outtakes discs is the first take of “Tomorrow Never Knows,” take 1.  It’s the same take as previously released on The Beatles Anthology 2, but with more audio and Lennon silliness at the end. For the second “TNK” outtake we get a first-ever digital copy of remix mono 11.  That was the mono mix released for a day before George Martin ordered a different mix be put in its place.  It’s fun to hear in such clarity, with the sound effects appearing at different spots and in different order, than the commonly-known mono mix.


There are three outtakes of “Got To Get You Into My Life” featured.  The first one is the same take 5 as was on Anthology 2, except it’s in stereo and there’s a great conversation between John and Paul before the take starts regarding the organ intro.  The second outtake called “(Second version) – Unnumbered mix – mono” is SO good!  It’s the basic track with a different Paul vocal, and features what sounds like a fuzzed guitar playing the parts the horns would later play.  The third outtake is the backing track, take 8, without vocal, and it sounds absolutely marvelous!


One of the real highlights of the set for me is the “Love You To” sequences.  The original take 1 is featured, a lovely outtake with just George on acoustic guitar and vocal, and Paul singing the high parts on the last word of the end of the verses.  Next is a rehearsal of the song with George working on his sitar licks, and the third outtake, take 7 is just wonderful.  It’s the released version, but with Paul singing the high part of the entire last line of the verses, rather than just the last word, over top the other harmony vocals.  This was mixed out of the final version but does sound really nice here.  The version also has a great slate by engineer Geoff Emerick, and the song dies out when the tape is shut off, which makes me very, very happy to hear.


The two takes of “Paperback Writer,” the only two takes they did of the song, are very similar to the bootleg versions we all know and love except, with take 2, there are no vocals.


The “Rain” outtakes are a real gem.  With the first outtake we get to hear the backing track just as The Beatles recorded it – at a frantic pace!  It makes me respect their tightness as a band even more after hearing it this way.  I do wonder, though, if the bass was added after they slowed down the tape.  The second “Rain” outtake is the slowed down version with a full ending.


Take 7 of “Doctor Robert” was exactly what I’d hoped for – the unedited version of the song.  The longer version contains an extra verse, a repeat of the second verse with the chorus.  It also ends clean, so you hear John’s “OK Herb,” or whatever he was saying, very clearly before the master tape cuts him off mid-sentence.


The disc ends with two outtakes of  the first pass at “And Your Bird Can Sing,” one of which has the “giggling” vocal, and is basically the same as the one heard on both Anthology 2 and various bootlegs.  The only difference is there’s more talk before and after the takes.



CD THREE – Sessions Two


The disc opens with another “And Your Bird Can Sing” outtake, the re-make take 5, a much heavier-sounding rendition.  They still didn’t know how to end the song, but that would be figured out on take 6.  This version is positively delightful.


Fans of “I’m Only Sleeping” will delight in four versions of the song on this set, three of which have never been heard before.  Only the rehearsal take included has been previously released, and it’s fantastic to hear how the song developed over time.


Next up are two simply stellar outtakes of “Eleanor Rigby.”  The first features a conversation between George Martin, the string players, and Paul discussing whether or not to use vibrato on the strings during the verses.  This exchange was captured so beautifully by Beatles historian Mark Lewisohn in his book “The Beatles Recording Sessions At Abbey Road,” but it still brought me to tears hearing this behind-the-scenes conversation going on as a true masterpiece was being recorded.  The next outtake of “Eleanor Rigby” is the complete take 2, strings only.  It’s nice to hear the strings so clean, too, as the outtake featured on The Beatles Anthology 2 was treated to additional reverb through Abbey Road Studios’ “ambiophonc” speaker system.


The sweet take 10 of Paul’s melancholy “For No One” is next, just the backing track before Paul put his vocal down.  It starts with Ringo asking Paul how to play the drum part and Paul advising him.  The take ends with Ringo asking, “what do you think?”


Some of the most mind-blowing outtakes on the set are the “Yellow Submarine” outtakes.  The first two come from what’s being called a “Songwriting Work Tape.”  On the first outtake, John accompanies himself on guitar and while he has the melody of the verse down, the lyrics are totally different and quite sad.  It was only when he and Paul got together to work on the song (as heard in the second work tape outtake) that you hear the song take shape.  The only thing they didn’t have finished was the last verse (Donovan would help with that later!)  The third “Yellow Submarine” outtake was the finished version, without the sound effects and shouting added.  The whole tape is sped up, including Ringo’s vocal.  The final outtake of the song is very similar to the one released on the “Real Love” CD single, except for a few extra seconds of audio at the end.


The next outtake is of George’s phenomenal “I Want To Tell You.”  The take opens with George Martin asking George Harrison what the song is called and when George responds that he doesn’t know, John makes a hilarious suggestion to call it “Granny Smith, Part Friggin’ Two.  You’ve never had a title for anything except ‘Don’t Bother Me.”  “Granny Smith” was George’s working title of “Love You To.”  You hear engineer Geoff Emerick call it “Laxton’s Superb,” another apple variety, and Ringo also chimes in and suggests titling it “Tell You,” which turned out to be a good one.  This is the most disappointing outtake on the set for me because, for reasons known only to Giles Martin and Sam Okell, the decision was made to include only 39 seconds of the actual song!  There’s a brief bit of chat with Paul and George Martin at the end when someone walks into the studio while the red recording light is on, and I’m glad they kept that in, but couldn’t the whole take 4 have been included?  It would easily have fit onto the CD.


A positively gorgeous outtake of “Here, There And Everywhere” is featured next, take 6 in this case.  It’s a different take than the one featured on the “Real Love” CD single (that was a combo of take 7 and vocals from take 13), with just Paul’s beautiful guide vocal and the backing instrumentation.


Rounding out the outtakes are a demo and rehearsal outtake of “She Said She Said.”  The John demo has been bootlegged for decades, but it is nice they included it on this set.  The second outtake is a rehearsal of the song, preceded by some funny chatter captured during the actual takes two and three.  This would put to bed the long-held belief that, after an argument, Paul left and the three recorded the song without him, as he is clearly heard on that opening chatter.  The rehearsal take, incidentally, is KILLER, and possibly my favorite of all the outtakes.


Interestingly, there are no outtakes of “Good Day Sunshine” featured on this set, and only Giles and Sam know why.  Lack of space on the disc was clearly not the reason.  I’d have settled for the basic track with no vocals.


CD FOUR – Original mono master


This disc features the original 1966 mono mix of the album by Geoff Emerick, mastered beautifully by Thomas Hall.  According to the technical notes found in the deluxe book, this was mastered from the digital mono master.  I know some Beatles audiophiles aren’t thrilled with the mono mix of Revolver but I just love it!


CD FIVE – Revolver EP


Just four tracks on this disc, both the stereo and mono versions of the two songs recorded during Revolver that weren’t on the album but, instead, were released on a single, “Paperback Writer” and “Rain.”  The stereo tracks are new mixes by the Martin/Okell team and, like the rest of the remixed album, suffers from a lack of sonic ‘excitement’ to these ears,


Remixing warts aside, I still give this set a 5/5.  It’s bloody REVOLVER, after all!


Listen for my special one hour “unboxing” of the new Revolver Special Edition set, airing in late October on 102.9 MGK!  Details to follow.


@Andre Gardner/

By popular demand, the Beatles "Rock and Roll Music" goes #1 in Sweden, #2 in
Denmark and Norway on April 17, 1965

Just let me hear some of that rock and roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock roll music
If you wanna dance with me
If you wanna dance with me

I have no kick against modern jazz
Unless they try to play it too darn fast
And change the beauty of the melody
Until they sound just like a symphony

That's why I go for that rock and roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock roll music
If you wanna dance with me
If you wanna dance with me

I took my loved one over across the tracks
So she can hear my man a-wail a sax
You must admit they have a rockin' band
Man, they were blowing like a hurricane

That's why I go for that rock and roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock roll music
If you wanna dance with me
If you wanna dance with me

Way down South, they gave a jubilee
The country folks had a jamboree
They're drinking home brew from a wooden cup
The folks dancing got all shook up

And started playing that rock and roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock roll music
If you wanna dance with me
If you wanna dance with me

Don't care to hear 'em play a sambo
Ain't that too much of that congo
Not in the mood to take a mambo
So keep a rockin' that piano

And let me hear some of that rock and roll music
Any old way you choose it
It's got a backbeat, you can't lose it
Any old time you use it
It's gotta be rock roll music
If you wanna dance with me
If you wanna dance with me

Songwriters: Chuck Berry

September 30, 2022
On this date the Beatles release "Tomorrow Never Knows" (take 1) on Youtube

Ottawa Beatles Site spotlight on Ravi Shankar

A rare photograph of Neil Sedaka and George Martin

September 29, 2022

There is a new paperback on John Lennon by James Patterson

Flashback: From Cash Box December 28, 1968 Edition...

September 28, 2022
Flashback: John Lennon and Yoko Ono "Happy Xmas (war is over)" advert in the
December 25, 1971 edition of Cash Box

For Ringo Starr, it's still about peace and love — and laughter

Former Beatle, 82, bringing his All Starr Band tour to several Canadian cities, including Winnipeg on Oct. 4

by Emily Brass, journalist for CBC Manitobia

More than 60 years after Ringo Starr first hit the stage with the Beatles, the rock 'n' roll superstar and multimillionaire says performing still hasn't gotten old. 


"Music keeps you young," Starr said in a video call with CBC. "I've never had a day that I've said, 'I don't want to do this anymore.'


"Musicians have magic nights," he continued, leaning into the lens with excitement. "The band is together, the audience is together, we're all joined. That's the hook.


"Some nights, it's just great. Other nights, it's incredible. And I love that feeling."

The former Beatle is on the second leg of a North American tour that will see him hit more than two dozen cities in under two months — pretty impressive for an 82-year-old. He has a string of upcoming Canadian dates, starting Monday in Laval, Que., and continuing with shows in every province to the west, including an Oct. 4 Winnipeg stop.


That date has been highly anticipated for decades by Winnipeg fans like author and rock historian John Einarson. He was just 12 years old when the Beatles' plane touched down in Winnipeg to refuel on Aug. 18, 1964 — the band's first time on Canadian soil.


The layover was announced on the city's radio stations just an hour before landing. 


"[Beatles manager] Brian Epstein happened to look out the window and saw hundreds and hundreds of kids on the outdoor observation deck," said Einarson. "He convinced the four Beatles to get off the plane."


Einarson, who sometimes leads Beatles tours in the band's hometown of Liverpool, U.K., still laments not having found a ride to the airport that August day.


"It was a big, big deal," said Einarson. "The Beatles were everything in 1964. They were starting their first North American tour, heading to San Francisco, and they stopped in Winnipeg — in the middle of nowhere — and greeted the fans.


"And it was Ringo who said, as they were going back onto the plane, 'Hope to see you again!'" 


Six decades later, those 20 minutes on the tarmac might have been less remarkable for Starr.


"I don't remember landing," said the rock star with a chuckle. "We were on tour, baby! You know what it's like."


But the legendary drummer said he's happy to return to the city, showing his affection for the local audience with one of his trademark ribbings.


"Just to freak everyone out in Winnipeg, the plane will land and 21 minutes later, we'll take off," said Starr, with a belly laugh. "Then you'll be saying, 'Yes, and last time you were here for 21 minutes.'"


'We all make the world go round''


Another thing that puts Winnipeg on Starr's map is the Guess Who. Burton Cummings and Randy Bachman have both appeared in the All Starr Band over the years.


Einarson interviewed the renowned Canadian guitarist for his book Still Takin' Care of Business: The Randy Bachman Story. Playing with Starr was one of the highlights of his career, Bachman told Einarson.


"He said that every night, he'd be playing on stage and he'd have to kind of look around and say, 'Oh my God, I'm playing with a Beatle,'" the author recalled.


"Randy sold gazillions of records, and he's an extremely successful rock star. But here he is on stage with a Beatle," he said. "It really humbles you."


"Last time I let them in the band," said Starr with a big grin, when asked about the famous musicians from Winnipeg.


"Burton Cummings had great songs [like] American Woman and, you know, Randy played fine."


As his quick laugh and non-stop kidding suggest, anyone who plays with Starr must be able to take a joke. Another prerequisite is having hits.


This tour, the rotating cast of the All Starr Band includes Edgar Winter, as well as past and present members of Men at Work, Average White Band and Toto.


But one thing that doesn't change is the message. Unity is still at the heart of Starr's music, with lyrics from his latest EP like, "We all make the world go round, you're not alone in this."


"Some people have sent me other songs that don't quite say peace and love, and I don't do them anymore," said Starr.


"Through all these years, the main thing is peace and love," he said, flashing a peace sign with both hands several times during the interview.


Einarson said those gestures still strike a chord with fans old and young.


"When you consider the times and the war in the Ukraine, it's nice to have someone who still believes in peace and love," said Einarson, adding he can't wait to see the musical hero perform at Winnipeg's Canada Life Centre.


"The audience is not going to be all boomers like me," he said. "There'll be more graying ponytails … but there'll be younger fans as well.


"He is a real, live Beatle coming to Winnipeg. That always creates excitement."

AI-Generated Portraits Imagine How Celebrities Would Look Like If They Were Alive Today

AI-generated art has become quite popular on the internet. Today, many artists and designers are using AI technology to create dynamic images, videos, and interactive content.

Edited by Bhavya Sukheja for NDTV


Images generated by Artificial Intelligence (AI) have been making waves recently, and now one Turkey-based artist has used this technology to bring back celebrities from the dead. Photographer and lawyer Alper Yesiltas used AI technology to imagine what celebrities, including John Lenon, Heath Ledger and Michael Jackson, would look like if they were still alive. 


Taking to Instagram, Mr Yesiltas shared his collection of the project, titled "As If Nothing Happened". "With the development of AI technology, I've been excited for a while, thinking that 'anything imaginable can be shown in reality'," he wrote about the project in his blog


"When I started tinkering with technology, I saw what I could do and thought about what would make me the happiest. I wanted to see some of the people I missed again in front of me and that's how this project emerged," the artist added.


He stated that the hardest part of his creative process was to make the image "feel real". "The moment I like the most is when I think the image in front of me looks very realistic as if it was taken by a photographer," he said. 


Further, Mr Yesiltas informed that to create the images, he used software like the AI photo enhancer Remini and photo editing programs like Adobe Lightroom and VSCO. He created portraits of celebrities such as Princess Diana, Freddie Mercury, Paul Walker and Tupac Shakur.


The similarity between each of the celebrities featured in Mr Yesiltas' project is that they all died at a young age and under tragic circumstances. According to him, "Behind this project lies the question of 'how would people look if some great events had not happened to them'". 


Mr Yesiltas wants to now extend the "As If Nothing Happened" project, but in a very sensitive way. However, he said that the process is a little bit slow. He also intends to continue using the same AI bot that he developed, and come up with images for projects like "Life in 2050" and "Alternate Museum". 


AI-generated art has become quite popular on the internet. Today, many artists and designers are using AI technology to create dynamic images, videos, and interactive content. There are several applications and tools widely available that allow users to create such pictures by simply entering the text or phrase in AI text-to-image generators.


September 27, 2022
Rocking Through The 60s!

Where the 1960s "psychedelic" look came from


Listen to a very funky cover version of "Taxman" by Caleb Davis

Rastrelli Cello Quartet does an excellent cover of "Here, there and everywhere"

Why George Harrison Said He Was Very Proud of This ‘Revolver’ Song: ‘I Literally Invented That
by Hannah Wigandt for Showbiz Cheatsheet

In 1966, George Harrison felt tired and bored. The Beatles were constantly touring, and he was sick of it.
Most of the group agreed, so they stopped touring. It was the best decision they ever made, mainly because
it allowed them to focus on their music even more.

