A Hard Day's Write, 3e: The Stories Behind Every Beatles Song [New, Updated] 0060844094, 9780060844097

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STEVE TURNER

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A HARD DAY’S WRITE

The Stories Behind Every Beatles’ Song

CARLTON

Steve Turner

This book is dedicated to T-Bone Burnett and Larry Norman in memory of many hours of Beatle-talk over the years.

A LITTLE BROWN/CARLTON BOOK First published in Great Britain in 1994 by Little, Brown and Company

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‘Baby, Let’s Play House’, words and music by Arthur Gunter © Williamson Music Inc./Carlin Music Inc. ‘Daydream’, words and music by John Sebastian © 1966 Hudson Bay Music Corp. Reproduced by kind permission of Robbins Music Corp Ltd, London. ‘I’m Wishing’, words and music by Larry Morey and Frank Churchill; and ’Please’, words and music by Leo Robbin and Ralph Rainger © Warner Chappell Music Ltd, London. Reproduced by kind permission of

This paperback edition published in 1995

International Music Publications Ltd. ‘Something in the Way She Moves’, words and music by

Text copyright © Steve Turner 1994 Design copyright© Carlton Books Limited 1994

James Taylor © 1968 EMI Blackwood Music Inc./Country Road Music Inc., USA. The songs of the Beatles, words and music by John Lennon and Paul McCartney or George Harrison © Northern Songs. Reproduced by kind permission of

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CONTENTS PREFACE / 6 INTRODUCTION / 9

RUBBER SOUL / 85

THE BEATLES / 149

Day Tripper; We Can Work It Out;

Back In The USSR; Dear Prudence;

Drive My Car; Norwegian Wood; You

Glass Onion; Ob-La-Di Ob-La-Da; Wild

Won't See Me; Nowhere Man; Think For

Honey Pie; The Continuing Story of

PLEASE PLEASE ME / 17

Yourself; The Word; Michelle; What Goes

Bungalow Bill; While My Guitar Gently

I Saw Her Standing There; Misery; Ask

On; Girl; I'm Looking Through You; In My

Weeps; Happiness Is A Warm Gun; Martha

Me Why; Please Please Me; Love Me Do;

Life; Walt; If I Needed Someone; Run For

My Dear; I'm So Tired; Blackbird; Piggies;

PS I Love You; Do You Want To Know A

Your Life

Rocky Raccoon; Don't Pass Me By; Why

/

Don’t We Do It In The Road?; I Will; Julia;

Secret?; There's A Place

WITH THE BEATLES / 29

REVOLVER / 99 Paperback Writer; Rain; Taxman;

From Me To You; Thank You Girl; She

Me And My Monkey; Sexy Sadie; Helter

To; Here, There and Everywhere; Yellow

Skelter; Long Long Long; Revolution; Honey

Submarine; She Said, She Said; Good Day

Pie; Savoy Truffle; Cry Baby Cry; Revolution 9;

Sunshine; And Your Bird Can Sing; For No

Good Night; Don't Let Me Down

One; Doctor Robert; Got To Get You Into

n

All I've Got To Do; All My Loving; Little Child; Don't Bother Me; Hold Me Tight; I Wanna Be Your Man; Not A Second Time; I Want To Hold Your Hand; This Boy; I Call My Life; I Want To Tell You; Tomorrow

3

A HARD DAY'S NIGHT / 45 A Hard Day’s Night; I Should Have

Everybody’s Got Something To Hide Except

Eleanor Rigby; I'm Only Sleeping; Love You Loves You; I’ll Get You; It Won't Be Long;

Your Name

Birthday; Yer Blues; Mother Nature's Son;

Never Knows

8

LET IT BE / 173 Two Of Us; Dig A Pony; Across The

Universe; I Me Mine; Dig It; Let It Be; I've

SGT PEPPER'S LONELY HEARTS

Known Better; If I Fell; I'm Happy Just To

CLUB BAND / 117

Got A Feeling; One After 909; For You Blue; The Long And Winding Road; Get Back; The

Dance With You; And I Love Her; Tell Me

Penny Lane; Strawberry Fields Forever; Sgt

Ballad of John and Yoko; Old Brown Shoe;

Why; Can't Buy Me Love; Any Time At All;

Pepper's Lonely Hearts Club Band; With A

You Know My Name

I'll Cry Instead; Things We Said Today;

Little Help From My Friends; Lucy In The Sky

When I Get Home; You Can’t Do That; I’ll

With Diamonds; Getting Better; Fixing A

Be Back

Hole; She's Leaving Home; Being For The

BEATLES FOR SALE / 59

Benefit of Mr Kite!; Within You Without You; When I’m Sixty-Four; Lovely Rita;

I Feel Fine; She's A Woman; Eight Days A Week; I'm A Loser; No Reply; I Don't Want To Spoil The Party; I'll Follow The Sun; Baby's In Black; Every Little Thing; What You're Doing

Good Morning, Good Morning; A Day In The Life

ABBEY ROAD / 187 Come Together; Something; Maxwell's Silver Hammer; Oh Darling; Octopus’s Garden; I Want You; Here Comes The Sun; Because; You Never Give Me Your Money; Sun King; Mean Mr

9

Mustard; Polythene Pam; She Came In

MAGICAL MYSTERY TOUR / YELLOW SUBMARINE 135

HELP! / 71

All You Need Is Love; Baby, You’re A Rich

Yes It Is; I'm Down; Helpl; The Night

Man; Hello Goodbye; Only A Northern

Through The Bathroom Window; Golden Slumbers; Her Majesty; Carry That Weight; The End

Before; You've Got To Hide Your Love Away;

Song; All Together Now; Hey Bulldog; It’s All

CHRONOLOGY / 202

I Need You; Another Girl; You're Going To

Too Much; Magical Mystery Tour; The Fool

DISCOGRAPHY / 204

Lose That Girl; Ticket To Ride; Tell Me What

On The Hill; Flying; Blue Jay Way; Your

You See; You Like Me Too Much; It's Only

Mother Should Know; I Am the Walrus; Lady

Love; I've just Seen A Face; Yesterday

Madonna; The Inner Light; Hey Jude

BIBLIOGRAPHY / 207 INDEX / 208

PREFACE

others. If you do want to know what Paul was say¬ ing, read a book like Paul McCartney: From Liverpool To

Let It Be by Howard DeWitt (Horizon Books, 1992) or, if you want to catch the drift of John's intellectu¬

©

al development, read The Art and Music of John Lennon by John Robertson (Omnibus, 1990) or John Lennon's

Hard Day's Write tells the stories behind

Secret by David Stuart Ryan (Kozmik Press, 1982).

the Beatles' songs, which I've defined as

What I have tried to do is simply to tell the story

;ongs written and recorded by the Beatles.

