Ultimate Beatles Collection E-Book

Joel McIver

• Herausgeber: Fox Chapel Publishing
• Kategorie: Sachliteratur, Reportagen, Biografien
• Serie: Visual History
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Seitenzahl: 206

Beschreibung

Find out all you need to know about how John, Paul, George, and Ringo became the most influential band of all time. Ultimate Beatles Collection charts the Fab Four's musical evolution through the sixties. Includes a fascinating biography of each member of the band, an introduction to the members' early years as school kids with a love of American Rock and Roll, the wide variety of members of The Beatles before settling on the Fab Four, the "Fifth Beatle," Beatlemania in the US, their films--HELP, A Hard Day's Night, Magical Mystery Tour, and Yellow Submarine--The Beatles' White Album, the band's split and their lives after The Beatles, including the murder of John Lennon and the untimely death of George Harrison. Also features a brief description and explanation for each song on the track for albums Please Please Me, A Hard Day's Night, Beatles for Sale, Help!, Revolver, and their alter-egos Sgt Pepper's Lonely Hearts Club Band, and more! Enjoy the immeasurable legacy of the Beatles as it lives on in their music and books.

Leseprobe

YOUR COMPLETE

GUIDE TO THE

WORLD’S

GREATEST

BAND

EATLES

ULTIMATE

COLLECTION

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©2024 by Future Publishing Limited

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Introduction

C

an you name any rock band that has made a bigger impact

on global culture than The Beatles? With an estimated

600 million record sales—more than any other artist in

history—Paul McCartney, John Lennon, George Harrison, and

Ringo Starr have established a presence that cannot be outdone,

no matter how big or popular your favorite current musician

may be.

For that reason, we bring you the

Ultimate Beatles Collection

,

a celebration of all things Beatles. Our aim with this fully

comprehensive book is not just to take a look at the legendary

foursome’s songs, although we do that in serious detail, of

course. We bring together an interconnected commentary on the

revolution which the four musicians brought to art, politics, and

philosophy, from their roots in the early sixties to the modern

day. After all, The Beatles weren’t just another band—they were

a phenomenon, evolving right before their fans’ eyes from a

bunch of mop-tops playing rock ‘n’ roll covers to a powerful,

transformative force, making a profound impression on the

entirety of their environment.

Although John and George aren’t around to celebrate the

continued relevance of their band, Paul and Ringo are still out

there, playing the world’s biggest stages and commanding legions

of fans. Beatlemania has never gone away, and we’re all better off

for that fact. Enjoy this chaotic, unpredictable, psychedelic ride.

JOEL M

C

IVER

Images JJs/Alamy (opposite page); Pictorial Press Ltd/Alamy (sign)

EATLES

ULTIMATE

COLLECTION

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Images Bettmann/Getty Images (main); GAB Archive/Redferns/Getty Images (badge);

Fox Photos/Getty Images (waving); Fox Photos/Getty Images (fans); Michael Ochs

Archives/Getty Images (performing)

CONTENTS

THE FAB FOUR

John, Paul, George, and Ringo

8

Meet The Beatles

13

The Early Years

14

The Cavern Club

18

The Fifth Beatle

20

BEATLEMANIA

Please Please Me

26

With The Beatles

30

The Show That

Broke America

35

A Hard Day’s Night

36

Beatles for Sale

42

Help!

48

Triumph at Shea

Stadium

53

Honored

by the Queen

55

Rubber Soul

56

Revolver

64

THE STUDIO YEARS

Sgt. Pepper: A Psychedelic

Masterpiece

73

Sgt. Pepper’s Lonely

Hearts Club Band

74

The Beatles on Film

80

Goodbye, Mr. Epstein

87

The Beatles

(aka

The White Album

)

88

The Singles

98

Abbey Road

Studios

105

Abbey Road

106

Let It Be

114

Back to The Beatles’

Roots

118

END OF THE ROAD

The End of an Era

123

What The Beatles Did Next

125

“Now and Then”: The Last

Beatles Song

131

A Farewell to Heroes

133

The Legacy of The Beatles

134

4

5

CONTENTS

6

CHAPTER 1

6

Image Jeff Hochberg/Icon and Image/Getty Images

FAB FOUR

THE

John, Paul, George, and Ringo

8

Meet The Beatles

13

The Early Years

14

The Cavern Club

18

The Fifth Beatle

20

7

THE FAB FOUR

Fields Forever,” nodding to a childhood when

Lennon already knew he was “different.” The

retooled Mississippi blues of “Come Together.”