They progressed as musicians and songwriters. They became sponge-like, allowing so many things to inspire
and influence them. The result was some of their most iconic albums, including Revolver, Sgt. Pepper’s Lonely
Hearts Club Band
and virtually all their albums after that. By opening themselves up to the world of music,
they soon became the masters influencing the rest of the world. And according to George Harrison, Revolver
featured one song in particular with a lasting legacy.

George Harrison said The Beatles became ‘more conscious of so many things’ after they stopped touring


Around 1966, The Beatles realized they were going nowhere and fast. While crowds of their screaming fans were happy to see them live, even if they weren’t really listening to the music, the Fab Four started getting bored of touring.


During a 1987 interview with Entertainment Tonight, George explained that he got sick of playing the same 10 songs. If they continued down that path, The Beatles wouldn’t progress as musicians.


“We became popular, and all this stuff happened where we sang the same songs a lot, we still had a laugh, it was still good fun though,” George said. “But you know the-that side of it, of playing like as a musician lost the edge there because we just played the same tunes that we play recorded, go around the world singing the same 10 songs and every year, we’d lose one and add a new one, and it got a bit boring being fab.”


However, when the group decided to stop touring in 1966, the door to musical exploration opened up. In 1992, George told Guitar World that Rubber Soul and Revolver saw massive positive changes in the band.


“We just became more conscious of so many things,” he said. “We even listened deeper, somehow. That’s when I really enjoyed getting creative with the music-not just with my guitar playing and songwriting but with everything we did as a band, including the songs that the others wrote. It all deepened and became more meaningful.”


George was also experiencing a spiritual awakening around this time too, and it had a positive impact on his playing.


George Harrison’s ‘Revolver’ song ‘I Want To Tell You’ was a source of pride


Listening deeper to music paid off. For the first time, songs were coming to the Beatles’ guitarist like never before. His musical mentor, Ravi Shankar, taught him things he never imagined, and he brought some of his best songs to the table when The Beatles returned to the recording studio. For George Harrison, Revolver and Rubber Soul offered a chance to showcase his talent.


George’s work on one particular song changed rock music forever. When fans listened to “I Want To Tell You,” they couldn’t believe what they heard. That wasn’t how rock sounded at that time.


George said he was very proud of the song. Guitar World said, “The song marked a turning point in your playing, and in the history of rock music writing. There’s a weird, jarring chord at the end of every line that mirrors the disturbed feeling of the song. Everybody does that today, but that was the first time we’d heard that in a rock song.”


“I’m really pleased that you noticed that,” George said. “That’s an E7th with an F on the top, played on the piano. I’m really proud of that, because I literally invented that chord.


“The song was about the frustration we all feel about trying to communicate certain things with just words. I realized the chords I knew at the time just didn’t capture that feeling. So after I got the guitar riff, I experimented until I came up with this dissonant chord that really echoed that sense of frustration.


“John later borrowed it on Abbey Road. If you listen to ‘I Want You (She’s So Heavy),’ it’s right after John sings ‘it’s driving me mad!’ To my knowledge, there’s only been one other song where somebody copped that chord-‘Back on the Chain Gang’ by the Pretenders.”


George had many influences in 1966


Besides having Shankar as a musical guru, George also had other musical influences at the time, including Bob Dylan. George and Dylan later became extremely close friends, but in 1966, they were simply influences on each other.


Guitar World pointed out to George, “Dylan inspired you guys lyrically to explore deeper subjects, while the Beatles inspired him to expand musically and to go electric. His first reaction on hearing the Beatles was supposedly, ‘Those chords!'” They went on to ask the ex-Beatle, “Did you ever talk to him about the way you influenced each other?”


“Yes, and it was just like you were saying,” George replied. “I was at Bob’s house and we were trying to write a tune. And I remember saying, ‘How did you write all those amazing words?’ And he shrugged and said, ‘Well, how about all those chords you use?’


“So I started playing and said it was just all these funny chords people showed me when I was a kid. Then I played two major sevenths in a row to demonstrate, and I suddenly thought, ‘Ah, this sounds like a tune here.’ Then we finished the song together. It was called ‘I’d Have You Anytime,’ and it was the first track on All Things Must Pass.


The musical experimentation and learning didn’t stop with George Harrison, Revolver, or Rubber Soul. The Beatles continued to push the envelope with their new music. They did things no one else dared to, and it continued to make them one of the best bands in the world.

September 26, 2022 Listen to Willy Chirino's excellent cover of Yellow Submarine
("I swear that Willy Chirino sounds a lot like Paul Anka!" - J.W.)

Brazil's unique label design for the Beatles "Revolver" LP issued in 1966

September 25, 2022
Watch the Hellacopters perform a raucous cover of the Beatles classic "Eleanor Rigby"

The Beatles Magnificent Memorabilia Collection | Beatles Museum #4

review of The Beatles Revolver
by altrockchick on March 24, 2016


If you listen to all the albums that preceded it in chronological order right before you place Revolver on the turntable, you will sense immediately that this is not just another Beatles album, but a revolution in sound and songcraft.


There are surprising number of very stupid critics who attribute the revolution to the Beatles’ use of LSD, marijuana and similar substances. While LSD can expand one’s awareness of the fragility of the convention we call “reality,” and marijuana can give one the feeling best expressed in the song “Don’t Worry, Be Happy,” neither substance is particularly helpful in the act of creation. Creation requires the artist to exert discipline over the cascade of sounds or images or words bouncing around the brain.


All the evidence indicates that McCartney didn’t use acid in the period prior to Revolver, but immersed himself in the thriving London arts scene at a time when the arts would have provided just as much stimulation and perspective-altering experience as golden sunshine. John and George did indulge in psychedelics, but if anything, it seems to have had the effect of opening their minds to different musical, literary and spiritual traditions.


The use of weed during the Revolver period is well-known to anyone with a copy of the Anthology 2. “Got to Get You into My Life” is an ode to grass. The giggly version of “And Your Bird Can Sing” reeks of cannabis. Had the Beatles thrown discipline to the wind—as they did frequently during the dark days of the White Album and Let It Be—they might have stupidly insisted on releasing that version, or cut it up into snippets for use in a suite. At this point in time, they were still in deep collaboration with the more staid George Martin and had just brought in the ultimate recording studio nerd in Geoff Emerick, so pointless experimentation during the recording of Revolver was off the table anyway.


So while its likely that drug use played a part in opening minds to new possibilities or allowing them to relax and not take themselves or their worldwide popularity too seriously, one could argue that the simple fact that they had more time to play in the studio contributed mightily to what many consider their greatest work.


You could also argue that timing had as much to do with Revolver. The mid-60’s were a time when the arts were flourishing, when artists in every field were breaking new ground and challenging convention. Thanks in part to economic stability, people of the time could begin to explore the higher level needs in Maslow’s hierarchy, needs that are often satisfied through aesthetic experience. This led to a public willing to consider the new and different, which in turn encouraged artists to keep reaching for the new and different. Revolver could not have come into being during the conformist 1950’s and it couldn’t have come into being in the dark and ugly 1970’s.


Finally, the Beatles of this period were extremely competitive, musically ambitious and wanted to sound different. They wanted to break with the Beatlemania past and explore new ground. While drugs may have been part of the journey, the progression would have likely happened had they never heard of LSD.


“Taxman” breaks all kinds of conventions while a establishing the sense that the Beatles are completely comfortable with defying those conventions. Revolver opens with a George Harrison composition, quite a departure from Lennon-McCartney dominance. The intro, with its conflicting countdowns and socially-inappropriate cough, paints a laid-back scene reinforced by the simple rock chord structure of the song. We are delighted and surprised as this apparently basic song is transformed by a series of complex harmonies, political commentary and a scale-defying lead guitar performance by Paul McCartney, who stepped in when George found the solo too demanding. The song’s surprising richness is amplified when it hits us that The Beatles have opened an album with a song that has nothing to do with boy-girl relationships, but their perception of a warped tax structure. While you might classify “Taxman” as a “protest song,” it’s a right-wing protest song—a libertarian anti-tax message. It’s not something you’d expect from a band whose fans were terrified that they were “going hippie.”


After the studied casualness of “Taxman,” the perfectly-executed harmonies that open “Eleanor Rigby” hit you right in the gut. As George Martin notes in the documentary Produced by George Martin, the melodic syncopation is simply fantastic, enriched by the finest string arrangement in rock history (the strings-only recording on Anthology 2 stands up well on its own merits). The lyrics are a masterpiece of poetic economy, easily McCartney’s best lyrical effort. The last verse confronts us with the apparent meaninglessness of life and the inability of organized religion to supply us with any sense of meaning:


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


I’m forever astonished that the man who could write the spare but vivid lyrics of “Eleanor Rigby” could plummet in a few short years into someone content to fill songs with nonsense words characterized by zero narrative coherence. The story behind the song is that he did get assistance with the story from Lennon and longtime Beatles buddy Pete Shotton, so it’s likely that McCartney’s lyrical decline accelerated as the relationship with Lennon deteriorated. All that aside, “Eleanor Rigby” is as perfect a song as one could imagine, an indisputable masterpiece executed in two minutes, seven seconds.


John makes his first appearance on Revolver with “I’m Only Sleeping,” one of my favorite Lennon tunes and one of my personal anthems. I adore afternoon naps and deeply resent the interruption of my natural rhythms by something as pointless and silly as having to earn a living. The deliberate laziness of the arrangement, accentuated by the dreamy harmonies and the backwards guitar passages that seem to float through the air like passing clouds. The chord pattern of the song is non-standard with the bridges ending in F rather than the root E and a subtle replacement of the Em as the opening chord of the verses with an E7 in the third verse. Lennon wrote the two best sleeping songs in history (the other being “I’m So Tired”) and here his vocal sounds like he’s perfectly ready for a little nap at a moment’s notice. When he sings “waiting for a sleepy feeling” he sounds like he’s giving himself a nice stretch.


George gets another turn with the classical Hindustani-influenced composition “Love You To.” The opening alap tickles the ears with surprise and delight, paving the way for the drone of the tambura and the song proper. It took me a long time to warm up to this song, and the lyrics certainly could have used more work in terms of coherence, but in the context of Revolver, the piece is both a pleasant diversion and a successful experiment with a different musical tradition.


Even groundbreaking albums reflect some continuity with what has come before, and the Beatles were masters of the love song. They take the form to a higher level with “Here, There and Everywhere,” one of many harmonic masterpieces in their catalog. Paul alters his voice to one combining borderline and full falsetto to accentuate the sweet and gentle feelings expressed in the lyrics. The key shift in the bridge reflects the heightening of emotion one feels when trying to express the inexpressible feeling you have when overwhelmed by the emotion of love. The chord changes in the bridge are quite demanding, creating tritones and harmonic opportunities galore. For me what seals the deal is the simple electric guitar chord accompaniment—the Beatles proved to be masters at making the complex accessible to the listener, and those simple chords leading to that dreamy run at the end of each bridge, accomplish just that.


Next we have the children’s song set to Goon Show sound effects, “Yellow Submarine.” As another break from the same-o, same-o, I accept it, but I have to confess I generally prefer to skip the song when listening to Revolver. I can’t stand little kids and little kid things and try to avoid those disease-carrying, snotty little beings and anything associated with them whenever possible.


Lennon returns with “She Said, She Said,” a song with a backstory of an acid trip with Peter Fonda. Interestingly enough, George helped John sculpt the song from three stray fragments Lennon had floating around in his head. Whatever they did, it worked, and George’s lead guitar here is one damn fine piece of picking. Ringo is on fire as well, riffing off the main beat until the clinching beats of the chorus in one of his most distinctive contributions.


When we flip the disc, we find Paul in a cheerful mood (not unusual) in “Good Day Sunshine,” a song inspired by The Lovin’ Spoonful’s “Daydream.” The harmonies in the chorus and fade never fail to make this occasionally snarky bitch smile, especially when they slip into dissonance and give the song a faint whiff of (eek!) jazz harmonies. Not as cheerful but even more exuberant is Lennon’s “And Your Bird Can Sing,” famous for the dual guitar riff with Harrison and McCartney. Often ignored is Paul’s superb bass work, which really keeps the song moving.


Paul was never better than he was on Revolver, and “For No One” provides further supporting evidence for that argument. Sung with just the right amount of detachment and enhanced by the rare sound of French horn, “For No One” is an excellent composition, and like “Eleanor Rigby,” it’s a song that makes you stop what you’re doing and listen to the beautiful music and spare but powerful lyrics.


“Dr. Robert” is one of John’s lesser numbers, the one most often cited by critics as proof that Revolver was a drug-fest. I think it’s more accurate to say that young people in the 60’s tended to see drugs as an exciting taboo to shatter, a pharmaceutical fuck-you to the authorities with their ridiculous scare stories about something as innocuous as marijuana. The song itself is not particularly singable, danceable or memorable, but the mood is compatible with the other songs.


George earned all three spots they gave to him on this album, and as a lover of discordant notes, I find “I Want to Tell You” irresistibly charming. It’s also nice to hear George in a relatively good mood for a change, as he could be a rather moody sort. “Got to Get You Into My Life” follows with its striking horn arrangements and a very energetic McCartney vocal. This one is a fun, if challenging song to sing, thanks to McCartney’s close-to-full-octave leaps at the ends of the primary verse lines.


We close with the intensely captivating finale, “Tomorrow Never Knows,” a song that must have blown a few minds in its day and still remains an unusually magnetic piece. Ringo shines again with his muscular work on the toms, and John’s vocal, patched through multiple filters thanks to Mr. Emerick, is both convincing and utterly commanding. The lyrics are pretty much borrowed from The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead, which lists Timothy Leary as a co-author. Another drug connection, scream the critics! “Harrumph!” say I! What Leary was really trying to do is give already drug-addicted Westerners (properly hooked on the blessed union of cigarettes and alcohol) a more convenient option for reaching states of higher consciousness traditionally attained through boring shit like meditation and yoga. Since I prefer to reach higher consciousness through intense erotic activity, I could care less about the lyrics, wherever they came from. All I know is “Tomorrow Never Knows” is a compelling musical experience, and the perfect ending to an album as close to perfection as you’re ever going to get.

September 24, 2022
Watch Circe Link perform a psychedelic trip covering the Beatles Rain

Movie: "Yellow Submarine 3D Virtual World" (see the video below this write-up)

Celebrating ‘Revolver’: Beatles’ First On-Purpose Masterpiece
How 1966 album showcased band at its cocky creative peak
by Rob Sheffield for Rolling Stone

1966: the most manic of the Beatlemania years. The lads get chased around the world, playing 25-minute sets that have nothing to do with the increasingly complex music they’re exploring in the studio. A long-forgotten John quote about religion – “We’re more popular than Jesus now” – gets dug up and creates a scandal in America. A Ku Klux Klan protest outside their Memphis show draws 8,000 people. The butcher cover gets censored. The drugs get heavier – Paul dabbles in cocaine, John dabbles in acid. George gets serious about Indian music and religion. Ringo starts a construction company called Bricky Builders. And in their spare time, the Beatles make the greatest rock album ever, Revolver, released on August 5th, 1966 – an album so far ahead of its time, the world is still catching up with it 50 years later. This is where the Beatles jumped into a whole new future – where they truly became the tomorrow that never knows.


Crazy as it seems now, Revolver wasn’t released in the U.S. in its full 14-song glory until the 1987 CD version. For 20 years, Americans knew only the butchered U.S. LP, which cut crucial tracks like “And Your Bird Can Sing” and “I’m Only Sleeping.” So it took time for Revolver to get recognized as the Beatles’ peak album-as-album statement. The mop tops were gone, yet the Beatles didn’t return to the Rubber Soul sound either. Not many acoustic guitars on Revolver; not many love songs, either. The album’s distinctive sonic flourish is that abrasive electric rush – “Taxman,” “Here, There And Everywhere,” “Tomorrow Never Knows” – yet there’s also more piano than ever, their first horn section, attempts at raga, chamber music, R&B, whatever pops into their expanding heads. Rubber Soul had come as a surprise to them – crashing it out in a few weeks for the Christmas 1965 deadline, the Beatles stumbled into a revelation of how how far they could travel over the course of a full-length LP. Revolver was the first time they set out to make a masterpiece on purpose, arrogant bastards serenely confident that any idea they tried would turn out brilliant. And this time, at least, they were right.