of how each song came into being. It could have been

This book doesn't include songs by other writers

a musical inspiration, such as wanting to emulate a

which the Beatles covered, Lennon-and-McCartney

Little Richard single, or trying to write in the style of

numbers recorded by other artists or the recent

Smokey Robinson. It could have been a phrase that

Beatles adaptations of the two Lennon songs 'Free as

just wouldn’t go away, like the ‘waves of sorrow,

a Bird' and ‘Real Love'. It looks at the how, why and

pools of joy’ line that forced John to write ‘Across

where of the songwriting and traces the inspiration

The Universe’. Or it could have been an incident like

back to source. Alongside the stories there are over

the death of socialite Tara Browne which led to the

200 illustrations, including pictures of the people and

writing of part of ‘A Day In The Life’.

places that prompted the group members to write. In

Not every song has a great story behind it. Some

essence, A Hard Day’s Write is a scrapbook for those

of the earlier material, particularly the soundtrack for

seeking insight into the best-known popular song

the films A Hard Day’s Night and Help!, was written to

catalogue of modern times.

deadline and owed more to the vernacular of other

Having said that, this is not a book about how the

songs than the Beatles' own experience. Four num¬

Beatles recorded the songs, nor about who played

bers from A Hard Day’s Night were apparently

what on which sessions. Mark Lewisohn has done

churned out in one intense session. There are also

that job definitively in The Complete Recording Sessions

songs from this period which neither John nor Paul

and anyone who writes about the Beatles now can¬

had any clear memory of once the Beatles had split

not fail to refer to Mark's book. I have only men¬

up. Paul has referred to them as "work songs” and

tioned production details where they have had a

John commented that many of them were written

significant bearing on the actual construction of a

"with no thought to them”, dismissing them as

song, such as when George Martin suggested begin¬

"garbage”. Later songs, like 'Dig It’ and 'Dig A Pony',

ning a song with the chorus, or when lyrics were writ¬

were 'knocked off in a different way. By this time,

ten or altered in the studio. Neither is A Hard Day's

the pair were each in their own way disenchanted

Write a book of in-depth musical analysis. I haven't

with the Beatles and were only in the studio to fulfil

attempted to describe to the reader what he/she has

contractual obligations, so they began to make up

been listening to for all these years in the language of

nonsense lyrics while jamming. For the purposes of

pentatonic melismas and syncopated stresses. For a

this book, the most fruitful period was between 1965

musicological take on the Beatles, see Twilight Of The

and 1969 when the group recorded Rubber Soul,

Gods by Professor Wilfrid Mellers (Schirmer Books,

Revolver, Sgt Pepper’s Lonely Hearts Club Band, the

1973) or Revolution in the Head by Ian McDonald

Yellow Submarine soundtrack. Magical Mystery Tour,

(Fourth Estate, 1994).

The Beatles (The White Album) and Abbey Road.

This is also not a book that explains what the

During this time, the Beatles challenged the conven¬

Beatles ‘were really trying to say'. Although I've given

tions of pop songwriting, drawing on everything

outlines of many songs for those who may not be

around them for inspiration instead of relying on

familiar with the lyrics and have referred to psycho¬

lyrics that were derivative.

logical factors that I believe influenced the standpoint

My primary source is the words of the Beatles

of the writing, I’ve left the task of interpretation to

themselves. I was fortunate enough to meet John,

McCartney

On

interviewing him and Yoko at the Apple office in

the

Savile Row in the summer of 1971, shortly before

McCartney, broadcast on BBC Radio I during 1989,

Imagine was released. I remember complimenting

and The Lost Lennon Tapes, an American production

him on the personal nature of his new songs which

co-ordinated by Elliot Mintz, featuring demo tapes

had come after an intense period of therapy. "My

from John’s private collection which Yoko had

songs have always been personal," he responded.

allowed to be broadcast for the first time.

songwriting:

Mike

Read’s

"‘Help!’ was personal. ‘You’ve Got To Hide Your

As informative as all these were, they didn’t tell

Love Away’ was personal. Tm A Loser’ was person¬

me the whole story. Many of the anecdotes are

al. I’ve always been on that kick."

already well known. William J Dowlding’s book

Now that John is dead, I had to refer questions

Beatlesongs (Fireside, 1989) does a very good job of

arising from this book to Elliot Mintz, a close friend of

listing the session information from Mark Lewisohn’s

his who represents the John Lennon Estate. He was

book alongside Beatle quotes from newspapers and

helpful throughout, sharing memories of discussions

magazines. I wanted to go a step further than this by

he’d had with John about his writing and keeping

interviewing the people who were around when the

Yoko informed of my research. I didn’t meet Paul

songs were written, or who had even been the sub¬

until 1992 when I was asked to help Linda in the writ¬

ject of songs. I also wanted to track down the news¬

ing of the text for her photographic book Sixties:

paper stories which had provided ideas, the books

Portrait Of An Era. I had hoped that Paul would con¬

from which they’d taken lines and the places which

tribute his own memories to A Hard Day’s Write but

had inspired them. I wanted to surprise even the

after reading through an early draft of the manuscript,

Beatles themselves because I knew that they didn’t

he decided that he couldn’t just dip into a project

know who Mr Kite was or what happened to the girl

like this and yet didn’t have the time to give a full

whose story inspired ‘She’s Leaving Home’. I knew

account of every song. He did, however, point out

they would have also long since forgotten the letters’

some discrepancies in the stories I had collected

column which supplied them with the title 'From Me

which I was then able to change.

To You’ and the face of the girl who became

If the most reliable comments on the songs are

Polythene Pam.

those made by the Beatles themselves. I’ve also

The definitive book on this subject won’t be writ¬

drawn on the published interviews I have personally

ten until John’s journals, letters and work books are

collected since beginning my first Beatles’ scrapbook

made public and Paul, George and RIngo sit down in

in 1963. Those that I had missed, I searched out at

front of a microphone and share everything they

the National Newspaper Library and the National

remember about the 186 songs which the Beatles

Sound Archives in London. There were six invalu¬

recorded. The chances are though that John’s mate¬

able written accounts which I found myself coming

rial will remain locked in vaults for the foreseeable

back to repeatedly and without which I wouldn’t have

future because much of it refers to people still living

known where to start. In order of publication these

and Yoko believes that it is too sensitive to release.

were: Alan Aldridge’s interview with Paul McCartney

It also seems rather unlikely that even the long-awaited

published as A Good Guru's Guide To The Beatles’

6-part television series The Beatles Anthology will have

Sinister Songbook in the Observer magazine, London,

the time to delve into the specifics of songwriting

on November 26, 1967; The Beatles by Hunter

inspiration.

Davies, 1968; Lennon: The Greatest Natural Songwriter

That’s why it was worth compiling A Hard Day's

of our Time by Mike Hennessey in Record Mirror,

Write. It may be the closest we’ll ever get to under¬

October 2, 1971 (reprinted in Hit Parade, April

standing how the Beatles conjured up their song¬

1972); Lennon Remembers by Jann Wenner, 1971;

writing magic.