The mind-expanding “Tomorrow Never

Knows.”

With the arguable exception of “Imagine,”

Lennon’s post-Beatles output couldn’t quite

reach those heights—but perhaps it might have

done were it not for the shocking incident of

I

n December 1970, John Lennon was asked

by

Rolling Stone

magazine if he considered

himself a genius. The former Beatle’s reply—

“If there’s such a thing, I am one”—might

seem

conceited, but to say anything else would have

been ludicrous. If the term can be applied to

anyone in the pantheon, then it must surely

be bestowed on the man who broke down the

limits of what popular music could

say and

do, who wrote “Help!,” “Don’t Let Me Down,”

“Strawberry Fields Forever,” “A Day in the Life,”

“Come Together,” and all the rest.

Lennon was an easy artist to worship but

a harder man to love. Born at Liverpool

Maternity Hospital on October 9, 1940,

the singer, by his own admission, had a

cruel streak as a youth, and that fed into his

Beatles career, where he was the barbed

counterpoint to Paul McCartney’s

optimism and the author of the band’s

most biting songs. As his highest-profile

acolyte, Noel Gallagher, pointed out,

Lennon “had an edge,” whether that was

baiting the American Bible Belt with his

claims that the band was “more popular

than Jesus” or sabotaging McCartney’s

upbeat “Getting Better” with his gallows-

humor asides. (“It can’t get no worse.”)

In early years, Lennon played the tough

rock ‘n’ roller, driving The Beatles’ covers-

heavy sets with his pumped up, highly

underrated rhythm guitar style (“I’m not very

good technically,” he noted, “but I can make it

howl and move.”) But with maturity, Lennon’s

musicianship developed light and shade,

while his best songs became openhearted and

hugely evocative, mirroring a kinder man

who decried the Vietnam War and called for

peace. There was the haunted piano melody

and newspaper-clipping lyric of “A Day in

the Life.” The woozy throb of “Strawberry

JOHN LENNON

Peacenik. Agent

provocateur. Angry young

man. The Beatles legend

has a thousand faces, but

the real John Lennon is

right there in his songs.

December 8, 1980, when the songwriter was

gunned down in New York at age 40. But even

death couldn’t snuff out his legend. Lennon still

looms over every aspirant songwriter, stares

from every student wall, and is cited by every

artist who matters. “Genius” is the only word

that doesn’t fall short.

“I BELIEVE IN WHAT I DO,

AND I’LL SAY IT.”

JOHN LENNON

LEFT

Lennon as

a boy, pictured

at age nine with

his mother, Julia

Lennon.

ABOVE

“If being an egomaniac

means I believe in what I do and in

my art or music, then in that respect

you can call me that . . . I believe in

what I do, and I’ll say it.”

JOHN, PAUL,

GEORGE,

AND

RINGO

8

CHAPTER 1

T

he most backhanded compliment in

rock ‘n’ roll is that Paul McCartney

was the “cuddly Beatle.” Put it down

to the puppyish good looks of his youth, the

avuncular thumbs-up image of his later years,

or the mere fact that he survived the ride,

but the Beatles bassist has sometimes labored

under his portrayal as less artsy or edgy than

his late songwriting partner, John Lennon. In

reality, even a cursory glance at McCartney’s

catalogue and Beatles career sinks this theory.

PAUL MCCARTNEY

Songwriting god, sixties

survivor, and spokesman for

the greatest band on Earth,

Paul McCartney has spent half

a century as a man on the run.

“IF I WANT TO SAY ANYTHING,

I WRITE A SONG.”

PAUL McCARTNEY

LEFT

“What I have

to say is all in the

music. If I want to

say anything, I write

a song.”

ABOVE

McCartney enjoyed

post-Beatles success with

Wings (pictured, 1974) and

continues to perform as a solo

artist today.

The bassist balanced his amenable nature

with a fearless appetite for musical revolution,

slashing and burning pop’s conventional

wisdom. Nobody has pushed the envelope

further for longer.