Revolver is all about the pleasure of being Beatles, from the period when they still thrived on each other’s company. Given the acrimony that took over the band at the end, it’s easy to overlook how much all four of them loved being Beatles at this point and still saw their prime perk as hanging with the other Beatles. Despite the fact that all doors of society and celebrity were open to them, the Beatles’ main human contacts were each other, four lads tuned into some wavelength other people around them could sense but couldn’t share. As John told biographer Hunter Davies, “We have met some new people since we’ve become famous, but we’ve never been able to stand them for more than two days.”


The whole album gives off the vibe of the studio as a clubhouse, with everyone feeding off each other’s ideas. The competition is friendly (at this point) but fierce. John responds to “Yellow Submarine” by leaving Paul a note: “Disgusting!! See me.” Paul is getting seriously into the London avant-garde scene, or at least he’s into getting high with these guys who are friends with his girlfriend’s older brother – they run an art gallery or maybe it’s a bookstore but they know all this cool shit he’s certainly not going to miss out on (“I vaguely mind people knowing anything I don’t know” is the way he puts it) and that’s that. Paul gives an interview to longtime friend Maureen Cleave for the Evening Standard: “I’m trying to cram everything in, all the things I’ve missed. People are saying things and painting things and writing things and composing things that are great, and I must know what people are doing.” She reports, “He is most anxious to write electronic music himself, lacks only the machines.” That might not even have been a joke. 


There’s an endearing hubris all through the music – captured perfectly in the eight-second guitar break that cuts in at the end of “Got to Get You Into My Life,” flipping it into a whole new song, or the dizzying guitar frills in “And Your Bird Can Sing.” You can hear that in the band’s press conferences from their summer tour, as when a reporter in L.A says, “In a recent article, Time magazine put down pop music. They referred to ‘Day Tripper’ as being about a prostitute and ‘Norwegian Wood’ as being about a lesbian. And I just wanted to know what your intent was when you wrote it, and what your feeling is about the Time magazine criticism of the music that is being written today.” Paul replies with a straight face. “We’re just trying to write songs about prostitutes and lesbians, that’s all.”


Arrogance like that doesn’t happen often, but without it, an achievement like Revolver would be unthinkable. George Martin brought their craziest ideas to life – as he put it, “I’ve changed from being the gaffer to four Herberts from Liverpool to what I am now, clinging onto the last vestiges of recording power.” One of the most important sonic innovations on Revolver was a sweater – their new teenage engineer Geoff Emerick stuffed Ringo’s wool sweater into his bass drum, giving Ringo’s drums that distinctive thwomp everybody else spent years trying to copy. “He was always experimenting and the bosses at EMI didn’t like it,” Martin said. “He got severely reprimanded when they found him putting a microphone in a pailful of water to see what the effect was.” The Beatles got everyone in Abbey Road thinking along the lines of improv – never saying “no,” responding to every idea with “yes, and …”


Paul moved into his new bachelor pad on Cavendish Avenue, near Abbey Road; he now had no problem coming into the studio earlier than anyone else and pushing his ideas. Jane Asher exposed him to classical music and theater; her brother Paul introduced him to scenesters like the Indica Bookshop’s Barry Miles and John Dunbar, absorbing the art scene, reading Robert Crumb comics or the Evergreen Review, listening to Ornette Coleman’s Free Jazz and Albert Ayler’s Spiritual Unity, which Paul enjoyed playing to annoy George Martin when he came over for dinner. Still living in the attic of Jane’s parents, his gold records piled under the bed, Paul began making primitive tape loops with a pair of Brenell reel-to-reel machines. He and his new friends spent stoned hours recording loops they considered avant-garde sound collage; they rarely bothered to play them back the next day. But one turned into “Tomorrow Never Knows,” replacing the usual guitar solo with a “tape solo” in a crash of psychedelic thunder. It was the first song the band finished for the Revolver sessions in April and set the bar high for everything that followed over the coming months.


A more dangerous influence was cocaine, which Paul flirted with heavily that year. Cocaine was so little known at the time, the cops who raided Keith Richards’ Redlands mansion in 1967 threw his stash away because they had no idea what it was, while seizing his collection of hotel soaps. Paul’s hook-up was the posh art dealer Robert Fraser, who got busted for heroin in that same infamous Redlands raid, around the same time he helped the Beatles select the faces on the Sgt Pepper cover. (He does everything he can, Doctor Robert.) Paul quit cocaine because he couldn’t take the crashing comedowns. “You didn’t stay high,” he complained years later, exasperated at the drug’s inefficiency – a very Paul reason to quit. 


Meanwhile, John was looking on enviously from his stately suburban home out in Weybridge, bored in his crumbling marriage, lounging in bed or watching TV all day, hiding his inner turmoil behind the flashy wit of “I’m Only Sleeping” or “She Said She Said.” His nearest neighbor was Ringo, who lived just around the corner, so he was the one John visited most, usually dropping in unannounced and sitting in his garden. When John wasn’t with the band, he’d go two or three days at a time without speaking a word. “I have to see the others to see myself,” he told Davies. “I have to see them to establish contact with myself and come down. Sometimes I don’t come down.” People who weren’t Beatles didn’t really cut it for him. “Most people don’t get across to us.”  


George wrote three of the highlights – the Quiet One’s big breakthrough as a writer. “Love You To” was his first full-on foray into Indian music, with sitars and tablas played by the North London Asian Music Circle, breaking down his mystic detachment with his bitch-wizard vocals. “I’ll make love to you, if you want me to,” George informs the people of Earth. “Taxman” tweaks British politicans by name. (“Mr. Wiiiiilsoooon! Mr. Heath!”) George might not have a firm grasp on how taxation works – they tax your car to pay for the street, not the other way around – but there’s no arguing with the brash aggression of the music. “I Want to Tell You” is one of his most bizarrely underrated gems, with that jangling dissonant piano (played by Paul, as was the “Taxman” guitar solo) to echo the noise in a shy boy’s head.


Paul’s songs have a new caustic realism, even the piano ballad “For No One,” lamenting “a love that should have lasted years” – a very different sentiment from “mine forevermore.” It’s the ultimate “you stay home, she goes out” break-up song. Paul sits in his empty room, replaying her voice in her head, thinking up snappy comebacks for arguments that ended months ago, while she keeps wearing less and going out more. “Got to Get You Into My Life” has the album’s funniest line, the wonderfully snide tongue-twister “If I am true I’ll never leave and if I do I know the way there.”


John never cared for “And Your Bird Can Sing,” but it’s one of his best songs ever, so scathing and yet also so empathetic and friendly, packed with tiny musical triumphs. (I must have heard it 30 or 40 thousand times before I fully noticed the girl-group hand-claps that sneak into the song for the middle guitar break, and then just as mysteriously vanish.) It’s a hipster-baiting putdown like the ones Mick Jagger was perfecting on Aftermath – but after John sneers that your whole phony world will come crashing down, he also assures you that he’ll be around, the last thing Mick would ever say. The album gives off the vibe of the Beatles as a self-sufficient commune, sharing secrets all the lonely people outside will never get. The Beatles are so confident of their superhuman hipness it doesn’t even occur to them to argue the point, which is how Revolver can sound so arrogant yet so suffused with warmth. If you play “And Your Bird Can Sing” or “Love You To” back to back with “Ballad of a Thin Man” or “Nineteenth Nervous Breakdown,” Dylan and the Stones sound like sophomores trying a little too hard to impress the seniors.


“We do need each other a lot,” John explained to Davies. “When we used to meet again after an interval we always used to be embarrassed about touching each other. We’d do an elaborate handshake just to hide the embarrassment. Or we did mad dances. Then we got to hugging each other. Now we do the Buddhist bit, arms around. It’s just saying hello, that’s all.” That Beatle bond was at its closest on Revolver, and would remain that way for another year or so, right up until Brian Epstein died. No other album gives such an immediate sensation of hearing them think on their feet together, hearing them communicate so fluently, madly in love with being Beatles. They talked about calling it Magic Circle, then went with the pun Revolver, but either way the title presents a good idea of how tight the Beatles’ revolving circle was, yet how open it remains to anyone who wants to listen – which turned out to be everyone.

September 23, 2022

15 August 1966: Edward Greenfield reviews The Beatles’ latest album

by Edward Greenfield for the Guardian


“Turn off your mind; relax and float downstream; it is not dying. Lay down all thought; surrender to the voice: it is shining. That you may see the meaning of within: it is being.”


A curious sort of poetry, and the Beatles devotee might detect the hand of John Lennon. These are the words of the most remarkable item on a compulsive new record, the Beatles’ latest LP (Parlophone stereo PCS 7009; mono PMC 7009), called in typical punning way “Revolver.” The song quote, “Tomorrow never knows,” is musically most original, starting with jungle noises and Eastern-inspired music which merge by montage effect into the sort of electronic noises we associate with beat music. Then Lennon moaning out the words above, which in their sinister way define the real point of the song: pop-music as a substitute both for jungle emotions and for the consolations of religion. After all, teenagers are not the only ones who through the ages have “turned off their minds” and “surrendered to the voice,” whether to the tribal leader, the priest, or now the pop-singer. Thank goodness Lennon is being satirical: at least one hopes so.

In studying Beatles philosophy one does of course have to distinguish between the natural acquisitiveness of George Harrison in “Taxman” and Lennon and McCartney and their rather lefter-wing views. But all three creative Beatles habitually (as serious artists always must) in specific feelings and specific experiences. “Dr Robert,” for example, is a brilliant send-up of an expensive doctor-psychiatrist (which Beatle went to him one wonders?). “Well, well, well, you’re feeling fine,” the doctor is made to say, and the link with what the Beatles think of as prepackaged religion is underlined by the Victorian hymn-tune accompaniment below.



Even the already ubiquitous “Yellow submarine” is specific in its simplicity, and a number like “I’m only sleeping” brings a vivid picture of the pop-world: the late-sleeping Beatle being jolted into consciousness – nicely illustrated in the repeated jolting back to life of the music. “Eleanor Rigby” (with “square” string octet accompaniment) is a ballad about a lonely spinster who “wears the face that she keeps in a jar by the door” and about Father McKenzie “writing the words of sermon that no one will hear,” the verses punctuated by wailing cries of “Look at all the lonely people: where do they all come from?”


There you have a quality rare in pop music, compassion, born of an artist’s ability to project himself into other situations. Specific understanding of emotion comes out even in the love songs – at least the two new ones with the best tunes, both incidentally sung by Paul McCartney, the Beatle with the strongest musical staying power. “For no one” uses Purcellian tricks to hold the attention, gently-moving, seamless melody with characteristic descending bass motif, over which half way through there emerges a haunting descant, beautiful by any standards, Alan Civil, no less, playing the French horn.

It is not just a question of the Beatles and Paul McCartney in particular paying lip service to classical values. “Here, there and everywhere” brings yet another Beatles tune that like “Yesterday” or the best of Ellington, Cole Porter or Sandy Wilson (taking highly contrasted examples) can be demonstrated by the most hide-bound analysis to be a good melody. After the unexpected success of “Yesterday,” I shall be interested to see whether this new “sweet” number with its rising fifths and sevenths (forbidden interval in “pop”) again vindicate the perception of popular taste. The Beatles’ whole success, based demonstrably on musical talent, is fair vindication in itself.


Got To Get You Into My Life - Leonid & Friends (Earth, Wind & Fire cover)


September 22, 2022 

Why ‘Revolver’ is The Beatles’ best work

2021 marks the 55th anniversary of arguably the most remarkable record in pop history. By 1966, The Beatles were pushing themselves to the limits of their musicianship. Having burst onto the scene as a pop sensation, producing some of the catchiest and refreshing music of the early 60s (tracks like ‘She Loves You’ and ‘I Want To Hold Your Hand’ are prime examples), the band grew tired of their pop songwriting mastery. Albums like Rubber Soul reinforce this, with songs like ‘Michelle’ and ‘Girl’ indicative of The Beatles mocking their proficiency of such numbers. 


‘Paperback Writer’ backed by ‘Rain’, the first tracks released by the Fab Four in 1966, were the work of a maturing band. The A-side: an unemployed man’s desire to be a writer; the B-side: an exhibition of sonic, psychedelic experimentation. The themes and sonic landscapes found in this single would characterise their album that year. With songs like The Byrds’ ‘Eight Miles High’ and albums like the progressive pop masterpiece in The Beach Boys’ Pet Sounds, psychedelia was gaining legitimacy musically, providing the perfect platform for a supremely talented band, with excellent producers and engineers, to create an LP that would change pop music irreversibly. Revolver is that LP. 


Revolver marries everything that makes The Beatles amazing. This project displays some of the hardest sounding guitar passages the foursome ever recorded, which become apparent in records like the White Album or Abbey Road. For instance, the jarring riff that underpins ‘She Said She Said’ is delightful in its unashamed presence on the mix. Also, Paul McCartney’s guitar solo on the opener, ‘Taxman’, nicely compliments the frustration and indignation in George Harrison’s sentiment and vocals; meanwhile, Harrison’s riff on ‘I Want To Tell You’ is packed with much nonchalant confidence. The poppiness that coated the band’s earlier works are evident here too: catchy hooks characterise songs like ‘And Your Bird Can Sing’, and lush harmonies appear on ‘Good Day Sunshine’ and ‘Doctor Robert’ in its charming Liverpudlian cadence. 


The quality of the tracklist is consistently high. Although there’s no obvious single, it’s more a reflection of the strong individual songwriting being accompanied by superb sonic consistency. ‘Eleanor Rigby’ is a brilliant McCartney track that, like ‘Paperback Writer’, focuses on the plight of individuals – George Martin’s rampant string arrangements successfully adds to the pathos found in the lyrics and vocal melodies. Harrison’s raga rock number ‘Love You To’ is wonderfully hypnotic and its psychedelia is unobtrusive, contrasting nicely with most of the tracklist. Ringo Starr’s ‘Yellow Submarine’ is endearingly juvenile, and a song which plays to his limited vocal strengths. 


George Martin and Geoff Emerick as producer and engineer deserve special praise. The production is pristine, and the psychedelic edge in these songs are very tasteful. Their work on tracks like ‘I’m Only Sleeping’ makes an ordinary song in concept and structure part of an inspiring set of opening tracks; effects such as double-tracked vocals, reverse guitar solos, and bursts of drowning vocal arrangements prove sublime. The closer, and the album’s best song, in ‘Tomorrow Never Knows’ truly exemplifies both the producers and the foursome’s glory. The first track to be recorded for the album is an extraordinary achievement in musical engineering. For a song composed of mainly abstract sounds and a vocal performance that has no discernable melody, it grooves harder than many psychedelic songs produced ever since. Ringo’s looped drumbeat, the distorted and fragmented guitar solos, and Lennon’s philosophical utterances makes this one of the best psychedelic songs ever conceived. 


Revolver is utterly masterful. It’s the transformative result of young, exceptional songwriters throwing caution to the wind, guided by incredibly competent producers. A cleverly sequenced album: no one voice is heard in succession – playing into the LP’s title. An exhibition of a band pulling together, not marred by conflicting artistic visions that plagued their subsequent albums, nor dealing with a songwriting talent deficit found in their earlier projects. 