/ Me Mine by George Harrison, 1980 and The Playboy

Interviews with John Lennon and Yoko Ono, 1981. There were also two radio series which shed light on

STEVE TURNER • LONDON, SEPTEMBER 1995

ACKNOWLEDGEMENTS For interviews carried out specifically for this book I thank: Al Aronowitz, Diane Ashley, Margo Bird, Tony Bramwell, Prudence Bruns, Iris Caldwell, Maureen Cleave, Melanie CoeT Richard A Cooke, Nancy Cooke de Herrera, Meta Davis, Rod Davis, Pat Dawson, Richard DiLello, Royston Ellis, Peter Fonda, Johnny Guitar, Paul Horn, Stephen James, Rod Jones, Tony King,

Timothy Leary, Donovan Leitch, Julian

Lennon, Dick Lester, Roger McGough, Thelma McGough,

Elliot

Mintz,

Rod

Murray,

Delbert

McClinton, Denis O'Dell, Lucy O'Donnell, Alun Owen, Little Richard, Jimmy Savile, John Sebastian, Helen Shapiro, Don Short, Joel Shumacher, Derek Taylor, James Taylor, Doug Trendle, Dr John Turner, Jan Vaughan and Gordon Waller. I also drew on past inteo/iews conducted with Lionel Bart, Hunter Davies, John Dunbar, Cynthia Lennon, George Martin, Barry Miles, Spike Milligan, Roy Orbison, Ravi Shankar, Bruce Welch and Muriel Young. For supplying information or setting up interviews I thank: Tony Barrow, Penny Bell, Gloria Boyce, Eleanor Bron, Lynne DeBernardis, Liz Edwards, Mike Evans, Peggy Ferguson, Roberta Freymann, Sarah Jane Freymann, Lynda Gilbert, Matt Godwin, Adrian Henri, Corinna Honan, Shelagh Jones, Andrew King, Martha Knight, Carol Lawrence, Mark Lewisohn, Brian Patten, Mrs Juan Mascaro, Robbie Montgomery, Iona Opie,

Peter Rhone,

Bettina Rose, Juliet Rowe, Phil Spangenberger, Alvin Stardust, Jean Stein, Sue Turner, Lisa Ullmann and 4 George, John, Ringo ; and Paul seen here in

Linda Watts. I used facilities supplied by the following organi¬

1964 with Maureen

zations: American Federation of Musicians, ASCAP,

: Cleave, feature writer

BMI, Beatles Shop (Liverpool), Bristol Library, Bristol

: and pop columnist with

Old Vic, British Library, Chiswick Library, Highland

: the Evening Standard.

Bookshop and Wildlife Art Gallery (Traverse City,

: One of the first London

Michigan), National Newspaper Library, National

: journalists to cover the

Sound

: group, she wrote the

Performing Rights Society, Rochdale Library, Theatre

: interview in which John

Museum, UCLA Library and Westminster Library.

: claimed that the

Archives,

Nigerian

High

Commission,

Finally, I would like to thank my agent Lisa Eveleigh

: Beatles were now

who never gave up on the project and Piers Murray-

: “bigger than Jesus”.

Hill and Jonathan Goodman at Carlton Books.

INTRODUCTION

.

■4

The Beatles, pictured here in 1963 after recording a session for BBC Radio, were to create a body of work which would inspire a generation. The true identities of the characters who populate their songs are still a source of fascination to us today.

\ esearching a feature for the 20th anniver|\

.

■4

) sary of the Beatles' Sgt Pepper's Lonely

A painting of Lucy

Hearts Club Band album, I was delighted to

O’Donnell by Julian

be able to track down Lucy, the girl who as a four-

Lennon while at

year-old had unwittingly starred in John Lennon's

nursery school in 1967

♦.song 'Lucy In The Sky With Diamonds'. I soon dis¬

inspired John to write

covered that she hadn't given much thought to her

‘Lucy In The Sky With

immortalization. After all, the Beatles had broken up

Diamonds’. In 1974

by the time she was seven and she was well into her

archeologists named

teens before she learned that John's inspiration had

an ancient skull dug up

come from a nursery school painting his son Julian

in Ethiopia ‘Lucy’

had made of her floating in the sky surrounded by

because the song

diamonds. Yet here she was, a girl who had been res¬

happened to be

ident in my consciousness for 20 years and who

playing on their radio.

therefore appeared to me to be a celebrity. She was of course an ordinary person, made extraordinary by the touch of a Beatle's pen.

9

INTRODUCTION

Anyone who, like me, had grown up with the

Most of the early interviewers completely ignored

Beatles’ music would have been similarly impressed

the Beatles as songwriters. Even after turning out the

to meet Lucy, with or without diamonds, because

splendidly-crafted A Hard Day's Night, the first album

our memories are thronged by a cast of characters

to consist of nothing but Lennon and McCartney

created by John Lennon, Paul McCartney and, to a

songs, no-one seemecTinterested in how they did it

lesser degree, George Harrison. The fireman with an

or where the ideas came from or how much of them¬

hourglass and the banker without a mac have

selves they were revealing in the lyrics. Instead, to

become as familiar to us as any incidental character in

their increasing frustration, they had to put up with

Dickens and, from Peking to Peru, there must be

questions on the level of ’’Do you prefer filming to

people who can sing about Dr Robert or who can

making records?” or "When is Paul getting married?”.

hum

Fields

No wonder they turned their backs on touring mid¬

Forever' and 'Penny Lane'.

way through their recording career and restricted the

It

access of journalists.

is

'Strawberry

precisely

because

these people and these

It was only with the arrival of the more serious

places are now part of us,

albums {Revolver, Sgt Pepper) and the interest of the

that it becomes fascinating

more serious press (The Sunday Times, Rolling Stone)

to discover where they

that the Beatles began to be interviewed as artists

came from: the true identi¬

capable of discussing the creative process. Although

ty of Dr Robert,

what

they often volunteered invaluable information, no-

Penny Lane really looked

one, as far as I know, has properly followed up the

like, or the emotional truth

clues to discover the full story. We may know, for

behind the writing of songs

example, that 'She’s Leaving Home’ was based on a

like

Her',

newspaper story of a teenage runaway but do we

'Yesterday' or 'We Can

know who she was? Did she ever come back home?