McCartney was born in Liverpool on June

18, 1942, but he was forged in the white

heat of his partnership with Lennon, after

a note-perfect rendition of Eddie Cochran’s

“Twenty Flight Rock” secured his spot in The

Quarrymen. As The Beatles set out, the pair

discovered a rare songwriting chemistry—

early cuts were penned “eyeball to eyeball”—

but it ultimately proved too combustible,

sending them into their own creative spheres

(albeit with each writer often inviting the

other to fix his song’s holes). And it was here

that McCartney thrived, his peerless melodic

instincts free to swoop and soar, though always

anchored by the brown thrub of his favorite

Hofner violin bass.

The king of sixties London, McCartney was

the fulcrum that linked all the great bands of

the era: he was tight with everyone from The

Rolling Stones to The Byrds. Yet the bassist

was competitive too; some of his best songs

were spurred by the desire to outdo Lennon

(“Penny Lane” was his answer to “Strawberry

Fields Forever”) and Brian Wilson of The

Beach Boys (the bassist took

Pet Sounds

as

his cue to pull out all the stops with

Sgt.

Pepper

). And when McCartney was firing on

all cylinders, there was nobody to touch him.

Fans fiercely respect Lennon’s “A Day in the

Life,” of course, but it’s “Let It Be” and “Hey

Jude” that they sing until their throats are

raw.

Wilson once noted that McCartney “has

so much music in him, it seems like he never

runs out of ideas,” and so it proved, across a

massively prolific post-Beatles career whose

peaks—like 1973’s

Band on the Run

and

1997’s

Flaming Pie

—nudged the brilliance of

the Fab Four. Now approaching his eighties,

McCartney’s status as the world’s greatest living

songwriter, bar none, is secure.

Words Henry Yates. Images Mark and Colleen Hayward/Redferns/Getty Images (Lennon & McCartney main); Icon and Image/

Getty Images (Julia Lennon); Michael Putland/Getty Images (Wings)

9

THE FAB FOUR

The Beatles’ split barely broke his stride.

Out of the blocks, Harrison’s 1970 solo album

All Things Must Pass

was widely deemed the

best of the post-Fab projects, while he was the

impetus behind the following year’s altruistic

Concert for Bangladesh. Later, the guitarist

was a vital cog in The Traveling Wilburys and

even mobilized the cream of British cinema,

having founded HandMade Films to bail out

I

n any other band, George Harrison would

have been the main event. A master guitarist

with poster-boy looks. An accomplished

singer whose cultural antennae was receiving

everything from the wisdom of Hare Krishna to

the sitar playing of Ravi Shankar. A songwriter

capable of cutting diamonds like “Something,”

“Taxman,” “While My Guitar Gently Weeps,”

and “Here Comes the Sun.” Some felt it was

the guitarist’s great misfortune to be in a band

alongside two principals of the stature of

Lennon and McCartney—but Harrison seemed

content to operate as the ultimate second fiddle.

As modern rock god Dave Grohl put it, “He

was the secret weapon.”

On February 6, 1958, when Harrison

joined The Quarrymen on the strength of

his chord knowledge and a virtuoso

rendition of Bill Justis’ R&B hit

“Raunchy,” it seemed the role of this

bus driver’s son would be to decorate

Lennon and McCartney’s songs with his

instrumental flair. This he did superbly

on the band’s early sides: revisit his

leads from

Please Please Me

and

With

The Beatles

or the thrilling clang of his

12-string Rickenbacker at the start of “A

Hard Day’s Night.”

But it was during the filming of 1965’s

Help!

that Harrison became far more than a

foil, playing sitar for the first time, pursuing it

into cuts like “Within You Without You” and

challenging his bandmates to push the envelope

beyond their formative jangle-pop. For all

that, it’s the guitarist’s simplest moments that

resonate. The trilling folk of “Here Comes the

Sun.” The choppy strut of “Taxman.” The supple

string-bends of

Abbey Road

’s “Something”—a

song toasted by Frank Sinatra as “the greatest

love song of the past 50 years” but mistakenly

attributed by the crooner to Lennon-McCartney.