Though Revolver arguably didn’t perfect psychedelia, it demonstrated how the genre can be truly artful.  Influencing contemporaries like The Byrds and The Jimi Hendrix Experience shown in Younger Than Yesterday and Are You Experienced respectively, and paving the way for the success of current artists like Tame Impala, ASAP Rocky, and Travis Scott for instance. It foresaw the pivotal role the producer has in creating a stellar album currently, as without Martin and Emerick this album wouldn’t have been such a revelation. Revolver is The Beatles at their most creatively ambitious and competent – a band hitting their peak. 

O.A.R. cover the Beatles song "I Want To Tell You" on the Howard Stern Show

September 21, 2022
Sangah Noonah covers "Good Day Sunshine"

Ringo Starr's Message for International Day of Peace 2022

September 20, 2022
Ronald Van Hoorn covers "And Your Bird Can Sing"


Examined, dissected by Walter Everett, Tim Riley in their new book "What Goes On"
(October 2019)
Click here for the original article.

Over half a century after Beatlemania made itself known around the globe and dozens of books and movies
later, you might think that there was nothing else you could learn about the Fab Four, but you'd be wrong.
Walter Everett and Tim Riley are authors/professors who have written multiple books about the band have
teamed up to create What Goes On (Oxford University Press) which delves into the intricacies of the
foursome's songs and career, looking at their musicianship and the often-overlooked details of the band's
music whereas the lyrics have been the usual focus of studies on them otherwise.

While some of the band's better known numbers are dissected ("Yesterday," "I Want To Hold Your Hand"),
there's also a number of lesser-known but not lesser quality songs that they also take the time to delve into,
helping us learn more about the band than we thought we knew. Here, we get the skinny on a song that
started out on the UK version of Revolver but got sliced off the US version and relegated to the Yesterday
and Today collection. As you'll see here, "And Your Bird Can Sing" deserves better than that and deserves
our attention too.

Bob Dylan's blues- leaning version of the old folk number "Corrina, Corrina" includes a line borrowed from
Robert Johnson, "I got a bird that whistles, I got a bird that sings; but I ain't got Corinna— life don't mean a
thing" (The Freewheelin' Bob Dylan, 1963). In "And Your Bird Can Sing," John Lennon tropes this idea for a
subtle anti-materialist statement a full year before the message would become more overt in songs like
"Baby, You're a Rich Man" and "Within You Without You." Lennon's theme is larger in "Bird"— not only does
the singer devalue material possessions, but he calls the listener to awaken as if from slumber and seek clear,
important goals by ignoring the distractions of superficial everyday business. Lennon might also be heard to
offer himself as a spiritual as well as cultural Messiah figure, a self- characterization that would be suspect
for other reasons in mid- 1966. "You don't get ME," he taunts with a sudden multiply- voiced ego in the I
triad (0:17– 0:20); "Look in my direction," he hints, guiding the way with the reassuringly goal- directed
dominant preparation chord (ii) and then the song's only expression of V harmony reserved for the
retransitional1 promise, "I'll be 'round." (Perhaps "Ain't She Sweet," recorded in 1961 and used as a warm up
at least in 1969, was also on Lennon's mind: therein, he ended a bridge phrase with "in her direction" on the
same pitches, B, C# and E, which he ends the "my direction" phrase in "Bird.")

Clarity wins out over ambiguity, direct simplicity over confusing complexity. The song's stable diatonic basis
through verses contrasts against an uncertain bridge section, where the iii chord (a deeply involved ii of ii)
expands with the sort of descending chromatic line heard in "Michelle" that would later become a Lennon
staple ("Lucy in the Sky with Diamonds," "Dear Prudence") and would eventually be adopted by Harrison
("While My Guitar Gently Weeps," "Something"). (The chromatic progression comes most directly from the
bridge of "It Won't Be Long" (at "Since you left me"), its descending bass line, G#– F– F#–E, taken from the
high backing vocal of the 1963 track to support the lead vocal, which ornaments B with its upper neighbor
C# in each case.) John's guitar carries a simple and direct droning tonic chord through verses, strummed in a
generous rhythm, once on every pulse. This steady, stable foil stands against George's and Paul's self-
consciously intricate guitar-and- bass trio tattoos2, prized but taxing (under the weight of worldly
possessions), surrounding John's verses, busily dividing beats with parallel thirds, horn fifths, and then parallel
sixths. Additionally, Lennon uses his vocal accents to clarify the notion of rhythmic contrast: every syllable
articulates its own beat in verses, but syncopations push each syllable onto an offbeat in bridges, wherein
the "bird is broken" (presaging an image of racially divisive struggle in McCartney's "Blackbird"). For his part,
Ringo's open jangles in verses turn to tense hi- hat chokings in bridges and illuminating cymbal crashes
whenever V finds I.

John's vocal part in bridges shows constancy in the face of change in pitch as well as rhythm. Whereas his
line builds largely on an unchanging fifth scale degree (with some ornamentation, as with the upper neighbor
to 5 so common in his melodic writing in 1962– 1964: note in "Please Please Me" the attention to 5– 6– 5 at
"said these words," and in "A Hard Day's Night," note the high degree of Chuck Berry– like repetition on 5,
ornamented by a bluesy 7 above, as in "work-ing"), John's vocally stressed B is harmonized in numerous ways
that begin in obscurity but come into focus as the harmony becomes more clearly defined: to open the
bridge, B functions as the chordal third of ii/ ii; it then becomes the seventh of V7/ ii, the fifth of IV/ V, the
suspended and anticipatory eleventh of ii, and then the powerfully clarified root of the retransitional V. (This
is a similar process of discovery in the reharmonized ending of "She Loves You" and the introductory motto of
"Help!," presented here with masterly understatement.) The singer sounds at one with all phases of the
universe, but this only approaches clarity with the words "I'll be 'round." The listener's awakening emerges in
a similar, gradually unfolding sense out of the hazy introduction to "If I Fell" and corresponds to the
reassurance John gave himself in the retransitional line "The world is at your command" in "Nowhere Man."

In verse 2, John describes the bird as "green," the color he once used to paint others' jealousies over the
singer's possession of a woman (in "You Can't Do That"). The disparagement here of vivid color (greenness is
too much of this world and does not lead the true seeker to aspire to invisible bliss) might be interpreted as
an early reaction against psychedelia— a position the composer would soon reverse: "Listen to the color of
your dreams," he advises in "Tomorrow Never Knows." Lennon specialized in such absolute, all- then-
nothing about- faces, as with his later embrace then spurning of the Maharishi and his rejection then
promotion of political protest (stunningly changing his mind in a single phrase of "Revolution:" "you can count
me out— in"). After he was initially upset by the LSD once dropped surreptitiously into his coffee, the
chemical would for a time become mother's milk once John discovered its cosmic potential, an elixir of escape
from the real world's traps and doldrums.

Throughout, distraction gets drawn by busy guitars, unfathomable chords, pushy rhythmic accents, and
material colors. One near- final complication of inharmonious pitches reiterates this: in verse 3, the line
"every sound there is" acquires a new pair of descant vocals noisy in their dissonance against the ruling
texture, leading at 1:19 to a V chord sung incongruously over the governing I. Once again, a tangle of trees
diverts attention from the forest of larger goals; one must not attend the flashy confusion of "every sound"
when a harmonious "om" underlies everything. See beyond the seven wonders, hear beyond the tantalizing
birdsong, for a revelation of communal truths in one single, constant vibration.

"And Your Bird Can Sing" remains an under-celebrated Revolver song, partly because its message employs
veiled language in post-Dylan metaphors of impressionistic poetry and music. Like the best of Lennon,
appreciation of its value requires thoughtful interpretation of its symbols. Ultimately, he sings, one may have
everything one wants, but without investing at more spiritual levels, love will be out of reach, and life will
have no meaning. In the song's final display of worldly confusion, an inconclusive IV chord overrides an
insistent 1 in the bass that seems to ask, "What do you think?" Quite a profound statement made complete in
two minutes.



1) 'Retransition'- "the last part of the development section, which prepares for the return of the opening idea" (Oxford Music Online)


2) 'Tattoo' – Walter Everett: "Bass and guitar begin with different materials but come together in a riff that articulates the beginning or ending of a song. When this riff occurs more than once in a song, always without voices, and it functions to alert the rest of the band and audience that a certain point has been reached or maybe that the song has been reset to the beginning, I call this instrument-only alert a 'tattoo.'"

Mark Hamill and his George Harrison story
Click on the above image for sourced quote.

September 19, 2022
Parlogram Auctions presents part 3 of "Beatles Records You Have Never Seen"

September 18, 2022
Celebrating the 56 anniversary release of "Revolver" by the Beatles, we present two cover versions:
"Tomorrow Never Knows" by Michael Sokil and "She Said She Said" by The Black Keys


September 17, 2022
The much anticipated Ringo Starr "EP3" is now available!

"World Go Round" from Ringo's EP3

"Free Your Soul" from Ringo's EP3

"Everyone and Everything" from Ringo's EP3

"Let's Be Friends" from Ringo's EP3

Mal Evan's report from The Beatles Monthly Book, January 1967

September 16, 2022
Flashback to the Beatles' first demo tape

A unique copy of the Beatles’ first professional demo tape has sold for £62,500 ($74,500) at a Sotheby’s auction in London.


The historic demo tape, which was famously rejected by Decca Records, had originally belonged to their manager Brian Epstein.


As the only surviving copy from the band’s recording session, the tape had been described as one of the most significant artifacts in pop music history.


When Brian Epstein became The Beatles’ manager, having spotted their potential at the Cavern Club, he made it his mission to transform their look and secure them a record deal.


“…I never thought that they would be anything less than the greatest stars in the world,” he later said. “I sensed something big, if it could be at once harnessed and at the same time left untamed.”


On January 1, 1962 the band drove down from Liverpool to London, battling snowstorms all the way, to record their first professional demo tape for Decca Records.

The sole surviving demo tape from The Beatles’ first professional recording session in 1962, originally owned by
their manager Brian Epstein (Image: Sotheby’s)

At that time the band’s line-up still included original drummer Pete Best, who Epstein later fired and replaced with Ringo Starr before they hit the big time.


The audition included several rock and roll covers from their live sets, along with three early original songs, Like Dreamers Do, Hello Little Girl and Love Of The Loved.


Unfortunately the results weren’t great, due in part to an inexperienced producer still suffering a hangover from the previous night’s New Years Eve celebrations.


In one of the most infamous decisions in music history, A&R boss Dick Rowe turned The Beatles down and told Epstein that “guitar bands are on the way out”.


In reality, Decca simply chose to sign local band Brian Poole and the Tremeloes instead because it was cheaper to get them into the recording studio.


Undaunted, Epstein then took the reel-to-reel tape to a studio in the basement of HMV Records on Oxford Street, where his friend Robert Boast cut two of the tracks – Hello Little Girl and Till There Was You – onto a series of acetate records.


He reasoned that most record executives would have a turntable in their office, rather than a tape machine, making it easier for them to listen to the demo.


After shopping the demo disc around several record companies, his tenacity and instincts finally paid off when he pressed a copy into the hands of EMI producer George Martin.


Like Epstein, Martin saw the band’s potential and agreed to sign them to Parlophone. Twelve months later they were the biggest band in Britain, and about to change music history forever.


Martin’s copy of that two-track acetate, complete with Epstein’s handwritten label, sold at Omega Auctions in 2016 for $110,000.


Link to the above article: click here.

Last week, I told you about strawberry fields, where — sorry, wrong Beatles reference. One, two, three, four (cough) — last week, I told you how it will be on October 28, when Apple Corps Ltd./Capitol/UMe will be releasing The Beatles seminal August 1966 album Revolver in a 180g 4LP/1EP Special Edition Super Deluxe box set. (You can go here to read all the details regarding what comprises that release.)


As noted in that story, AnalogPlanet was granted an exclusive interview with Revolver box set producer Giles Martin, and he was more than happy to speak with me back on Tuesday to address our questions about the vinyl mixing and de-mixing processes, among other pressing analog-related Beatles subjects.


To that end, following a pair of Revolver playback sessions the man conducted at Republic Studios NYC on September 13, Martin, 52, and I got onto Zoom together to discuss mixing and de-mixing Revolver, the “analog vs. digital” question, what Paul McCartney told him when they both listened to the new and original Revolver mixes together, and who ultimately makes the final calls on anything he mixes for The Beatles. Nobody can deny that there’s something there. . .


Mike Mettler: To wind things back to the beginning, so to speak, could you give us the literal chain of custody for the original Revolver tapes? Qualify for me exactly what masters were used for both the mono and stereo vinyl.


Giles Martin: The mono is a straight, pure transfer of the mono master. The stereo is a stereo mix that has been remixed, and the other one [the mono] hasn’t. There’s no point in me doing a new mono mix. Someone asked me about it today — like, “Why don’t you?” There isn’t any point, really.


The stereo is the original four-track tape, transferred digitally. I’d been working with the Peter Jackson [de-mixing] team in New Zealand about seeing whether we could take elements off that tape so we could create a new stereo mix, which we were doing. It’s a huge, laborious process, but incredibly effective — incredibly effective. It’s like, I can take the “Taxman” drums, bass, and guitar, and the drums sound like drums, the bass sounds like bass, and the guitar sounds like guitar — and they completely phase-cancel. If I put them back together again and play them against the original and switch to phase, there’s no transients, no noise — nothing. So, I know that I’m not taking or adding anything to that, and it just gives you a bit more impact on the mix. I can now de-mix the drums, and have the kick drum and the snare drum separately as well.


Mettler: Now tell me, from your point of view, what the de-mixing process is, and how that helped “unlock” things for you. I know it was also used for the Get Back project. [Get Back is the 8-hour Beatles documentary directed by Peter Jackson that initially streamed on Disney+ over three consecutive nights in November 2021, and is now also available on Blu-ray and DVD, albeit sans any extras.]


Martin: I think the simplest thing for people to understand it, and the best way to explain it is, imagine having a cake and saying, “Okay, I want to make a different cake, but I haven’t got the ingredients. What I have to do is, I want the butter. I want the flour. I want the milk. I want the sugar. I want the eggs — and I want them all separated so I can make a different cake with them.” That is the technology. It’s like taking something that’s already been baked, and then cutting out the original ingredients.


And it’s incredibly complicated! I don’t really know how it works is the answer, but I know that it works. I know the AI is extraordinary, and it takes huge computer power to do it. I know Peter Jackson’s audio team in New Zealand have a unique talent, and they can do more with it than anyone else can, really. Imagine talking in a crowded room and me putting your voice into a computer, and then hearing your voice isolated and clean. Essentially, it’s AI.


Mettler: Is there one best “cake moment” for Revolver where you were like, “This is what de-mixing was meant to help me do”?


Martin: No — it happens all over the stereo, actually. But certain cases are interesting enough where I could separate the acoustic guitar and the drums on the other side of the brain completely — but it doesn’t sound right if I do so. The acoustic guitar sounds like it needs the drums near it, you know. There are certain things where you feel like you’ve lost your keys — like something has gone missing.


One of the best examples where people can hear it where the lyrics are sparse is “Taxman,” where the drum is in the middle, the guitar is on one side, and the bass on the other. You’ll hear things like, on “And Your Bird Can Sing,” the guitar being away from the drums. “I’m Only Sleeping” — the same thing. You’ll hear the bass being away from the drums, on occasions. I mean, you’ll suddenly hear drums, like the kick drum in “Here, There and Everywhere” and “For No One,” which means the drums have been taken off that track, which is very compressed, and suddenly you’ve got Ringo [Starr] on his own. Therefore, I don’t have to make him louder — I can just give some more dynamics to it. You’ll hear it throughout. It doesn’t have to be positioned, of course — it can also be done with dynamics as well.



Mettler: Was there any de-mixing involved with “Eleanor Rigby”?


Martin: “Eleanor Rigby” was the only track that had no de-mixing on it. It didn’t need it. “Eleanor Rigby” is the only bounce, with the strings — the octet, which is a double string quartet with two people playing the same instruments and the same part. That was recorded on four tracks. And then, that was bounced to another four-track. It was a stereo “Eleanor Rigby,” and then the vocals [by Paul McCartney] were recorded on top of that. So, I didn’t need to do any de-mixing with “Eleanor Rigby.”