Work It Out',

Did she ever know that she was the subject of a

'And

I

Love

Of course, knowing the inspiration

the

Paul has, at various times, said it was the phrase of a

songs doesn't make them

London night club habitue called 'jimmy', or perhaps

any better or worse. The

'Scott', which he appropriated for his reggae-inspired

songs exist as creations in

number. But how did this character react to having a

their own right, enhanced

song written around one of his catch phrases?

by

the

behind

Beatles' song? What about 'Ob-La-Di Ob La-Da'?

memories

sur¬

By the time the Beatles released their first single in

rounding the time when

1962, there was already a considerable Lennon and

we first heard them. If you

McCartney catalogue because they'd been writing

A George, John and Paul

loved 'A Hard Day's Night' in 1964, you’re not going

together for five years, meeting mostly at Paul's fam¬

: outside the back door

to love it any better for knowing that Ringo supplied

ily home in Allerton, Liverpool, to polish off songs

: of the McCartney

the quip which became the title, or that John wrote

that they'd begun on their own. Starting a song may

: home at 20 Porthlin

it on the back of a birthday card in a small flat behind

have meant having an idea for a melody, or arriving

: Road, Allerton,

London’s Cromwell Road. It is just that these songs

with an almost complete song which just needed the

: Liverpool. John and

are so much a part of us and we are so much a part

essential middle eight 'hook'. It may also have meant

: Paul wrote over 100

of what the songs have become, that it is almost an

coming up with a great title and a first line and need¬

: songs in the front room

act of self-discovery to learn the stories behind them.

ing help with direction, or having heard a great new

: here, before ‘Love Me

Looking closely at the songs also gives us an insight

rock'n’roll song and wanting to make a version that

: Do’ became their first

into the Sixties and the lives of the Beatles, who have

was all their own.

i British hit in 1962.

been examined frequently as celebrities, performers and businessmen but rarely as composers.

II

From fairly early on, each song bore the distinctive signature of either John or Paul because although

INTRODUCTION

they were united in their love of primitive American

of them seemed to have what the other lacked.

rock'n'roll, they were markedly different in their

Where Paul was bright and uncomplicated, John was

approaches to songwriting. Crudely put, Paul's songs

serious and brooding. Where Paul looked on the

were melodic and optimistic while not giving a lot

bright side, John always suspected the worst. Where

away about his passions and anxieties. John's songs

Paul wanted show business with flashing lights, John

tended to be more rhythmic, his outlook was pes¬

wanted to be taken seriously as an artist.

simistic and, even before he’d heard of Bob Dylan, he was letting his feelings show.

It worked well for a decade. When Paul wanted 'beauty queen' to rhyme with 'just seventeen’ in 'I

These different styles of writing owed everything

Saw Her Standing There', John told him it was ‘crap’

to their different backgrounds. Paul grew up in an

and thus saved a beat music classic. When they were

old-fashioned working-class home where music

writing 'Getting Better’, John offered the line ‘couldn't

brought people together. If you wanted to get a party

get much worse’ and, forthe similarly optimistic ‘We

going, you would persuade someone to bang out a

Can Work It Out', it was he who added the con¬

tune on the piano and everyone would stand around

trasting middle eight that started: ‘Life is very hard...'

and sing along. Although Paul’s mother died when he

In restraining each other's excesses, they were

was 14, his father was always encouraging and praised

pulled back to the central cause, which was always

the values of hard work and ambition. His own tastes

the Beatles. At the same

in music - he'd been a band leader in the Twenties -

time,

were passed on to his son and songs like ‘When I’m

became each other's main

64', ‘Your Mother Should Know' and 'Honey Pie'

rival.

were Paul's affectionate tributes to the pre-war music

underestimate the creative

he knew his dad loved. It was Jim, his dad, who

power that was unleashed

advised Paul to learn to play the piano because, he

by the desire to top the

said, it was people who played the piano who got

other’s

invited to the best parties.

There

Paul

It's

and

John

impossible to

achievements. was

always

an

In a way, that's how Paul got on. He mastered sev¬

unspoken contest to write

eral instruments and songs and became the life and

the A side of the next

soul of the party. After all, it was the fact that he

Beatle single and this pres¬

could play guitar chords rather than banjo chords and

sure drove standards ever higher. The Beatles didn't

knew the words to ‘Be Bop A Lula’ and ‘Twenty Flight

really have to fear the competition of the Rolling

home at 25 I Menlove

Rock’ that so impressed John Lennon when he first

Stones or the Byrds or even of the Beach Boys, but

Avenue, where he lived

met him at a church fete in the summer of 1957 and

John had to fear the competition of Paul and vice

with his Aunt Mimi.

got him the job with John’s group the Quarrymen.

versa. If John wrote a cracker of a song, Paul would

The Quarry Men and

Although John is often seen as the working-class

have to go away and come back with something

then the Beatles used

Liverpudlian, a perception encouraged by his song

twice as good. This often resulted in them trying to

to rehearse inside the

'Working-Class Hero’, he really came from a middle-

write in the other's style just to show that they could

front porch; John

class background where the deprivations were emo¬

do it. One such example, the gritty, dirty, minimalist

wrote ‘Please Please

tional

He grew up in a

piece 'Why Don't We Do It In The Road?' was com¬

Me’ in the bedroom

semi-detached private home on one of Liverpool's

posed by Paul and recorded without John's help. At

above.

grandest avenues and was an only child whose father

around the same time, John was working on 'Julia', a

ran out on him as a child and whose mother aban¬

song as tender as anything Paul had written.

rather than material.

doned him to the care of her sister. By contrast, Paul’s

Now that Beatle songs saturate the airwaves and

father had to work hard to bring up his motherless

can safely be regarded as a soundtrack for an era that

sons in a council house, but there was always a lot of

started with Kennedy's assassination and ended with

affection in the McCartney home.

Perhaps this is

Neil Armstrong's moon walk, it's not easy to pinpoint

what made Paul and John such a perfect match. Each

the changes they ushered in. It's particularly difficult

A John’s main childhood

II

4. While Paul and John

for those born and raised in the post-Beatle era to

too complex to be duplicated live in concert. Before

; wrote the songs that

see what all the fuss was about. After all, the average

the Beatles it was rare in rock'n’roll for songwriters to

: provided a soundtrack

rap or ambient record uses more sophisticated tech¬

perform, or for performers to write. Indeed in Britain

: for a generation, it was

nology than Sgt Pepper required and songwriters such

it was rare that performers had anything to say at all,

: the older and more

as David Byrne, Morrissey and Elvis Costello all write

except perhaps to confess a love of milk shakes and

; conservative George

lyrics which transcend the old Tin Pan Alleyisms of

steak and kidney pies, or a desire to buy a cottage for

; Martin who helped

moon and June, love and above. As T S Eliot

mum and dad. Nearly all the rock’n'roll songs at this

i translate their ideas

responded when asked why contemporary writers

time were about love, fashion and adolescence. One

; into recordings. His

knew so much more than their forebears: “Precisely,

of the great legacies of the Beatles was to extend the

; experience and

and they are that which we know." In other words,

subject matter of pop. Fewer than half the songs on

; maturity were an

what were breakthroughs for the Beatles have

Revolver were about love. The rest of the songs on

: important ingredient in

become commonly accepted work practices for

this album ranged from taxation, through submarines,

: the final Beatles’ mix.

those who have followed.

to altered states of consciousness, drugs and Tibetan

It was the Beatles, under the guidance of produc¬

Buddhism.