GEORGE HARRISON

The Beatles guitarist was a

quiet revolutionary and forced

his way into the spotlight with

some of the band’s most perfect

songs.

Monty Python

and fund 1979’s

The Life of

Brian

.

Even when misfortune came calling—when

he was stabbed by an intruder in 1999, and later

when he succumbed to lung cancer in the post-

millennium—Harrison bore it with his usual

stoicism. “He never flinched,” said the guitarist’s

son, Dhani. “He never felt sorry for himself. He

never lost his sense of humor.”

“I DON’T REALLY LIKE TO

BE THE GUY IN THE WHITE

SUIT AT THE FRONT.”

GEORGE HARRISON

LEFT

George was the

first solo Beatle to have

both a #1 single (“My

Sweet Lord”) and album

(

All Things Must Pass

).

ABOVE

“I had no ambition when I

was a kid other than to play guitar

and get in a ^Irock ‘n’ roll band. I

don’t really like to be the guy in the

white suit at the front.”

JOHN, PAUL,

GEORGE,

AND

RINGO

10

CHAPTER 1

I

t’s easy to dismiss Ringo Starr as the

passenger in the Beatles lineup. His original

songs were infrequent and mostly forgettable.

His vocal performances were reserved for the

band’s most frivolous and throwaway moments.

Even his drum skills were negligible—at least

according to John Lennon’s apocryphal response

when asked by a journalist if Starr was the best

drummer in the world (“He’s not even the best

drummer in The Beatles”), something many

believe he didn’t say.

It’s true that The Beatles might still have

functioned without Starr in a way they

RINGO STARR

Far from a spare part, the

drummer was The Beatles’

blue-collar hero and

underrated engine room.

“MY SOUL IS THAT

OF A DRUMMER.”

RINGO STARR

LEFT

“First and foremost, I’m a

drummer . . . My soul is that of a

drummer . . . I didn’t do it to become

rich and famous, I did it because it

was the love of my life.”

ABOVE

Ringo

continues to tour with

his supergroup, the All-

Starr Band, which first

formed in 1989.

patently couldn’t if any of the other three

members were removed. But Ringo was about

more than just music. He was the wit-and-grit

presence that kept the band tied to the streets

as their lives threatened to float away from

reality, the blue-collar boy-done-good who

was emblematic of the rock ‘n’ roll dream and

an eternally underrated musician who always

knew exactly what the material demanded.

“I’ve always believed,” he once said, “that the

drummer is there not to interrupt the song.”

Born on July 7, 1940, in the tough inner-

city environs of Dingle, Liverpool, Richard

Starkey’s musical talent was only unlocked

after a teenage bout of tuberculosis. (“A

woman came to the hospital with instruments,”

he told

Mojo

. “Tambourines, maracas, snare

drums—that’s where it all started.”)

A month after being presented with his

first kit, he hit the local circuit in outfits like

Rory Storm and The Hurricanes, but it was

slipping onto The Beatles’ drumstool vacated

by Pete Best that changed everything, both

for Starkey—now Starr—and drummers that

followed. Where once the drummer had been

an invisible pace-setter, Starr insisted on being

front and center. “The reason I had a drum

riser and also the smallest kit,” he said, “was

I was going to make damn sure you could see

me.”

And whatever Lennon might have said, Starr

was a far more talented sticksman than the old

jokes suggested, every bit as perfect for his band

as Keith Moon in The Who or John Bonham in

Led Zeppelin. True, his post-Beatles career is

largely kept afloat by goodwill, but his greatest

moments echo through the ages. Take the

thrilling solo from “The End,” the propulsive

tom roll that opens “She Loves You” or, above

all, the languorous fills on ‘“A Day in the Life.”

“You could take a great drummer now and say,

‘I want it like that’,” noted fellow drummer Phil

Collins, “and they wouldn’t know what to do. I

think Ringo’s vastly underrated.”

Words Henry Yates. Images Mark and Colleen Hayward/Redferns/Getty (Harrison & Starr main);

GAB Archive/Getty (George inset); Denise Truscello/Getty (All-Starr Band)

11

THE FAB FOUR

Manager Brian Epstein

encouraged the band to ditch

their jeans and leather jackets

in favor of suits for a more

professional look.