Mettler: For those people who have this little asterisk in their head about “the digital thing” being involved in the Revolver process, what is your response to that line of thinking? What do you say to them?


Martin: Yeah — I just say, we don’t listen to ones and zeros. We listen to soundwaves. So, listen — I love tape, and I work with old gear and compressors. Here’s the interesting thing. I worked on a George Harrison film called Living in the Material World [which was released in October 2011], and I did an album from that [called Early Takes: Volume 1, released in May 2012]. I remember the vinyl cut of that sounded more digital to me than the digital version because of the way it was cut — and I wanted to go change it.


It’s like we have too much bias in life anyway — too many preconceptions. People decide they want to hear something in a different way, then they do hear it a different way. I mean, a) I’m not deleting anything people already have, but b) I couldn’t do what I do if I was working in a purely analog domain. It would be impossible. It’s as simple as that.


Here’s the other thing. Most people who talk about this stuff — they’re not listening to songs. I don’t get touched by that. I like the idea that — I hope that I can do things and work on material that brings people closer to it. You know, I have this incredibly privileged position of being able to walk into Abbey Road [Studios] on any day and listen to a four-track tape where I can hear — and I swear to God — it sounds like the band are in the room with me. That’s what I’m trying to get people to listen to.


And, bizarrely, I’m trying to take away technology. People don’t realize, I’m actually trying to take it away. I had this meeting recently with some people who were talking about compression. “But, see, you do realize that all music is compressed or limited — it has been for years. There’s only a small period of time between like 1972 and 1979 where there wasn’t heavy, heavy limiting.” And I was like, “Well, what were your favorite records?” They were like, “’Sultans of Swing’ by Dire Straits [from 1978], and also toss in some Pink Floyd” — all kinds of stuff from that period of time. It’s amazing how many preconceived rules people have in their head about things.


Mettler: And, really, you actually do have to listen to something before you decide you like it, or don’t like it. If you like the mono, it’s gonna be in the Revolver box set. If you want the stereo only, you can buy it separately. Like you said, you’re not taking anything away from anyone. You’re giving people the option: “Here are X number of versions.”


Martin: And when it comes to the vinyl — I mean, we are in the digital domain cutting the vinyl, but it does mean we can do a half-speed cut, for instance. That means we get a more accurate cut, and a better-sounding vinyl. [Note: All Revolver vinyl is being pressed at GZ, in the Czech Republic.]


Mettler: Was there ever any thought of going with 140-gram vinyl for Revolver, as opposed to 180-gram? Did that ever come up?


Martin: No. We didn’t have that conversation, so no is the answer.


Mettler: Okay. For the additional bonus material — the 31 songs and demos — how did you decide the sequencing for them? Was that just by feel, or did you unfold them chronologically for how you wanted people to hear them?


Martin: I think we did it in order of — yeah, I’m pretty sure we did — we did It in order of when they were recorded, because that’s what makes the most sense. In essence, I like to see the additional material a bit like wandering around a gallery, and looking at pencil scripts and paper.


Mettler: Me, I don’t mind hearing 20 takes of something if they exist. I know you can only give us so many extras, but when you played the “Yellow Submarine” demos during the afternoon session I attended remotely, it was kind of like — as you put it — like the Woody Guthrie, “everybody’s dead in the submarine” doom-folk version, and then it turned into something else. Those demos give us a completely different take on a song that turned into something else more, well, uplifting. [Both “Yellow Submarine” demos are parenthetically subtitled as “Songwriting work tape – Part 1 – mono” and “Songwriting work tape – Part 2 – mono,” and they appear as Tracks 2 and 3 respectively on Side 2 of Revolver LP Three, which is dubbed Sessions Two.]


Martin: Yes. It’s that collaborative nature and balance of the song that happens, which is really cool, to me.


Mettler: Me too. You also got to sit down with Paul McCartney in Los Angeles while you were working on Revolver. Tell me a little bit more about that experience. What did you put on for him to hear, and what was his feedback? Did he give you specific song feedback, or was it just his overall impressions?


Martin: We always do the same thing, me and Paul. We’ll sit together, and — there’s no “sales” with Paul. In fact, it can’t be. He’s too intelligent.


We’ll have a session where I’ll put the stereo mix on that I’ve done, and the stereo mix that he was involved in back in 1966 — and he has a button. He can switch it, and level match, etcetera. With that button, he can switch between the two, and he can tell me what he likes about one, and what he likes about the other. If he doesn’t like what I’m doing, I’ll go and change it. It’s as simple as that.


And he’ll talk about the dynamics. Generally, he’s really happy. When we come across the guitar solo in “Taxman,” which I think I have on the right-hand side, he’ll go, “Let's turn it up in the middle to make it loud,” or say the same with the guitars in “And Your Bird Can Sing.” And then we talk about the song. That’s the way we’ll work through it.


He’s very diligent, you know — I mean, it’s his record. Well, it’s their record, and I’m working for them. There’s a perception, I suppose, that I decide I’ll go off and mix a Beatles album, and then I go mix in isolation. That’s what all these forums say, but they don’t realize The Beatles are quite heavily involved with all this. Of course they are — it’s their record.


Mettler: Right. But all four factions, or whatever phraseology you want to use to quantify it [i.e., Yoko Ono for the John Lennon estate, Olivia Harrison for the George Harrison estate, and Paul McCartney and Ringo Starr for themselves] all have to sign off on whatever’s done, correct?


Martin: Absolutely. And that’s all of it. They’re the only people who have to sign off. That’s it. There’s no record label sign off and there are no A&R teams, or anything like that.


Mettler: Got it. Was there any specific feedback from Ringo, or Olivia [Harrison], or Yoko [Ono] about any of it?


Martin: No. I spent a lot of time tweaking and doing stuff before I get to that stage — before I present it to them — and they were pretty happy, actually. They were pretty happy. But, yeah, Ringo was really happy. I went to play it for him and he was like, “You know, it sounds great.” He goes, “It just sounds great.”


Mettler: Before we go, even though I know you’re not allowed to say what’s coming, just tell me this — how good will [December 1965’s] Rubber Soul sound when you do that album for the next special edition?


Martin: (laughs) Listen — I don’t know. I really haven’t thought about it. I generally have not thought about that yet. I kind of always need a break from The Beatles, so I’m doing no Beatles for the next six months or so, maybe longer. I will be doing some films over that time, and maybe some work for some other people.


Mettler: Understood. Well, is it fair to say that, when it is time to go back to other Beatles releases from 1965 — and even back to 1962, 1963, or 1964 — do you feel comfortable enough to go into all of that early material and do whatever you need to do?


Martin: Not yet, to be honest. We haven’t gotten that far — to look at the [earlier] stereo recordings and do a good job of that. Things get more complicated. Again, you don’t want to do things for the sake of it.


Technology should disappear. It’s like, while you and I are talking to each other, thinking about all the ones that zeros it’s taking for us to talk to each other this way instead of just talking with each other. It's the same with the music. While the technology behind the entire Revolver process is really of great interest and is really quite groundbreaking, I don’t want to “listen” to that. I want to listen to the songs.

Link to the above article: click here.

September 14, 2022
Here is "For No One" (Remix) - The Beatles - Full Instrumental Recreation by Michael Sokil

And here is an old article circulating on the internet...

September 13, 2022
The Monkees "Porpoise Song" is the most "Beatlesque" track from their recordings sessions
by John Whelan for the Ottawa Beatles Site

Back in 1968, the Monkees were filmed in a movie entitled "Head." The music on that album was full of surreal
sounds and images that accompanied throughout the film. "Head" was always "my go to" album after playing
The Beatles Magical Mystery Tour on my turntable. It was a fun-filled psychedelic romp of music.

While there are excellent tracks to be found on "Head", the standout track is the "Porpoise Song" written by
Carole King and Gerry Goffin with vocal work from Micky Dolenze and Davy Jones.

Recently there has been a rebirth of interest for the "Porpoise Song." There is a instrumental backing track that
I recently re-mastered which created an immersive introduction of the Monkees swimming under water for the
movies opening sequence. Using the software program MAGIX Audio and Music Lab Premium brought out better
sound clarity. It clearly shows just how complex the musical artistry was on the recording (see video below.) I
finished up the re-mastering on September 10, 2022, and unbeknownst to me, the day before my upload,
Scotto Moore uploaded a cover version of the "Porpoise Song" done by Lola Dutronic which is a real hip cover
version. Take a listen to the video below! The track is featured on "The World of Lola Dutronic" that was
released on September 7, 2005.

For a comparative study, I have included The Beatles "I Am The Walrus." I strongly believe that both Carole

King and Gerry Goffin were influenced by The Beatles in the creation of their "Porpoise Song." It proves just how

far-reaching John, Paul, George and Ringo's influence were on the 60s' generation.

The history behind the "Porpoise Song"

A critical examination of the Monkees "Head" movie

THE GREATEST RECORD EVER MADE: "Porpoise Song (Theme From 'Head')"
by Carl Cafarelli for Boppin' (Like The Hip Folks Do)

It was over. It was the end. The moneymen knew it. The players did not. The players had no idea how distant the year 1968 was from 1967. The calendar insisted it had been just one year; instead, it may as well have been a lifetime.

The Monkees were on top of the pop world in '67. The made-for-TV quartet--Micky Dolenz, Davy Jones, Peter Tork, and Michael Nesmith--were at the peak of their popularity, with a hit TV show promoting big, big hit records, successful concert dates to prove the manufactured band could perform as a real band, opportunities to hobnob with The Beatles, The Rolling Stones, The Kinks, and all of rock 'n' roll's biggest names, and a chance to make their own music after freeing themselves from the yoke of Golden-Eared but shortsighted Musical Supervisor Don Kirshner. By some accounts, The Monkees in 1967 outsold The Beatles and The Rolling Stones combined; Nesmith later insisted he'd manufactured that claim himself, and that people took this fib as truth. Whether a lie or a Gospel, it was plausible. 1967 was the summer of love. It was the summer of Sgt. Pepper. If The Monkees weren't really bigger than The Beatles, they were nonetheless awfully big indeed.

And it all went away in 1968.

Those of us who dream of fame, who worship glittery idols from afar, can't even imagine how fame could be so fickle, so fleeting. The swift fall from grace is the oldest story in the world and in the heavens, from Lucifer to Adam and Eve. In '68, The Monkees' TV series was cancelled after two seasons. The Monkees believed they could continue successfully without that exposure. "D.W. Washburn," the first Monkees single released after the TV series' end, barely made it into the Top 20, whereas the six previous Monkees A-sides had hit # 1, # 1, # 2, # 3, # 1, and # 6. No subsequent Monkees single would even crack the Top 40 during the remainder of the group's original run.

The Monkees weren't worried yet. So what if one single underperformed? They just needed to reestablish themselves, away from the TV image. Credibility would come, and success would return. The Monkees would make a movie. Not an extended, goofy 'n' giddy expansion of their now-defunct cathode-ray capers, but something hip, something far-out, something for a turned-on, tuned-in now audience. The film would be called Head, it would be a triumphant exposé of the artificial machinations that fabricated the Monkees phenomenon, and it would surely build a bridge for those hip heads in The Monkees to cross over to new success.

Head was ultimately a dark, bitter, and brilliant film, mesmerizing in its wanton deconstruction of The Monkees, chortling about their manufactured image with no philosophies. It was a box office failure; the kids who liked The Monkees were confused and alienated by the movie, and the hippie clientele the film hoped to reach wouldn't have been caught gratefully dead at a Monkees flick. Head's opening sequence depicted Micky Dolenz running away, jumping off one of the largest suspended arch bridges in the world, and plunging into the presumed tomb of the deep blue sea, that other Davy Jones' locker. Micky's prime mates follow him off the bridge and into the water, all escorted by psychedelic mermaids into the next phase. It was supposed to be the TV Monkees committing suicide; the real Monkees' career was euthanized right along with it.


For all of that, Head's woeful ticket sales and lack of contemporary appreciation don't stop it from being one of my favorite movies. Its existence and its ambition add great depth to The Monkees' story. And its soundtrack music is simply amazing. 


I discovered all of this well after the fact. I was eight years old in 1968, and I doubt I even knew that this group I liked on TV had also made a movie. I saw Head on a late-night CBS TV broadcast in the '70s, but it didn't really register with me then; I embraced it in the mid '80s. I got to the soundtrack LP in 1977; that blew me away immediately. "Daddy's Song.""As We Go Along." "Circle Sky." "Can You Dig It." "Do I Have To Do This All Over Again." The snarky-cool "Ditty Diego/War Chant," with the prefabs gleefully declaring The money's in, we're made of tin, we're here to give you MORE! Snippets of dialogue. Strings. Dandruff. Supernatural baloney. I'd like a glass of cold gravy with a hair in it, please.

Divorced from its visual image, the record made little sense. As I would later discover, the visual and audio also made little sense when combined together. But it was glorious. Glorious. For those who look for meaning, and form as they do fact, The Monkees might tell you one thing, but they'll only take it back.


Both the album and the film begin with "Porpoise Song (Theme From Head)," a Carole King-Gerry Goffin composition that feels like a communiqué from Other. Actually, the album and the film both begin with an attempt by a long-winded representative of The Man to try to dedicate the opening of the above-mentioned large suspended bridge, pushed aside by seemingly suicidal Monkees.  Then the song begin to play, and the Head trip truly begins.

Is it possible for a song to brood and soar at the same time? You wouldn't think so, but "Porpoise Song" somehow manages to simultaneously reflect on its own mysteries while making its leap of faith, to reach toward the heavens while plummeting into the foamy abyss below. 

My my

The clock in the sky is pounding away
And there's so much to say
A face, a voice
An overdub has no choice
An image cannot rejoice

Wanting to be

To hear and to see
Crying to the sky
But the porpoise is laughing
Goodbye, goodbye!
Goodbye, goodbye, goodbye!

And the cuddly Monkees' fate is sealed in a watery grave. Good thing those psychedelic mermaids are there.


Everyone who knows me knows that I love The Monkees. I love the TV series, I love the prefab Kirshner-era records, the hey-hey-we're-a-real band triumph of the Headquarters LP, the Monkees with sidemen compromise of Pisces, Aquarius, Capricorn & Jones, Ltd. (my favorite Monkees album), the schtick, the ambition, the songs, the image, the truth behind the image. I'm a believer already. But there's something emphatically special about the movie Head and its soundtrack. It's part of the grit that gives the cotton candy substance.

"Porpoise Song" towers majestically above it all. If it had been the only track ever released under the Monkees brand name, we would still revere the sheer wonder of The Monkees on that basis alone. 

The moneymen knew it was over. Monkees producers Bob Rafelson and Bert Schneider were gettin' out while the getting was good, leaving Monkeeshines permanently behind them, Rafelson in particular en route to a successful and celebrated career as an auteur. Head was their killing stroke to The Monkees as they moved on; subsequent films Easy Rider and Five Easy Pieces were largely financed with Monkee money. The latter film starred a then-unknown actor named Jack Nicholson, who had co-written Head with Rafelson, based in part on rambling, pot-fueled conversations with The Monkees. The Monkees did not receive a writing credit. The Monkees did not know that it was over. But the porpoise was laughing, goodbye, goodbye.


It took decades for the members of The Monkees to come to terms with whatever the hell it was they went through in that short, explosive combustion of fame and sudden seeming irrelevance. They came back, of course. Reruns of the TV series and perpetual airplay on oldies radio assured that The Monkees could never be fully forgotten. When you see the end in sight, the beginning may arrive. They reunited, in varying combinations, with varying levels of success. Even though Davy Jones passed away in 2012, The Monkees managed to become timeless, perennial. The ego sings of castles and kings and things that go with a life of style

When my first spin of the Head LP immersed me inside this captivating magic of "Porpoise Song," my belief in The Monkees was validated. Each spin renews that. Wanting to feel, to know what is real. The moneymen were wrong: it wasn't the end. It sure looked like the end, with their former puppets descending fatalistically into the water's cold embrace. But the porpoise was waiting. Goodbye? Not yet.