er George Martin, who pioneered multi-tracking in

John Lennon and Paul McCartney were the first

the studio and the idea of recording songs that were

major pop stars to have benefited from an extended

fNlTRO&UCTION

education. Before the Beatles, the assumption was

didn't make it on to record. Iris Caldwell, an early

that a typical pop star would be an academic failure

girlfriend of Paul's from Liverpool, remembered him

who had turned to music for a quick ride to fame

singing a song he'd written called 'I Fancy Me Chances

and fortune. Elvis Presley was a truck driver, Cliff

With You' which had a chorus of 'I fancy me chances

Richard had worked as an office clerk, but John

with you, I fancy me chances with you. When I'm at

Lennon had been to art school in Liverpool and Paul

the dances, I fancy me chances, I fancy me chances

McCartney had studied for his A level exams at the

with you'.

best grammar school in the city. This was significant

The Quarry Men became the Silver Beetles, then

because it meant that for the first time rock'n'roll had

the Beetles, before metamorphosing into the Beatles

reasonably well-educated performers who were able

with George Harrison joining on lead guitar and Pete

to produce work informed by art and literature. It

Best on drums. For a while Stuart Sutcliffe, an art

also meant that the Beatles would later rank along¬

school friend of John's, also played bass guitar. Their

side painters, poets and novelists in the popular cul¬

repertoire was dominated

ture of the Sixties. Expecting more of their chosen

by covers of songs associ¬

medium than Gene Vincent or Billy Fury had ever

ated

envisioned allowed the Beatles to outgrow the teen

Richard, Jerry Lee Lewis

market. Before them, no-one had managed the tran¬

and

sition from heart throb to 'serious' artist but,

rock'n'rollers but gradually

between 1966 and 1970, the Beatles had extended

they

their appeal to college and university students. The

enough to insert Lennon

John Lennon look of centre-parted hair and granny

and McCartney originals

glasses became a familiar campus stereotype.

into the set.

with

Elvis,

other

became

Little

American

confident

The early songs were hardly profound because

In 1961, Stuart Sutcliffe

they were written within the limitations of the pop

left and the following year

singles market, as well as for an increasingly adoring

Ringo Starr, drummer with

female audience. “We were just writing songs a la

Rory

Everly Brothers, a la Buddy Holly," John once admit¬

Hurrifcanes, replaced Pete

ted. “They were pop songs with no more thought to

Best. Managed by Brian

them than...to create a sound. And the words were

Epstein and produced by

almost irrelevant." John would later say that he delib¬

George Martin, the Beatles

erately kept himself out of the early songs, channelling

became a national phenomenon and their musical

A Stuart Sutcliffe was a

his personal observations and feelings into poems

interests expanded to include black American girl

: poor musician, but his

and short stories, some of which would eventually

groups like the Shirelles and the Chiffons and the new

I devotion to painting

make up the books In His Own Write and A Spaniard

Motown sound of the Miracles and Barrett Strong.

: and rock’n’roll was an

In The Works. “I was already a stylized songwriter on

They admired Gerry Coffin and Carole King who

: inspiration to his friend

the first album," he said. “To express myself I would

were then at their peak as a songwriting team writ¬

; John, who invited him

write... personal stories which expressed my person¬

ing pop hits such as 'Will You Still Love Me

; to play bass guitar with

al emotions. I'd have a separate songwriting John

Tomorrow?', 'Chains', 'One Fine Day', 'Take Good

: the Beatles. Sutcliffe’s

Lennon who wrote songs for the sort of meat mar¬

Care Of My Baby' and 'Please Don't Ever Change'

; death in 1962 was

ket, and I didn't considerthe lyrics to have any depth

for a variety of American artists.

: indirectly referred to in

at all. They were just a Joke."

Storm

and

the

"First of all, Paul and I wanted to be the Coffin

: John’s moving song ‘In

Some of the songs from these days lived on to

and King of England," said John, and you can see the

: My Life’. In 1994,

become Beatle songs. 'Love Me Do' became their

hallmarks of that Brill Building style of songwriting,

: Sutcliffe was the focus

first single. 'I Call Her Name', 'I'll Follow The Sun' and

where hits were written to order within office hours,

; of Backbeat, a feature

'The One After 909' became album tracks. Other

in many of their early compositions. As with Coffin

: film about the early

songs such as 'Thinking Of Linking' and 'Just Fun'

and King, they too began to write for other artists.

: Beatle years.

II

INTRODUCTiON

major pop starto write songs which dealt with defeat

iid TP' -f'

and insecurity; songs that, for example, made state¬ ments like 'I'm a loser’ or 'I need help’ or 'I don't want to spoil the party and so I’ll go’. The only thing that cushioned the impact was the Beatles' jaunty image, sustained particularly by films like Help!. As the film was a rollicking romp, the title song was generally assumed to be a joke. It wasn’t though because, as John himself admitted years later, he was desperate¬ ly unhappy at the time and literally crying out for help. Paul was affected in different ways. Through Jane Asher, his girlfriend, herself an accomplished film, television and stage actress, her brother Peter, and their mother, a professor of music, Paul was intro¬ duced to students of psychology, classical musicians, actors, theatre directors, film makers and members of London’s fledgling ‘underground’ scene. He devel¬ oped a fascination for the avant-garde and hung out

4i Manager Brian Epstein,

finding themselves

prolific in 1963 and 1964 that

in art galleries. The effect could be heard in ambi¬

: pictured here with Paul

they had material to spare. Thus, they gave 'World

tious new songs in which he developed characters

: and George, encour-

Without Love', 'Nobody I Know’ and 'I Don’t Want

and told stories like 'Eleanor Rigby', songs which used

: aged other artists to

To See You Again’ to Peter and Gordon (Peter

orchestral settings like ‘Yesterday’ and songs like 'For

: cover Beatles’ songs

Asher was the brother of Paul’s girlfriend, Jane) and

No One’ which looked at the world through a film

: and persuaded John

'Bad To Me’ and 'Do You Want To Know A Secret?’

maker’s eye. This was the period during which the

; and Paul to write for

to Billy] Kramer (who Brian Epstein also managed).

Beatles began to impress those who had once dis¬

SO

I Cilia Black, Billy J

These songs became hits and the rush was on to

missed them as just another noisy pop group. They

; Kramer, Tommy

record Lennon and McCartney songs. Stephen James,

weren’t to be just an overnight sensation. They had

; Quickly and the

son of the Beatles’ original music publisher Dick

made the transition from Liverpool stars to British

; Fourmost, who he

James, remembers that the first task they had when

stars to international stars and were clearly writing

; also managed.

the Beatles sent in a demo was to find the right act to

songs destined to become standards.

II

cover the songs. By the mid-Sixties, almost every

Until 1965, the Beatles simply refined and synthe¬

song on a Beatles album would crop up as a single by

sized accepted notions of rock’n’roll. From that year

another artist, some of them like 'Michelle' by the

on. they stretched and dislocated it, challenging all

Overlanders, 'Ob-La-Di Ob-La-Da’ by Marmalade

the conventions. In the mid-Sixties they were taking

and 'Got To Get You Into My Life’ by Cliff Bennett

inspiration not from Buddy Holly but from Karlheinz

and the Rebel Rousers becoming major UK hits.