12

CHAPTER 1

MEET THE BEATLES

Imagine the scene. It’s 1962, and you’re

seeing these four faces for the very first

time. Get used to it—they’re going to be

around a lot.

From left to right, meet Paul

McCartney (vocals and bass), John

Lennon (vocals and guitar), George

Harrison (vocals and guitar), and

Richard “Ringo Starr” Starkey (vocals

and drums). They’re pictured here as

young men on the very cusp of stardom,

at the ages of 19 to 22, with everything

to fight for.

Little did The Beatles know at

this stage that they would have

become the biggest selling and most

influential band ever formed, within

four years of this photo being taken.

In early 1963, a series of hit singles

and albums would propel them into

the limelight in their home country

and abroad, kick-starting a wave

of successful homegrown groups

dubbed the “British Invasion.” By the

mid-sixties, The Beatles’ exploration

of political and social commentary,

experimentations with spirituality and

alternative ways of thought, as well as

innovations in making music and art

would make them the primary cause of

cultural change within their era. Not

bad for four working-class lads from

Liverpool.

Words Joel McIver. Image Michael Ochs Archives/Getty Images

13

THE FAB FOUR

THE

EARLY

YEARS

How the biggest band in the

world started life—as a bunch

of Merseyside schoolkids

with a love of American

rock ‘n’ roll.

The Silver Beatles: Sutcliffe,

Lennon, McCartney, and Harrison

on stage in 1960 with drummer

Johnny “Hutch” Hutchinson, who

was sitting in that day.

Words Joel McIver. Images Keystone/Hulton Archive/Getty Images (McCartney family home); Mark and Colleen Hayward/Redferns/Getty Images (tape

recorder); Michael Ochs Archive/Getty Images (The Silver Beatles); Mondadori via Getty Images (main)

T

he story of The Beatles reads like a tale

from an England long gone—or at least,

partly so. The saga’s early reference

points of grammar schools, hire-purchase

guitars from the little shop down the lane,

summer fêtes, and 78-rpm singles made of

fragile shellac sound from 70 years into the

future like something out of a classical fable.

However far-off those days may be, it is

a fact that today the legacy of The Beatles,

the biggest rock band there has ever been or

will ever be, is not only intact, it is growing.

The two surviving members of the band,

singer/bassist Paul McCartney and drummer

Ringo Starr, both knights of the realm, are

as culturally relevant—and, perhaps more

significantly, as commercially successful—as

they ever were.

McCartney is 81, Starr an energetic 83

(at the date of publication), and although

homicide and cancer took their late colleagues

John Lennon and George Harrison at a

premature 40 and 58 respectively, the music

the four musicians made together has a very

real whiff of immortality about it. Their

catalogue of songs is vast—229 is the official

number they wrote as The Beatles, but co-

writes, uncredited compositions, side projects,

multimedia works, and their solo careers add

hundreds more—and of the dozens of songs

that were hits, each has a cultural significance

that shows no sign of going away.

These statistics lend a fascinating contrast

to the innocent, although bittersweet, story

of the group’s early years. The often-told

tale goes as follows: Paul McCartney was

born in Walton in Liverpool on June 18,

1942, and met George Harrison in 1954 at

the Liverpool Institute, a grammar school.

Harrison, born on February 25, 1943, was

not yet a musician, but the two bonded over

the then-new American rock ‘n’ roll music

that was flooding Liverpool and the UK.

Both teenagers soon began playing music of

their own, with Harrison taking up the guitar

and McCartney working his way through

piano and trumpet, before also settling on

the six-string guitar.

In parallel, John Lennon—born on

October 9, 1940—was playing in a skiffle

band called The Quarrymen by late 1956.

Lennon, the group’s leader, sang and

played guitar, and the initially fluid lineup

eventually settled to include a tea-chest

bassist Len Garry, a washboard player named

Pete Shotton, drummer Colin Hanton,

and banjo player Rod Davis. Another early

member, Nigel Walley, became the group’s

manager and secured local gigs.

A crucial moment—not only for The

Quarrymen or for The Beatles, but for

decades’ worth of popular music to come—

was on July 6, 1957, when the group played

at the St. Peter’s Church Rose Queen garden

fête in Woolton. Their set took place on the

back of a moving flatbed lorry as part of

a procession of floats containing Guides,

Scouts, and Cubs and other youth groups—

with the main act a display by a pack of

police dogs. And so history was made.