"Porpoise Song (Theme From Head)" written by Carole King and Gerry Goffin


September 12, 2022
Ringo Starr and his All-Starr Band bring Beatles hits and more to Pittsburgh
by Paul Guggenheimer for Tribune-Review

Ringo Starr may not be everyone’s favorite Beatle, but an evening spent under the same roof with any Beatle has to be considered time well spent.


And so it was for a far less than capacity, but enthusiastic, crowd at PPG Paints Arena Saturday night as the former Beatles drummer and his All-Starr Band finally got to play a Pittsburgh concert that was postponed three times due to the pandemic.


It was well worth the wait.


It was also fitting that Starr’s return to Pittsburgh happened in September, the month that the Beatles played their one and only Pittsburgh show nearly 58 years ago to the day on Sept. 14, 1964 at the old Civic Arena, a stone’s throw away.


A good portion of the mostly older crowd looked the way disapproving parents did back then. Instead, the baby boomers in attendance brought their children and grandchildren with them, young kids likely up past their bedtimes and teenagers as well.


Born Richard Starkey, Ringo is the oldest Beatle at 82. (John Lennon, who was assassinated in 1980, would have turned 82 this October. Paul McCartney turned 80 last June. George Harrison, who died of cancer in 2001, would have turned 80 next year).


But Ringo, wearing a black blazer with splashes of red down the front and black pants with red stripes down the sides, neither sounded nor moved like an 82-year-old. His trademark deep, warm, throaty voice sounded the way it always has, a little rough around the edges but as strong as ever, especially on up-tempo early Beatles rockers like “Matchbox,” “I Wanna Be Your Man,” and “Boys.” The latter, a song he said “I’ve done at every live gig I’ve ever done.”


He may have been exaggerating, but he wasn’t far off. At the height of Beatlemania, “Boys” was the song Ringo performed regularly in concert. And it was just as impressive Saturday as he proved he hadn’t lost the knack for singing lead vocals and playing the drums simultaneously.


With Gregg Bissonette drumming side by side with Ringo, Starr was able to spend equal parts of the show back behind his kit and front and center at the mic.


Anyone wanting to hear Beatle songs on which Ringo sang the lead likely did not come away disappointed. He didn’t perform all of them but managed to work in favorites like “Yellow Submarine,” during which Starr ad libbed “Where are we captain? Oh, we’re going to Pittsburgh!”


There was also “Octopus’s Garden,” “With a Little Help From My Friends,“ “Act Naturally,” and “What Goes On,” the only Beatles song credited to Lennon-McCartney and Starkey.


“I told them, ‘I think it should be Ringo, Paul and John’ and they looked me in the eye and said ‘Sod off,’ ” Starr told the crowd. The patrons were clearly getting a kick out of hearing a behind-the-scenes Beatles story straight from one of the Fab Four himself.


Starr is not only a Rock & Roll Hall of Famer for what he brought to the Beatles but his solo work as well. Songs like “It Don’t Come Easy,” “Back off Boogaloo,” and “Photograph” were given the All-Star treatment as he demonstrated his evolution as a song writer.


Of course, Ringo’s fans knew the words to the songs and did not hesitate to sing along when he prompted them. They spent the evening lavishing so much love and affection on Starr that he was clearly moved by their appreciation.


“Man, what a crowd! I should move here,” he said.


But it wasn’t just Ringo the crowd was enamored with, as his band mates more than lived up to their All Star billing. It didn’t hurt that they came from great bands themselves.


They included guitarist and singer Colin Hay who was lead vocalist for the Australian 80s band Men at Work, guitarist and singer Hamish Stuart, lead vocalist for the Scottish funk and R&B group The Average White Band, and guitarist and singer Steve Lukather, founding member of Toto.


Rounding out the All-Stars were saxophone, percussion and keyboard player Warren Ham and last but certainly not least, keyboard and saxophone player Edgar Winter who brought the house down with a white-hot version of his 70s hit “Frankenstein.” It might have gone down as the best song of the night had it not been for the energy of Starr’s grand finale, “With a Little Help From My Friends.”


Say what you want about Joe Cocker’s cover version, but this classic Sgt. Pepper song belongs to Ringo. Clearly he loves singing it and jumped up and down at the front of the stage with a little boy’s enthusiasm as the All Stars jammed away and the crowd likely wondered, “How can this guy be 82-years-old?” Lukather, Stuart and Hay provided exquisite three-part Beatles harmony and asked the call and response questions such as “Do you neeeeed anybody?”


The support went both ways as Starr had fun banging out a funky beat behind Stuart on a cover version of The Average White Band’s breakthrough hit “Pick Up the Pieces” as well as Colin Hay’s cover of Men at Work’s smash hit “Down Under.”


As much fun as it was for the fans to hear those songs, they might have wished for a little more Ringo. Did they really need to be stuck with a cover of a middling song lke Toto’s “Rosanna”? Though it did come with a smoldering Lukather guitar solo, did it also come at the expense of a heartfelt song like “Good Night,” a sweetly sentimental song Ringo recorded for the “White Album” but left off of Saturday’s play list? For this Beatles fan, it was a glaring omission.


Winter performed a fine cover of Chuck Berry’s “Johnny B. Goode” which he dedicated to his late brother Johnny Winter. But how about another Beatles cover that shows off Ringo’s pioneering drumming style, something like “Ticket To Ride”? John Lennon referred to it as “the first heavy metal record.” Lennon wouldn’t have even considered making such a claim were it not for the heavy drums played by Ringo on that tune.


Judging from the opening riffs of songs like “Day Tripper,” the All-Stars were teasing the crowd with, they’re probably itching to cover another Beatles song. How cool would it have been for the folks to hear that ‘Ba Boom bop bop boom bah, Ba Boom bop bop boom bah’ “Ticket to Ride” drum beat live?


Perhaps Ringo thinks it would be a sacrilegious thing to do.


Other questions that have come up: Why was there no video feed on the screen behind the stage? Maybe Starr figured “The Beatles never had video, so let’s go old school.”


Also, why was there no encore? After “With a Little Help From My Friends,” Ringo left the stage and the remaining band members did a version of “Give Peace a Chance” and that was it. There was no return to the stage.


Also, there was surprisingly no mention of Queen Elizabeth’s death. In 1965, Starr and the other Beatles first met her when they were appointed Members of the Order of the British Empire (MBE).


But these things did not seriously detract from an otherwise highly entertaining and memorable show by a dynamic 82-year-old legend.


In many ways, after having an appendectomy at age six that caused him to contract peritonitis, surviving a childhood bout with tuberculosis, and overcoming alcoholism and drug addiction as an adult, it’s nothing short of a miracle that Ringo Starr is still with us.


Someday, it will come to an end, of course, but after his and his band’s performance in Pittsburgh on Saturday night, it feels like he could go on forever. Yeah, Yeah, Yeah.



Ringo Starr & His All Starr Band

Saturday, Sept. 10, 2022

PPG Paints Arena


1. Matchbox

(Carl Perkins cover)

2. It Don’t Come Easy

(Ringo Starr song)

3. What Goes On

(Beatles cover)

4. Free Ride

(Edgar Winter Group cover)

5. Rosanna

(Toto cover)

6. Pick Up the Pieces

(Average White Band cover)

7. Down Under

(Men at Work cover)

8. Boys

(Shirelles cover)

9. I’m the Greatest

(Ringo Starr song)

10. Yellow Submarine

(Beatles cover)

11. Cut the Cake

(Average White Band cover)

12. Frankenstein

(Edgar Winter Group cover)

13. Octopus’s Garden

(Beatles cover)

14. Back Off Boogaloo

(Ringo Starr song)

15. Overkill

(Men at Work cover)

16. Africa

(Toto cover)

17. Work to Do

(Isley Brothers cover)

18. I Wanna Be Your Man

(Beatles cover)

19. Johnny B. Goode

(Chuck Berry cover)

20. Who Can It Be Now?

(Men at Work cover)

21. Hold the Line

(Toto cover)

22. Photograph

(Ringo Starr song)

23. Act Naturally

(Johnny Russell cover)

24. With a Little Help From My Friends

(Beatles cover)

25. Give Peace a Chance

(Plastic Ono Band cover)


Paul Guggenheimer is a Tribune-Review staff writer. You can contact Paul at

September 11, 2022

September 10, 2022
Behind the Meaning of The Beatles’ Ode to the Queen “Her Majesty”

by Tina Benitez-Eves for American Songwriter

Originally, Paul McCartney wrote “Her Majesty” as a 23-second track that would be weaved into the 16-plus minute medley—beginning with “You Never Give Me Your Money” and continuing with “Sun King,” “Mean Mr. Mustard,” “Polythene Pam,” “She Came in Through the Bathroom Window,” “Golden Slumbers,” “Carry That Weight” and “The End” —taking up a larger portion on the second half of The Beatles’11th album Abbey Road.


Written by McCartney while he was in Scotland, “Her Majesty” was initially sandwiched between “Mean Mr. Mustard” and “Polythene Pam” but was pulled out of the medley by the Beatle altogether.


The Shortest Beatles Song Ever Recorded


Running as the shortest song ever recorded by The Beatles at 25 seconds, “Her Majesty” was originally unlisted on the tracklist of earlier Abbey Road pressings.


At Abbey Road, the song was simply recorded in three takes on July 2, 1969, with McCartney singing live on an acoustic guitar prior to the band’s recording of the Abbey tracks “Golden Slumbers” and “Carry That Weight.”


“Her Majesty” Was Nearly Tossed


When the band decided which songs would end up on the medley, McCartney decided that “Her Majesty” no longer fit. Reordering the songs in the medley, McCartney asked the tape operator John Kurlander to pull it out and toss it.


“We did all the remixes and crossfades to overlap the songs, Paul was there, and we heard it together for the first time,” said Kurlander. “He said, ‘I don’t like ‘Her Majesty,’ throw it away.’”


Instead of throwing the song away, Kurlander kept it and plugged it into the end of the reel, placing a piece of tape separating it from the remainder of the album. 


“I’d been told never to throw anything away, so after he left I picked it up off the floor put about 20 seconds of red leader tape before it, and stuck it onto the end of the edit tape,” shared Kurlander. “The next day, down at Apple, Malcolm Davies cut a playback lacquer of the whole sequence, and even though I’d written on the box that ‘Her Majesty’ was unwanted, he too thought, ‘We mustn’t throw anything away, I’ll put it on at the end.'”


“Her Majesty” soon grew on McCartney as well, according to Kurlander. “I’m only assuming this, but when Paul
got that lacquer he must have liked hearing ‘Her Majesty’ tacked on the end,” said Kurlander. “The Beatles
always picked up on accidental things. It came as a nice little surprise there at the end, and he didn’t mind. We
never remixed ‘Her Majesty’ again, that was the mix which ended up on the finished LP.”


A “Love” Song to Queen Elizabeth


Not as unfavorable as some songs about the Queen and monarch that would surface over the decades, the meaning behind “Her Majesty” had more levity and plays as McCartney’s cheeky love song to Elizabeth. 


Her Majesty is a pretty nice girl
But she doesn’t have a lot to say
Her Majesty is a pretty nice girl
But she changes from day to day


I wanna tell her that I love her a lot
But I gotta get a belly full of wine
Her Majesty is a pretty nice girl
Someday I’m gonna make her mine, oh yeah
Someday I’m gonna make her mine


The End


Following a 14-second moment of silence after “The End,” “Her Majesty” begins and closes out the entirety of Abbey Road.


“That was very much how things happened,” said McCartney. “Really, you know, the whole of our career was like that, so it’s a fitting end.”



September 9, 2022
Sir Paul McCartney recalls the encounters that he and the Beatles had with Queen Elizabeth II

From Facebook...

September 8, 2022
Pop Icons Sir Paul McCartney, Sir Ringo Starr, Sir Mick Jaggar and Sir Elton John pay tribute
to the passing of Queen Elizabeth II


Photo credit: Universal Music Group

September 7, 2022
Ringo Starr's September update

The Beatles Museum | Episode #1 - The Rarest U.S. Vinyl & Canada
by Parlogram Auctions

New book takes Beatles fans 'inside No. 3'br />
by Stuart Anderson for North Norfolk News


Beatles fan Nigel Pearce has just published a new book about the Fab Four. 


Mr Pearce, from Cromer, said the book called Inside No3 would be the first of a new series about the band.


Billed as 'a visual history of Apple Records', it includes photographs of album covers and other memorabilia of the Beatles as well as other artists on the Apple label from 1967-1976, including Mary Hopkin, Badfinger, Hot Chocolate and James Taylor.


Mr Pearce said he hoped the book would "draw and enlighten the reader into the colourful and revolutionary world of the Beatles".


He said: "It contains many artefacts that have not been seen for a minimum of 50 years, some forgotten or perhaps never seen at all."


Mr Pearce said Beatles memorabilia was "still in high demand and reverberates around the world some 60 years after Love Me do was first issued in 1962."


The softback version of the book costs £35 and there are other versions available, visit for more.  

September 5, 2022
The Beatles win five Emmy Awards!

From the Beatles Official Facebook pages...

Paul McCartney, Ringo Starr And Peter Jackson Win At The Emmys For ‘The Beatles: Get Back’
by Corey Atad for ET Canada

The Beatles are still receiving big honours.

On Saturday night, the acclaimed Disney+ documentary series “The Beatles: Get Back” won Outstanding
Documentary or Nonfiction Series at the 2022 Creative Arts Emmys.

Paul McCartney and Ringo Starr shared the award along with director Peter Jackson and fellow series
producers Yoko Ono Lennon, Olivia Harrison, Clare Olsen and Jonathan Clyde.

Accepting the award, Jackson said, “I’d just like to thank everyone who worked on this film, especially our
family back home and our second family in London at Apple Corps. This could not have been made without
the unfailing support of Paul, Ringo, Olivia, Julian [Lennon], Yoko and Sean [Lennon] who were all always
there with their support and love. Finally, a big shout out to The Beatles. Thank you so much for the over 60
years of your positive, exhuberant, joyous… Your music is so profound and I think it’s actually embedded in
our DNA.”

Jackson also won the Emmy for Outstanding Directing for a Documentary/Nonfiction Program for his work on
the series.

“Get Back” was up against “jeen-yuhs: A Kanye Trilogy”, “The Andy Warhol Diaries”, “100 Foot Wave” and
“We Need to Talk About Cosby”.

The three-part documentary charted The Beatles’ legendary Get Back sessions, in which they wrote and
recorded the bulk of material that would form their final album, Let It Be, released after their break-up,
leading up to their iconic rooftop performance.


See Paul McCartney Sing ‘Oh! Darling’ Live for First Time at Taylor Hawkins Tribute Concert

Chrissie Hynde and Foo Fighters back Beatles legend on debut performance of Abbey Road classic

by Daniel Krepps for Rolling Stone


Paul McCartney, with help from Chrissie Hynde and Foo Fighters, performed the Beatles classic “Oh! Darling” live for the first time Saturday at the Taylor Hawkins Tribute Concert in London.


McCartney was a surprise guest at the benefit concert — he was not listed among the participating artists prior to the show — but what he did on the Wembley Stadium stage was perhaps an even bigger shock to the audience, as McCartney had never sang the Abbey Road ballad live onstage before.



God bless Taylor, me and Chrissie are going to do a song here that I haven’t done since recorded it 100 years ago, I’ve never done it as a duet but we’re gonna do it for the first time for you,” McCartney said before launching into the track, which featured Foo Fighters serving as the world-class backing band.