Stockhausen, the German electronic composer, and

The second stage of songwriting came in 1964

Ravi Shankar, the classical sitar player. They experi¬

when Paul and John’s horizons were broadened in

mented with rhythms and recording techniques, rein¬

other ways, by other influences. Although it was Paul

vented the concept of the pop album and, in

who first got hold of a Bob Dylan album it was John

deserting the stage for the recording studio, changed

who was the most obviously affected. With songs

forever the public perception of pop stars. Through

like 'I’m A Loser', 'You’ve Got To Hide Your Love

their unbridled imaginations the Beatles transformed

Away’ and 'Help!', there came a new intensity and

pop music. From the outset they were determined to

honesty which signalled that John had discovered that

avoid cliches, whether that was cliche of lyric, cliche

he could be as revealing in song as he had been in his

of rhyme or cliche of chord change. They imagined

poems and jottings. It was startling at the time for a

new sorts of songs and believed if they had the

I K T R 0 D U C 1

capacity to imagine something, tnwf^producer

Tour’, ‘Lady Madonna’, ‘Hey Jude’, ‘Get Back’, ‘Let It

George Martin would be able to pet it down on tape.

Be’. By 1967, the world was wondering not so much

Their great burst of creativity in the mid- to late

whether the Beatles could push the form of the pop¬

Sixties came about because they accepted no limits.

ular song any further but where they would take it to

Accidents such as studio feedback or twisted tapes

next. The general feeling was that their recordings

were seized upon and incorporated into their art.

would be even more complex and full of tricks.

Random lyrics, which made no literal sense, were

The fourth and final era of the Beatles’ songwrit¬

kept because they sounded better. Songs were

ing began in 1968. Against all expectations, it marked

plucked from newspaper headlines, snatches of con¬

a return to simplicity. They released ‘Lady Madonna’,

versation, posters, television commercials, religious

as basic a rock’n’roll song as they had ever written,

tracts, dreams and letters. In the studio they demand¬

and then went off to India where they composed a

ed the impossible and usually got it. ‘“Make me sound

set of acoustic songs. The album cover this time was

like a thousand chanting Buddhist monks, George’,

plain white. By now the Lennon and McGartney part¬

‘Get me a piccolo sound like I heard last night on the

nership was falling apart. Although most of the songs

Brandenburg Concerto, George’, 'Stick these two

were still credited to them as a pair, it was clear that

half-written songs together and make a new song.‘“

The Beatles (The White Album as it is popularly

John and Paul had started by scrawling lyrics in old

known) relied on solo contributions. In private life

school notebooks and imagining themselves as Leiber

too, they were pulling in different directions. John

and Stolier (the songsrpitbtbehind Elvis’ ’Hound

had a new partner in Yoko. Paul had a new partner

Dog’), or even Rod^rs and l^mmerstein.

in Linda. There weren’t the same reasons for being

Now

they were evepyTTTas well-known a?^beir idols. The third/stage of Jj^l^^gwriting^as heavily

i O N

together anymore. In 1969, the Beatles decided they had done every¬

influenced ty drug^fand

thing they could ever do

.

eastern mediation.

together and parted com¬

The wooded grounds of

phrase ’turns ftie on’ hac

pany. Abbey Road, with its

the Salvation Army

appeared

tales

children’s home in

in

^he’s

A

of financial

woes,

Woman’ but the firitTeal

arguments and discord was

Liverpool lying beyond

fruit of the new altered

the last album the group

this gate post came to

states was John’s song ’The

recorded, although Let It

represent the idyllic

Word' with its message

Be was the final album to

world of John’s lost

that love can solve all our

be released. In seven years

childhood. Today, the

problems. Songs such as

they had gone from young

old building has gone

‘Tomorrow Never Knows’,

Liverpudlians happy to sing

but the posts remain

’She Said She Said' and ‘Strawberry Fields Forever’

about the delights of chatting up a girl in a ballroom

and are'a significant

would never have been written without marijuana

to worldly-wise men waxing philosophical about the

tourist attraction.

and LSD. Equally, George Harrison’s ‘Within You

power of love and groaning underthe weight oftheir

Without You' and ‘The Inner Light’ wouldn’t have

business empire.

been possible without the experience of India. John’s

Somehow they had managed to take us along with

ability to write was first enhanced and then ham¬

them, particularly those of us who were I 3 when

pered by his experimentation with drugs. He later

they sang 'I Saw Her Standing There' and 20 wh^n

confessed that LSD had virtually destroyed his ego

they sang ‘Come Together'. They seemed to ha{ve

and that in turn cost him the unacknowledged lead¬

documented the whole struggle of adolescence, fro'

ership of the Beaties. In 1964 and 1965, most of the

the desire to simply touch a loved one (‘I Wann

hit singles were songs where John was the major con¬

Hold Your Hand’), through the feelings of loneliness

tributor. After Sgt Pepper, the hits were almost all

(‘Help!’), moving on to inquisitive experimentation

written by Paul - ‘Hello Goodbye’, ‘Magical Mystery

with drugs and religion (’Within You Without You’),

iKTRODUCTSON

to facing up to the burdens of earning a living (‘Carry That Weight') and marriage ('The Ballad Of John and Yoko'). The Beatles’ songs were never as dense as Bob Dylan's or as raunchy and direct as the Rolling Stones'. At the time, however, they were taken no less seriously, as Beatles' songs were always believed to 'mean' something. Twenty-five years after the band stopped playing, those songs still mean some¬ thing to us. They are like old friends who we met when we were young and who made life a little more exciting and easier to cope with. Because of what they did for us, we have great affection for them. It is because we hold such affection for them that it makes sense to find out where they came from.

A Several of the Beatles’

; songs were inspired by ; items in newspapers : and magazines, : including ‘A Day In The : Life’, ‘She’s Leaving : Home’ and ‘Lady : Madonna’.

II

PLEASE PLEASE ME ^

\ ne of the great strengths of the Beatles was

Lee Lewis, Larry Williams, Ray Charles, the Coasters,

II

ythat by 1962, the year they cut their first

Arthur Alexander, Little Richard and the Everly

record, they were already seasoned per¬

Brothers. Studying the music of these artists taught

formers, well-versed in American soul, gospel,

John and Paul the basics of songwriting. When they

rhythm and blues and rock'n'roll. Most of what they

came together at Paul’s house to write their own

knew had been learned the hard way. They knew

material, it was a case of reassembling the familiar

how songs were constructed because, unable to

chords and words to make something distinctively

afford sheet music, they had to decipher lyrics and

theirs. This is how a bass riff from a Chuck Berry num¬

work out chord changes by listening to records over

ber came to be incorporated into 1 Saw Her Standing

and over again. Having played rock'n'roll to adoring

There’, a song about seeing a girl at the Tower

teenagers at the lunchtime Cavern Club sessions in

Ballroom in New Brighton, and explains how the

Liverpool, as well as to inebriated German business¬

sound of Roy Orbison’s voice came to be the inspi¬

: the Beaties up and

men in Hamburg, they also knew how to excite, calm

ration behind ‘Please Please Me’, the Beatles' first

: made them acceptabie

and seduce an audience.