McCartney was at that gig and was

introduced to Lennon after The Quarrymen’s

set by their former bassist, Ivan Vaughan.

Lennon was impressed enough with the

younger boy’s ad hoc rendition of a couple

of rock ‘n’ roll songs to invite him to join.

McCartney wisely accepted the invitation,

although with the condition that he could

attend Scout camp in Derbyshire and then

enjoy a family holiday at Butlins first.

➽

TOP

George, John,

and Paul standing

outside the McCartney

family home in

Liverpool, circa 1960.

ABOVE

A Grundig reel-to-reel

tape recorder, EMI tape, and the

program of performances from

the Woolton Parish Church fête

on July 6, 1957, where Lennon

first met McCartney.

14

CHAPTER 1

After several lineup changes

in the band’s early days,

the Fab Four were complete

when Ringo joined in August

1962.

“WHEN WE FIRST STARTED OUT, I WAS

TERRIFIED OF DOING ANYTHING WRONG ON

STAGE. I GOT TO LEARN, THOUGH, THAT PEOPLE

DON’T MIND. IN FACT, THEY KIND OF LIKE IT.”

PAUL McCARTNEY

15

THE FAB FOUR

Once he was installed as a Quarryman,

the new lineup—now Lennon, McCartney,

Griffiths, Garry, and Hanton—embarked on

a run of rehearsals that led to local gigs in

the autumn of ’57. Their songs included the

Everly Brothers’ “Bye Bye Love” and Elvis

Presley’s “All Shook Up,” as well as original

songs, two of which included Lennon’s

“Hello Little Girl” and McCartney’s “I Lost

My Little Girl.”

It’s possible that the theme of early songs such

as these reflected the loss of both boys’ mothers:

in 1956, Mary McCartney had died after

surgery for cancer, while Julia Lennon would

die two years later after a car struck her while

she was crossing a Liverpool street. Tragedy,

sadness, and a certain sarcastic attitude to the

vagaries of life certainly permeated The Beatles’

later work as deeply as comedy, exhilaration,

and more positive emotions.

The revolving door of Quarrymen members

continued to spin, with Harrison—still only 14,

but rapidly becoming something of a hotshot

guitarist—auditioning in March 1958 with a

rendition of “Guitar Boogie Shuffle.” Lennon

is said to have been reluctant to invite the kid,

three years his junior, on board, but McCartney

was in favor and so Harrison signed up, along

with a fourth guitarist, John Duff Lowe. Lennon

and McCartney wanted Griffiths to switch to

bass, then the most unpopular instrument in

any rock band, and when he refused, they asked

manager Walley to fire him. Walley himself

departed soon after, and Garry contracted

tubercular meningitis and stepped down.

The sole recorded evidence of the Lennon

and McCartney incarnation of the Quarrymen

was a two-track single recorded on July 12,

1958, at Phillips’ Sound Recording Services

in Liverpool. The two songs—a McCartney/

Harrison original called “In Spite of All the

Danger” and a cover of Buddy Holly’s “That’ll

Be the Day”—were recorded direct to vinyl via

a single microphone. McCartney now owns

this single, said by record-collecting enthusiasts

to be the most valuable piece of vinyl ever

manufactured.

As 1958 passed, The Quarrymen found

themselves short of both members and gigs.

Hanton and Lowe quit, and McCartney

and Harrison played with a Welsh skiffle

group called The Vikings. The group tried to

rebrand, changing its name to Johnny & The

Moondogs and then to the curious Japage 3,

a combination of letters from their names.

However, the seeds of The Beatles we now

recognize were sown when Harrison took

matters into his own hands, inviting guitarist

Ken Brown and drummer Pete Best from

the Les Stewart Quartet—with whom he had

played on a break from the Quarrymen—to

join him, Lennon, and McCartney in a new

lineup in 1959.

By early 1960, Brown’s spot had been taken

by Lennon’s fellow art-school student Stuart

Sutcliffe, who took up the bass guitar, although

he never really mastered the instrument. A

recording, “One After 909,” was made, as was a