(McCartney’s appearance begins at the 5-hour, 29-minute mark of the video up top.)


McCartney hung around to perform one more song, “Helter Skelter,” with Foo Fighters, who brought out special guests and a “revolving door” of all-star drummers during the band’s portion of the tribute concert.


The Taylor Hawkins Tribute Concert also featured the reunion of Them Crooked Vultures and a parade of one-night-only supergroups, including Liam Gallagher leading the Foo Fighters through a pair of Oasis songs, Hawkins’ Chevy Metal and Coattail Riders combining forces along with Kesha and the Darkness’ Justin Hawkins, AC/DC’s Brian Johnson and Metallica’s Lars Ulrich rocking out with the Foos, Grohl drumming for Rush’s Geddy Lee and Alex Lifeson and more.


Additionally, a one-hour primetime special featuring highlights from the show will air on CBS later today at 10 p.m. EST, while the full show will be available to stream on-demand starting the week of Sept. 5. 

September 4, 2022
The Beatles Revolver Super Deluxe track listing leaked in the media
by the Daily Beatle

September 3, 2022
A 1958 Gibson Les Paul George Harrison Used As a "Ransom" Payment – for the Safe Return of His
"Lucy" Les Paul – is Hitting the Auction Block
by Jackson Maxwell for Guitar Player

After Lucy – his beloved '57 Les Paul – was stolen from his Beverly Hills home, Harrison purchased this guitar
and traded it with Lucy's new owner.

Here at Guitar Player, a lot of guitar auction stories cross our desks. Few soon-to-be-auctioned guitars
we've seen though, possess a backstory quite as colorful as this one.

This 1958 Gibson Les Paul – currently up for sale via Heritage Auctions – was purchased by none other than
George Harrison as a ransom payment of sorts, for the safe return of "Lucy," his beloved 1957 Les Paul.

After featuring prominently on the Beatles' White Album, Let It Be, and Abbey Road, Lucy – which had
previously been owned by the Lovin’ Spoonful’s John Sebastian, Rick Derringer, and Eric Clapton – was stolen
from his Beverly Hills home during a 1973 burglary and sold.

The 1958 Les Paul on offer by Heritage – which you can see and hear in action below – was the key in
getting Lucy back into Harrison's hands.

After it was taken from Harrison's home, Lucy was sold to Whalin's Sound City music store on Sunset Blvd.,
where it was then – according to Heritage – sold to a Mexican guitarist named Miguel Ochoa.

Via the guitar's sales receipt, Harrison quickly tracked down the friend whom Ochoa was staying with, and
offered to reimburse Ochoa for Lucy's full sale price. Realizing how valuable the guitar was though, Ochoa
absconded back to his native Mexico, with Lucy in hand.

Harrison then upped his offer, saying he'd trade a guitar of Ochoa's choosing for Lucy. Ochoa demanded a
1958 Les Paul Standard – which the Beatle then purchased from Norman Harris (of Norman's Rare Guitars) –
and a Fender Precision bass. After receiving the two instruments, Ochoa returned Lucy, which remains in the
Harrison family's possession to this day.

Ochoa subsequently kept the "ransom" Les Paul until 1983, when he sold it to Nadine's Music owner Robert

According to Heritage, the guitar's electronics are original, however, the pickup covers were removed and
subsequently re-installed, with non-stock Kluson tuners also installed on the guitar at some point.

The Les Paul's frets, likewise, are original and have "moderate" wear, and the guitar comes with its original
hard case.

Overall, the Les Paul – serial #8 5424 – is said to be in "very good" condition.

Bidding for this 1958 Gibson Les Paul – which currently has an opening bid of $250,000 – closes on
September 24.

For more info on the guitar, visit

Micky Dolenz: Last living Monkees member sues FBI for secret files on band
by the BBC News Services

At their height, pop band The Monkees was one of the most popular bands in America. They were also the
subject of an FBI file linked to the Vietnam War.

Now, Monkees singer Micky Dolenz, 77, is suing the agency to find out more.

Portions of a heavily redacted FBI file, released in 2011, include reports of "anti-US messages on the war in
Vietnam" during a 1967 concert.

The FBI kept tabs on several famous figures during the war in Vietnam, including John Lennon.

"We know the mid-to-late 1960s saw the FBI surveil Hollywood anti-war advocates, and The Monkees were
in the thick of things," Mr Dolenz's lawyer Mark Zaid told the BBC. "This lawsuit seeks to expose why the FBI
was monitoring The Monkees and its individual members."

The Monkees, America's response to the Beatles, became widely known in the late 1960s for hits like I'm a
Believer and Last Train to Clarksville before breaking up in 1970. The group had four No. 1 albums in 1967 - a
still unmatched record.

The made-for-TV band also laced some of those hits with anti-war sentiments, including Ditty Diego-War
Chant and Last Train to Clarksville - a song about a man headed to an army base, fearing he won't return
home to his love.

But it is so far unclear what it was about the band specifically that caught the attention of the FBI.

Most of the seven-page FBI memo - first reported by Rolling Stone - is redacted. In one section of the file,
an unnamed FBI source who attended a 1967 concert says "subliminal messages" were depicted on screen
"which constituted left wing innovations of a political nature".

In the lawsuit, Mr Dolenz says he has "exhausted all necessary required administrative remedies" to access
the files, after submitting a Freedom of Information Act (FOIA) request to the FBI in June. The government
has 20 business days to respond to FOIA requests, except for "unusual circumstances".

According to the lawsuit, Mr Dolenz has only received acknowledgments of his requests. The FBI declined to

Mr Zaid, a self-described "lifelong fan" of The Monkees, said he "couldn't think of a better combination to
force the FBI to reveal its secret Monkees files and help the public learn more about an important era of
American history."

He added: "I know I'm a Believer!"

End of BBC article.

Link to the above lawsuit, click here.

Related links: "Monkees’ Micky Dolenz sues FBI over ‘secret dossier’ on band" by the Guardian.

"The surprising list of celebrities the FBI has files on" by Lisa Respers France, CNN.

September 2, 2022
Flashback: "George Martin Recalls the Boys in the Band"

The Beatles' producer goes track-by-track through some of the band's most memorable tunes

by Chris Hodenfield for Rolling Stone published on July 15, 1976

Los Angeles — They will always remain “the boys” to George Martin — and he will always remain “the Beatles’
producer” to every other group he takes into the studio. Always happens. Working with such stalwarts as
John McLaughlin, America and Jeff Beck, sometime, somewhere, somebody says, “Y’remember on Sgt. Pepper,
where the guitar turned into a chicken?”

Because the musicians were weaned on the Beatles’ albums the same as Joe Doakes. The nine years of the
Beatles provided us with a major history lesson in record production. Some would even call it a hagiography.

Their helmsman from the beginning was George Martin, a distinguished gentleman, now 50, who would not
look bad saving someone’s honor with sword in hand. A genuine elegantissimo, he once played oboe with
Sadler Wells before becoming an A&R man at Parlophone. After a dowdy manager named Brian Epstein played
him a demo record, he took the nervous Beatles into the studio for a tryout in June 1962, Nervous, because
they grew up on the comedy albums Martin produced with Peter Sellers, Spike Milligan and The Goon Show.
Martin, in turn, found the same sense of humor in the band. The band also had a veneer of arrogance. A
front, of course.

Martin signed them up, and they recorded a single, “Love Me Do,” backed with “P.S. I Love You.”

Subsequent Beatles albums pushed the boundaries a little further, until Let It Be, which was supposed to be
a return to primitivism but instead knocked everyone into a cocked hat, revealing irreconcilable differences in
the group’s personalities. They were saints together, cartoons apart.

George does not necessarily remember how they pushed sounds out of shape all those years. Sgt. Pepper, recorded on basic four-track machinery, explored new territories, yet emerged with density and clarity. It was all up Martin’s alley. He always liked painting sound-pictures, on record, even as far back as the Peter Sellers days.


It was the kind of indulgence they were allowed, because the market stamped on the imprimatur. It was art by definition, because the receipts said so. The Beatles stopped touring and became storytellers with their records, and who knows how many groups reexamined their positions upon hearing the results.


A baby born at the time of that first record would now be 14 years old, which is why Capitol Records might think the time ripe for a Beatles revival with a two-record set, Rock ‘n’ Roll Music. We found Martin in Los Angeles, where he spends half his time these days, at Chrysalis Records, of which he is a partner. He received the album with a bemused expression and even wondered out loud if a repackaging is proper. He took the album to the stereo to refresh his memory but couldn’t figure out how to operate the changer. A secretary put the record on. “That’s revealing, isn’t it?” he asked.


He pulled up short of apologizing for the thin sound and explained that the early sides were never intended for stereo release. But EMI/Capitol eventually released them in stereo and, as many people found out on their stereos, the voices were coming out of one speaker and the instruments the other.


When Martin was called into this album at the last minute, he found that the sides were being reissued in the original form. “And that’s nonsense. It wasn’t originally like that, you see. Because, first of all, the backing was about six or eight db lower than it should have been in relation to the voices.


“Going back to 1963, we in England didn’t have any control over what happened out here, and they used to do some weird things. Anyway, when Bhaskar Menon [president of Capitol Records] asked me in to have a listen to this album, I did what I thought was necessary to make it a bit more palatable for today’s market without destroying the intent of the original. And that’s what you’ve got here.”


“Twist and Shout” and “I Saw Her Standing There” boomed over the system. “I really can’t remember whether this was done one the same day, but the first album we did in England was called Please Please Me. That had to be some of the first takes, otherwise you’d never get the impact. And, in fact, their voices generally wore out after two or three times anyway. It becomes a large blur when you record about 300 to 400 tracks.


“The first album we made was a very quick one, because ‘Please Please Me’ had broken out in England — this was, way before they were ever heard of in America. We wrote the record late in 1962, and I know that I would want an album to follow it up to cash in on the single. Which I wanted to call Please Please Me, obviously. And the only way of getting an album out of them quickly was to take all the stuff they knew inside out — they were performing regularly at places like the Cavern — and just record it. I told them, ‘I want all your rock & roll numbers, all the things you know.’ So we did things they’d heard, their versions of other people’s records, like ‘Anna,’ ‘Chains,’ and those kinds of things. And we started I think at 10 o’clock in the morning and finished at 11 o’clock at night. We made the whole album in a day, mixed as well. Because we didn’t mix in those days. You follow me?


“We made the album in a day. A lot of tracks were like that. They sound pretty rotten.” He laughed genially.


“I Wanna Be Your Man”


That was Ringo singing live. Around that time we were doing a lot of double-tracking, especially if I had a voice I was uncertain about. A person with a very good voice doesn’t double-track too well. But some voices sound really good double-tracked, and it is one way to get a very effective performance from someone who doesn’t have too good a voice. We used to get up all sorts of tricks to cover someone if he had an off-note. I would put one note of a piano on it and splash it on that particular note.


When was it decided that Ringo would sing?


Whether he should sing at all, you mean? In those days the boys had a tremendous sense of unity. You know, they all came from pretty rough backgrounds and I guess being together as a quartet gave them a certain confidence in themselves, and they were a very tight group. They were very friendly with each other and they were very protective toward each other. And even Brian Epstein and I were outside that particular thing of the four-of-them-against-the-world.




I guess the boys, John and Paul, must have heard this on some American album, like they heard most of the early songs. They would play me a record of an American artist, generally a colored one, and say, “This is great. I wish we would sing like that.”


That leads to “Long Tall Sally.” Little Richard claims that he taught Paul that scream, back when they played Hamburg together.


Well, of course, in those days John, Paul, Ringo and George were unknown people, they were like the guys who walk in here for auditions. Little Richard was very big, and they just thought he was the greatest. They had their own idols, then. Chuck Berry was another one. Now, of course, these people are still alive and the Beatles have been legendary. It’s rather ironic.


“Slow Down”


Listening to it last night, I laughed at George’s guitar solo.

Oh yes? [He returned to the stereo to play that track. He studied the solo, a meandering, withering figure.] It’s just there. Everybody knows about it. When the voice stops, the guitarist takes over. When the voices start again, the guitarist stops. [He nodded to the rhythm.] It’s amazing listening to those again. The great thing about it was John’s voice, which is still a knockout, a very good sound. Marvelous. The actual recording was rather primitive. The backing of that is quite tame, isn’t it?


“Kansas City”


You always have the guitar solo coming in at the right point. You can hear that the recording is beginning to get more sophisticated, already a better recording, much more integrated. And we were able to overdub at this stage. The lead voice is Paul, with George and John on the backing.




Do you know that I was playing piano here? I always tried to get a live feeling in their recordings.


“Bad Boy”


Some of the songs stick out in memory more than others. Sometimes I’ve heard a song, and I’ll say, “Oh, the Beatles. I must have recorded that.” But I’ve really forgotten all about this one.


How did they psyche themselves up?


What do you mean? Drugs? Oh, no . . . they really did try to work up a lather in the studio, they really did try to do it. Which is awfully difficult to do under the clinical conditions of the studio.


This is a forgettable arrangement.


Yeah. This was a copy of a colored record. Or “black,” you call them. I’m always being told they’re the same.




Another Chuck Berry guitar solo. The same thing, whenever we had a rock & roll song. We said, “George, you’ve got eight bars. Play. Then out you go.”


“Roll Over Beethoven”


With every album we would put in a couple of oldies, because they weren’t writing too many songs anyway and we were needing more and more material. They would dig up stuff.


What they’ve done on this reissue, you see, is take all the uptempo Teddy Boy songs and put them together. They tend to sound a bit the same because they are the same. I guess it makes commercial sense. Like “Dizzy Miss Lizzie,” you know exactly what’s going to be on this one.


“Any Time at All”


That note [he dipped his fingers to indicate a descending bass line] — that’s a piano, playing with a bass guitar. The sustained note. That note was what I used to call a wound up piano. And I used to do it with George’s guitar. You would slow down the track to half speed, play the piano right down to the bottom, then bring it back up to normal again — and that would sustain and make the note twice as long. You compress the hell out of it.


Again, that was John’s favorite gimmick, the tape echo on the voice. Like Elvis Presley used to have on “Heartbreak Hotel.” It was tape feedback. I always used to love John’s voice, and he was always asking to change it and distort it because he hated it.


By the time of ‘A Hard Days Night,’ their recording philosophy was changing.


Well, yes and no, nothing quite as luxurious as the later days. In A Hard Days Night, after all, we wouldn’t take more than a day on each track, because they were very busy doing concerts, doing the film. Titles had to be done very quickly.


When did they begin to participate in production?


They learned very fast. They knew nothing at all about recording to begin with. They got the techniques right off, very soon. This question of production, I think every artist participates in production, in whatever record’s made. They always made suggestions, even if it was “Take off your tie.” [This refers to the first comment George Harrison made to Martin in the recording studio, when Martin asked if anything were wrong. Harrison replied, “Well, for a start, I don’t like your tie.” It’s semifamous, and Martin still remembers.]



“I’m Down”


That’s John playing organ, playing it with his elbow. [He makes a sweeping motion.]


“The Night Before”


We’re getting later now. All we’ve heard so far are the very primitive ones in the early days.


Starting with ‘Revolver,’ they really got adventurous; Lennon said he found out about playing tapes backward, as on “Tomorrow Never Knows,” by taking tapes home at night.


No, I can claim a first here. I actually started doing stuff like that for him. And I introduced him to it and he was knocked out by it. They all got tape machines and they all started experimenting with sounds, and Paul discovered, off his own bat, that if you made up a loop of tape and took off the erase head on the machine, you could actually build up a sound on a loop which saturated itself. This was kind of a hobby for them.


They would come in and bring me tapes of all the loops and we would play them just for a giggle, like crossword puzzles. And when we were in the middle of Revolver, when we made “Tomorrow Never Knows,” that was all the tapes that they had made at home, made into loops. We had about 20-odd loops or more that they had brought in, at varying speeds. And I played them and listened to all of them and I said, “Chuck this one, I don’t think much of that one. There’s Paul laughing, sounds like a sea gull, keep that one.”