Number I single.

A Brian Epstein spruced

John and Paul had been together for five years;

Sometimes their songs were 'about' incidents

: expected their

George had been with them for almost as long. Ringo

from their lives but often the words, like the chords,

: entertainers to be

was a recent member, having replaced Pete Best on

were borrowed from what had gone before. At this

: polished, polite and

drums, but they'd known him since 1959 and his pre¬

stage, the words were important to create sounds

: well dressed. Beneath

vious position with Rory Storm and the Hurricanes

and impressions, rather than to convey a message.

: the suits and the ties

meant that they had all played the same venues.

: to a British pubiic who

Most of their debut album was recorded in a sin¬

At this time, the Beatles' material was standard

gle session on February II, 1963. It was released on

: leather jacketed

beat group fare - the best-known songs by the best-

March 22, I 963 and reached the top spot in the

: rock’n’rollers who’d

known rock'n'roll artists. Top of their list was Elvis

British charts. In America it was titled Introducing The

: learnt their craft in

Presley. They covered almost 30 of the songs he'd

Beatles, and released on the little-known Vee jay

: dank cellars and sweaty

recorded, as well as numbers by Chuck Berry, Buddy

label.

: nightclubs.

Holly, Carl Perkins, Gene Vincent, Fats Domino, jerry

Me' or ‘Ask Me Why', and failed to make the charts.

: though, were four

The US version didn't include 'Please Please

PLEASE

PLEASE

ME

I SAW HER STANDING THERE

Q

which the group’s largely female audience could eas¬ ily relate to. “I didn't think a lot about it as I sang it to myself” he said four years later. "Originally the first, two lines were 'She was just seventeen. Never been a beauty queen’. It sounded like a good rhyme to me at the time. But when I played it through to John the

roducer George Martin’s initial idea had

next day, I realized that it was a useless line and so did

been to tape a Beatles' show at the

John, So we both sat down and tried to come up

Savern Club In Liverpool but it was even¬

with another line which rhymed with 17 but which

tually decided to get the group to play their live show

meant something.” After a while, John came up with

; Mrs Violet Caldwell

in the studio and cut the album in a day. This was

‘you know what I mean', which as Paul recognized,

; pours tea for her son

done on February 11,1963, when in a 15-hour ses¬

could either be dismissed as a filler or be seen as sex¬

i Rory Storm who was

sion the Beatles recorded ten new tracks which were

ual Innuendo. It was also a very Liverpudlian phrase

: one of Liverpool’s top

then added to both sides of their first two singles and

avoiding the borrowed Americanisms which littered

: performers in the years

released as the album P/ease Please A/le.

most rock'n’roll of the time.

'I Saw Her Standing There' was the perfect song

The two boys completed the melody on their

; Rory’s sister Iris (in the

with which to open the Beatles' first album because

acoustic guitars and wrote the lyrics in a Liverpool

; photo on the wall) met

it set the group firmly In its context of sweaty ball¬

Institute exercise book. Paul later explained in an

; Paul when she was

rooms, full of adoring teenage girls and dancing. They

interview with Beat Instrumental that the bass riff was

: demonstrating the

decided to keep the I-2-3-4 'intro' as this added to

stolen from Chuck Berry's 1961 song ‘I'm Talking

; twist at the Tower

the feeling of a raw Liverpool beat group captured In

About You'. "I played exactly the same notes as he

live performance.

did and it fitted our number perfectly,” he confessed.

I before Beatlemania.

V Ballroom. She was 17.

Originally titled 'Seven¬

“Even now, when I tell people about it, I find few of

teen, I Saw Her Standing

them believe me. Therefore, I maintain that a bass

There’, the song tells the

riff doesn't have to be original."

simple story of a boy who

December

1961,

Paul started dating Iris

sees a girl dancing at the

Caldwell, sister of local beat singer Rory Storm,

local ballroom and, after

whose group the Hurricanes featured Ringo Starr as

deciding that her looks are

drummer (he joined the Beatles in August 1962). Just

‘way

compare’,

like the girl in 'I Saw Her Standing There', Iris was

determines to dance with

only 17 at the time when Paul saw her dancing the

no other from that day on.

twist at the Tower Ballroom in New Brighton (situ¬

beyond

There's

a

wonderful

ated 25 minutes out of Liverpool). She was a trained

mixture of youthful arro¬

dancer and Paul was apparently impressed by her

gance and Insecurity as the

legs, which were displayed in fishnet stockings, and

story unfolds, for there is

the fact that she was already working professionally In

no hint that the boy has

show business.

considered the possibility

Paul became a frequent guest at the Caldwell fam-

of rejection and yet, in that

lly home at 54 Broad Green Road, Liverpool 15,

unforgettable beat group

which was known to the local beat groups as

rhyme, we're told that as

Hurricaneville. He became close to Iris' mother,

he ‘crossed the room' his heart ‘went boom'.

I 8

In

Violet, and would often drop In with John to sit

Paul started composing this song one night in 1961

around and write songs. "Paul and I dated for a cou¬

driving back to his home in Allerton, Liverpool. He

ple of years,” says Ins. “It was never that serious. We

liked the idea of writing about a 17-year-old girl

never pretended to be true to each other. I went out

because he was conscious of the need to have songs

with lots of people. I was working away in different

PLEASE

theatres at the time but if I was back home then we would go out. There were never any promises made

PLEASE

ME

MISERY

or love declared." According to Iris, Paul Intended giving 'I Saw Her Standing There' to her brother Rory to record. "He thought it would be a good song for him but it wasn’t dealt out that way. Brian Epstein didn’t want Rory to have it." Certainly, by 1962, ’I Saw Her Standing There’ was

©

y January 1963, with ’Love Me Do’ a British Top 20 hit under their belt, the songwrit-

part of the Beatles’ stage act, one of the earliest

ng confidence of the McCartney-Lennon

Lennon and McCartney songs slipped between those

team (as theywere initially credited) had grown, but

of Buddy Holly and Little Richard. The first cover ver¬

when plans were made to record their first LP, they

sion of the song was by English rock’n’roll singer

were suddenly under pressure to come up with some

Duffy Power in 1963. In America, it became the flip

new songs.

side of ’I Want To Hold Your Hand’, the single

Although not all the songs were going to be their

released in January 1964 that was the Beatles’ first

own compositions - they had chosen material by

US Number I, It was one of five songs which the

American songwriters to fill almost half the album -

Beatles performed on the celebrated Ed Sullivan Show

they were determined to stamp their own mark on

of February 9, 1964, which was watched by 70 million

the recording and not become yet another British act

people, then the largest US TV audience ever record¬

making a living out of cover versions. In the climate of

ed, In November 1974, John performed the song

the times, this was ahold move. Traditionally British

with Elton John at Madison Square Garden.

rock’n’roll acts didn’t record their own songs but. •

Pam',

the group who transformed popular music.