You know the words are from the Tibetan Book of the Dead? John wanted his voice to sound like a Dalai Lama on the top of a hill. He wanted it very sort of atmospheric. We laid down the track with Ringo on drums and a tamboura drone, and I put John’s voice through a Leslie speaker to make a weird noise. For the background we’ve got all these tape loops, and I got tape machines from all over the building at EMI; in fact, we used 16.


Drugs also must have been an influence in these productions. At least it affected the music.


It certainly affected the music, but it didn’t affect the record production because I was producing. It just sometimes made things a little bit difficult, that’s all.

Did it concern you?


Not too much, there really wasn’t all that much disruption. There were moments when the boys tried to keep things from me, in that respect. I think they were protecting me as much as themselves. And I would put my blind eye to the telescope anyway. I didn’t let it get in the way too much.


I saw the music growing, but I rather saw it like Salvador Dali’s paintings. I didn’t think the reason for it was drugs. I thought it was because they wanted to go into an impressionistic way. I wasn’t looking for any sinister reason for it. I hotly denied it when people put two and two together and made five, like “Lucy in the Sky with Diamonds” meaning LSD. Obviously, drugs were an influence, but not that much. I think it’s people wanting to find a reason for it. Maybe I’m being naive even today.


The boys weren’t particularly clear on what they were doing . . . in their own minds. One of the greatest problems, always with John and Paul, particularly John, was trying to find out what was going on in his mind. He wasn’t particularly articulate, in saying what he wanted. Of course, when you’re dealing with a dreamlike substance, it’s very difficult to be articulate. My main job was trying to get out of him what he was trying to get. It came together more in the mix than it did in gradual growth. I saw the ways things could be done, for example, cutting things together in the track. We had a lot of barnyard animals on “Good Morning.” There was a chicken sound in one of these, and a guitar noise from another thing. By cutting the two of them together, the guitar actually turned into a chicken.




There’s a great deal of guitar distortion. That was done deliberately because John wanted a very dirty sound on guitar and he couldn’t get it through his amps. What we did when we made this record was just overload one of the preamps on the recording. We got such a kickback on that. People said, “Do you realize this record is distorted?” We said yes. “How can you let a record go out like that?” Because they wanted it that way. And even today, Capitol was worried because it’s very definitely distortion on the record, and no matter what you do you’ll never get rid of it. I said, “Put a disclaimer on the jacket and tell people about it.”


“Back in the U.S.S.R.”


Now we’re coming into the really late stuff. Did anyone ever make a hit of this with another recording? Do you know?


Well, it’s a burlesque of the Beach Boys.


Sounds a bit dated now, doesn’t it?


“Helter Skelter”


[Shakes head.] No substitute for noise. That was just a giggle. Done after they came back from India. You know, they wrote all the material for the White Album when they were in India.


Part of that album and “Hey Bulldog” here are very cold and nasty.


They came through a bad time about then. I was puzzled about the White Album, why they wanted to make a double album with all the material — they had about 36 songs, they wanted to get into the studio and record them all, and they shouldn’t have. And I tried to plead with them to be selective and make it a really good single album, but they wouldn’t have it. I realized, later on, why. It had something to do with their current contract with EMI. If they issued so many titles, the contract ended earlier than it would have otherwise.


They were growing apart, as well.


Don’t forget that Brian had died, and Brian was a unifying influence on them.


Were they working together?


Oh yes, they were going through tremendous changes. Let It Be was the worst time of all. Really disruptive. The White Album wasn’t too bad. They did work with a will, but it was a bit — at that time I didn’t think they were particularly, shall we say, inspiring. I don’t think they were particularly artistic. They were sort of businesslike, and “Let’s get these songs recorded.” And I think it came out that way.

Paul said recently that George missed occasional sessions around the time of ‘Sgt. Pepper.’


Not too many. He didn’t like Paul’s bossiness. George wanted to be in the front with the other two. And I’m afraid he didn’t get a great deal of encouragement from me, either, which was unfortunate for him. Basically because he didn’t have the talent that the other two had. He is talented, but when you have two like Lennon and McCartney, who are so enormously talented, it’s silly to look elsewhere. So I kind of tolerated George. Sometimes, in looking back, I regret I didn’t encourage him more.


He must have felt that, just being tolerated. Perhaps the feeling holds over today.


I don’t think so. George and I are good friends, we were chatting on the phone the other day. I don’t suppose George and Paul have talked too much. I mean, Paul . . . the disruption really came with the women anyway.


Attending recording sessions?


Where you have very close personal relationships between two men, and one of them goes off and gets a girl, and the other one goes off and gets another girl, and the two women don’t particularly like each other . . . then there’s a divergence.


I don’t think Paul minded Yoko — Yoko’s fine, nothing wrong with Yoko — except that she was always there. When she wasn’t well, she had a bed in the studio, and the other boys got fed up with that. I think that was the beginning of it. And almost in self-defense, Paul got Linda. There you go.


“Got to Get You into My Life”


This is being issued as a single. In those days they would hear a record coming from this country, where they have some really good brass sounds. They’d say, “Let’s try some.” So we would get the brass players in the studio and I would write down the parts for them. As you can tell, they’re very simple parts, just held notes.




“Taxman” recalls the ‘Batman’ theme song.


An awful lot of George’s songs do sound like something else. For example, the biggest hit he ever had, of course, was “Something,” in which the line is “Something in the way she moves.” There actually was a song called “Something in the Way She Moves,” a James Taylor song. Quite a big one. And that was written a long time before George wrote his “Something.” He had copyright problems on a lot of songs. For “My Sweet Lord,” he was sued, wasn’t he?




This was supposed to be just a jam number. Probably was, when it was recorded. That was John’s song. Not much to say about it, just sort of a rock & roll riff thing going on. Just based on that riff.


“Hey Bulldog”


Bulldog, that was a dog by the way. It was a track we did that was just a throwaway thing. It was put into the Yellow Submarine album because the Yellow Submarine people desperately wanted new material. The boys didn’t dig the film at all because they weren’t involved with it to begin with. It was a pain in the ass. They said, “We really don’t need this in the album, let’s just give them that one.”


“Get Back”


That was done on the roof as a gag, really. We were recording at Apple at the time. They said, “Let’s go and give a concert on the roof.” Just a silly thing to do. On the roof of the Apple building in Saville Row. We had high-powered speakers aimed at the streets below, so we gathered quite a crowd. They couldn’t see anyone; all they could do was hear them. And the police station in Saville Row is only about 500 yards away. So within about 30 seconds of the first notes coming out, the police rang up and said, “What the hell is going on? Pipe down.” And when it went on, they raided the place. Eventually they burst in on the roof and shut them up.


It’s said that the end of their touring meant the end of their collaborative songwriting.


Well, they never really wrote songs together. I mean, they collaborated. But John and Paul never sat down and said, “Let’s write a song.” John would write the germ of something and say, “I’m having trouble with the middle eight, what do you think?” Paul would say, “Try this.”


But it was fairly soon after we started recording that they started really going their own ways in songwriting. And just helping occasionally with the odd lyric. Even “A Day in the Life,” which was a collaboration, was very-much first-part John, middle part Paul. You can hear that, too — they’re like separate songs put together.


John’s reputation was that he was lazy about writing but fast at recording, while Paul was supposedly meticulous.


Well, we’re talking about a period of, certainly, eight or nine years. I don’t think John was ever lazy as such, I think he was growing into different kinds of music than Paul. Paul was always the down-to-earth one. Paul was a strange mixture — he’s proved to be the most successful of the lot, but he was a strange mixture of corny show-biz kind of music and also a desire for rock & roll. Paul would be just as likely as anyone to turn out a great “Helter Skelter” or “Long Tall Sally” when he’d want to do those. And he’d sing his voice out, till it was sore, so he’d get the right kind of sound. He actually hurt himself doing it, before recording. But there were two ends of him. It was pretty obvious that if anyone would write a musical like Cole Porter, it would be Paul McCartney and not John Lennon. Because John was the rebel, the Dylan of the group, and much more a word man than Paul. Paul learned about words from John.


So it was a perfect union.Some people look at their breakup rather like their own divorced parents.


People talk about the breakup of the group as though it was tragedy and so on, which is nonsense; they don’t say it’s amazing how long they lasted together. What other group has lasted as successfully as they? And as amicably as they? For nearly a decade. It really is pretty remarkable. It’s amazing to me, human nature being what it is, that they didn’t break up earlier under the strain of enormous superstardom. They were living in a golden prison all that time, and living with each other and not growing into individual lives. Now they’re living individual lives and enjoying it. Good luck to them.


Did you ever feel edged out of the production?

Particularly Let It Be, yes. Basically because they were going through an antiproduction thing anyway. John said, during Let It Be, “I don’t want any production gimmicks on this. I want it to be an honest album. I don’t want any overdubbing of voices, got to be live. I don’t want any editing. If we’re going to do it and make a mistake, that’s hard luck. It’s going to be honest.”


But it got to the point where we would do a take, and he would say, “How was it, George?” I’d say, “Well, it was pretty good, but it isn’t perfect.” And he’d say, “Was it better than the other one?” And I’d say, “It was a little bit better than take 46 but not quite as good as take 53, and the back drums weren’t quite as loud as they were in 69.” It just became ludicrous. You’re trying to get the perfect one, live, it’s ridiculous. And the album that I made of Let It Be, originally, was built on that premise that he insisted on. I was very shocked later on when he took it to Phil Spector and Phil overdubbed heavenly choirs and lush strings and harps and things, and John over-dubbed the voice and did all the things he said he shouldn’t in the first place.


I thought we were through then. I wasn’t happy and I didn’t want to go on. And I was very surprised when they came back to me afterward and said, “Look, let’s try and get back the way we were in the old days. And will you really produce the next album for us?” Which became Abbey Road. And . . . it was fine. We really did work well, we worked nicely together. That was the last album. Wasn’t issued last — Let It Be was issued after that.


Even on Abbey Road we were very amicable, very friendly. After the Let It Be thing, we really did try to work together. But John was never really into a production bit. I wanted to try and make side two a continual work. That was Paul and I getting together because Paul really dug what I wanted to do. I was trying to make a symphony out of pop music. I was trying to get Paul to write stuff that we could then bring in on counterpoint, or sort of a movement that referred back to something else. Bring some form into the thing. John hated that — he liked good old rock & roll. So Abbey Road was a compromise too. Side one was a collection of individual songs. John doesn’t like tone poems, or whatever you call it.


All the reunion talk must be a heavy “pressure to perform.”


I think it would be a terrible mistake for them ever to go into the studio together. I’d hate to see that happen. What happened was great at its time, but whenever you try to recapture something that existed before, you’re walking on dangerous ground, like when you go back to a place that you loved as a child and you find it’s been rebuilt. It destroys your illusions. The Beatles existed years ago; they don’t exist today. And if the four men came back together, it wouldn’t be the Beatles

September 1, 2022
Did The Beatles nick the most famous orchestral work of the 20th century?
by the nagra reels almost beatles songs

In 2003 The Beatles released a now-out-of-print bonus disc of rehearsals from the Get Back sessions. It
featured an excerpt of a rare song titled "Paul's Piano Piece" and was newly published by McCartney. But
bootleggers and historians have long regarded this previously uncredited piano performance as a cover
version of Samuel Barber's iconic "Adagio For Strings." So did the Beatles possibly knick the most famous
song of the 20th century? Tell us what you think.

Did Humble Pie's "Natural Born Boogie" nick riffs from The Beatles "Revolution?"


What John Lennon Stole From A Music Shop On The Beatles' First Trip Abroad
by S. Flannigan for Grunge

"I grew up in Hamburg, not Liverpool," John Lennon once declared, which may come as news to many millions
of Beatles fans for whom the Fab Four are synonymous with the northern English port city. But in many ways
Lennon was right, and he also spoke for the other members of the Beatles in that regard. Because without
Hamburg, the Beatles would never have become the legendary band that they grew to be.

Per The Beatles Anthology, the band became aware of gigging opportunities in Germany after a rival band,
Derry and the Seniors, were hired by the German concert promoter Bruno Koschmider, to perform at his
Kaiserkeller club in Hamburg, and based on their success approached the Beatles' first manager, Allan
Williams, to secure another Liverpool band for another club, the Indra.

The Beatles' experiences in Hamburg have been well-documented, with the teenage band — which also
included original bassist Stuart Sutcliffe, as well as drummer Pete Best — reportedly relishing the city's
nightlife and hedonistic decadence. However, it wasn't just in Hamburg that the Beatles were pushing
boundaries. As Lennon himself recalled via the same source, the band's first trip to Europe in 1960 was taken
by car, on a ferry crossing from Harwich. "Allan Williams took us over in a van," said Lennon, "We went
through Holland, and did a bit of shoplifting there."

The incident in Arnhem

The Beatles Anthology doesn't delve into exactly how much shoplifting John Lennon and the rest of the
Beatles got up to in Holland, and Lennon's recollection seems intentionally vague. But one incident has been
recorded for posterity, one which occurred in the Dutch town of Arnhem, known for its Arnhem Oosterbeek
War Cemetery which holds the remains of hundreds of British World War II servicemen — when the band and
their cohort were headed to Hamburg for the first time.

Lewisohn notes that manager Allan Williams has claimed that the visit to Arnhem was an emotional one for
the young band, and especially for Lennon, who was both sensitive and impulsive. As the historian notes, a
photograph of the group taken at an Arnhem war memorial is notable for John Lennon's conspicuous absence,
with Williams recollecting that the young musician was so troubled by the sight of so many graves — one of
which, by coincidence, bore the name of the band's then-drummer, Peter Best — holding the remains of men
of their own age that he decided to stay in the bus to keep his composure.

However, Lennon, who was also something of a show-off, found a way of restoring his street cred among the
group. Williams and the band looked around a music shop, and then, out on the street, Lennon revealed a
harmonica he had stolen, mortifying Williams who worried whether the band would be arrested before they
made it to Hamburg.

Love Me Do

John Lennon had learned to play the mouth organ — or harmonica — as a small child when he was gifted one
by a houseguest, Harold Phillips, who had bet the boy that he couldn't learn a song on Phillips' own harmonica
in one day (Lennon learned two, and won the harmonica, according to Mark Lewisohn). So it was perhaps no
surprise that the object he decided to steal in that Arnhem music shop should be his favorite childhood
instrument, and that Lennon played his new stolen mouth organ for the rest of the journey.

Though the Beatles are remembered as a guitar band, their recording careers were heralded first and
foremost by the sound of the mouth organ, a melody from which makes up the unmistakable opening bars of
the Fab Four's debut single, "Love Me Do." But if it weren't for Lennon's foray into petty crime on that first
journey to Hamburg, the record may have sounded quite different, as, according to Song Facts, the mouth
organ on that recording is the very same one that Lennon shoplifted on his first trip to Europe.


Archived News


July 2000 - June 2003
July 2003 - December 2003
January 2004 - October 2004
October 2004 - May 2005
May 2005 - June 2005
July 2005 - November 2005
December 2005 - March 2006
April 2006 - June 2006
June 2006 - July 2006
August 2006 - September 2006
October 2006
November 2006 - December 2006
January 2007 - June 2007
June 2007 - March 2008
March 2008 - July 2008
August 2008 - September 2008
October 2008 - July 2009
August 2009 - November 2009
December 2009 - August 2010
September 2010 - December 2010
Jannuary 2011 - December 2013
January 2014 - June 2019

June 5, 2019 - November 2019
December 2019 - October 2020

November 2020 - January 2021

February 2021 - July 2021

August 2021 - November 2021

December 2021 - February 2022

March 2022 - April 2022

May 2022 - June 2022

June 2022 -July 2022

August 2022