time on John’s

Ill

s the final proper track on the last album

CHRONOLOGY

1940 JULY 7

MAY

Ringo Starr born in Liverpool as Richard Starkey

OCT 9

at a Liverpool reading. While

Beatles for the first time

Terrace, Ellis introduces

Lennon

1942

JAN I

recorded for Decca Records in London

roll manager, Larry Parnes,

JAN 24

1956 Paul's mother, Mary, dies of

JULY 9

brain haemorrhage while in Germany with his girlfriend

a tour of Scotland playing for

dency at the Star-Club in Hamburg JUNE 4

called the Beetles to London

with school friend Pete Shotton JULY 6

AUG 12

son in Hamburg, Germany-

Vaughan Paul McCartney makes his

OCT 4

debut with the Quarry Men

1958 and Paul and shortly after¬

FEB 9

Quarry Men John's mother, Julia, is killed

JULY 15

APRIL I

AUG 29 The Quarry Men play the

Club JUNE

newly opened Casbah Club mother of drummer Pete Best

AUG

Sweden NOV I

opens in Cheltenham, Gloucestershire NOV 4

Road

before the Queen Mother

SEPT 11

Third Abbey Road session

and Princess Margaret

at which 'Love Me Do’ is

OCT 5

DEC 24

JAN

Show' opens at the Astoria

drummer Andy White

Cinema, Finsbury Park,

British release of'Love Me

London for a I 6-night run

Do', the Beatles’ first single NOV I

1964

Return to the Star-Club, Hamburg, for 14 nights

JAN 16

NOV 26 Second single,'Please Please

Hamburg and back English

Road DEC 18

Hamburg - 13 nights at the

Polydor in Germany release

Star Club

Sutcliffe joins the group on bass guitar. They start to be known variously as the Beatals, the Silver Beetles and the Silver Beats

2 0 2

SEPT

France FEB 7

3,000 screaming fans FEB 9

First appearance on the Ed Sullivan Show to an estimated

FEB 2

Start of Beatles first British tour. They support I 6-year-

Paul and John change their

old Helen Shapiro. FEB 4

Last lunctime session at the

FEB 11

Debut album Please Please

later become known as the 'Beatle haircut' or 'mop top'

The Beatles fly to New York where they are greeted by

1963

During a holiday trip to Paris, hairstyles into what would

An I 8-day run at the Qlympia Theatre, Paris,

Final return to club dates in

Sheridan

to Tony Sheridan and 'The

John's art school friend Stuart

'The Beatles' Christmas

re-recorded with session

Me', recorded at Abbey

Beat Brothers'

Royal Command Performance at Prince of

'My Bonnie' which is credited

1960

The Beatles' Autumn Tour

Wales Theatre, London,

The Beatles return to guitarist-vocalist Tony

which is run by Mona Best,

OCT 25 Start of a short tour of

Office, London

engagement at the Top Ten

1959

phenomenon the press later dub 'Beatlemania'

Second session at Abbey

The Beatles return to Hamburg for a 13-week

in a hit-and-run accident

Palladium helps create the

SEPT 3

The Beatles play the Cavern Liverpool, for the first time

George Martin

at Mount Pleasant Register

Club in Matthew Street,

wards is invited to join the

rated British TV show Sunday Night At The London

Hulme Hall in Birkenhead

1961

George Harrison meets John

Beatles album OCT 13 An appearance on the top-

AUG 23 John marries Cynthia Powell

nights

FEB

Work starts on With The

First session at EMI Studios in

and Ringo concert is held at

They then appear at the Kaiserkeller for a further 58

almost 300 times SEPT 11

The first John, Paul, George

48 nights at the Indra Club

OCT 18 After weeks of rehearsals

mance at the Cavern Club

Abbey Road with producer

AUG 18 Ringo Starr joins the Beatles,

the group begins its first sea¬

The Beatles' final perfor¬ where they had played

drummer

AUG 17 Now known as the Beatles,

which John is to Paul by Ivan

first time AUG 3

AUG 16 Pete Best is dismissed as

drums

garden fete of St Peter's Church, Woolton, after

JUNE 6

Pete Best auditions for the group and later joins on

The Quarry Men play at the

Paul meets teenage actress Jane Asher for the

The Beatles sign a contract with EMI in England.

bringing a Liverpool group

Quarry Men skiffle group

London's Royal Albert Hall,

Astrid Kirchherr

Royston Ellis is considering

MARCH John Lennon forms the

Liverpool APRIL 18 After an appearance at

APRIL 13 Start of a seven week resi¬

Johnny Gentle

Record Mirror reveals that

Charles Julian Lennon in

APRIL 10 Stuart Sutcluffe dies of a

pop star, Billy Fury. They

MAY 20 Sliver Beetles begin seven-

and Chris Montez

Epstein

date tour with Johnny Gentle

1957

The Beatles sign a manage¬

and Liverpool's best known

backing Fury but instead get

Nationwide tour with

APRIL 8 Julian Lennon born as John

ment contract with Brian

aren't offered the job of

Liverpool

Fifteen audition tracks

by sniffing a broken-down

before Britain's top rock 'n'

George Harrison born in

breast cancer

nine hours MAR 9

American stars Tommy Roe

MAY 10 The Silver Beetles audition

1943

OCT3I

Me recorded in just over

1962

them to the high produced benzedrine inhaler

McCartney

FEB 25

Brian Epstein visits the Cavern Club and sees the

at their flat in Gambier

Liverpool as John Winston

Liverpool as James Paul

NOV 9

staying with John and Stuart

John Lennon born in

JUNE 18 Paul McCartney born in

London poet Royston Ellis uses the group to back him

Cavern

audience of 73 million FEB 11

First American concert takes place at the Washington Coliseum

MAR 2

Shooting begins on A Hard Day's Night.

MAR 23 John's first book, In His Own

CHRONOLOGY

Write, is published JUNE 4

The first date of what would

Francisco where they visit

Beatles leave for a tour of

turn out to be their final

the Haight Ashbury district

Denmark, Holland, Hong

British tour

Kong, Australia and Nev^

DEC 3

DEC 25

Zealand with Jimmy Nicol

AUG 24

JUNE 14

JULY 6

ture given by Maharishi Mahesh Yogi at the Hilton

become the documentary

Hotel in London's Park Lane

Let It be

1966

AUG 25

George marries Pattie Boyd

the Maharishi the Beatles

Ringo re-joins the Beatles in

MAR 4

John's inter^'iew with

travel to Bangor, North

Melbourne

Maureen Cleave in which he

Wales, for a summer school

World premiere of A Hard

claims that the Beatles are

Day's Night at the London

now "more popular than

AUG 27

SEPT M - 24

Pavilion

Jesus" is published in

JULY

John buys a home in

London's Evening Standard

AUG 19

The Beatles' second visit to

Recording Revolver at Abbey

America but their first

Road

AUG 28

DEC 24

APRIL 6-JUNE 22

MAR 25-31

John and Yoko organize their

World premiere of How I

first 'bed-in' at the

Philippines are published in the American

time

magazine Datebook and trig¬

British tour begins in Brad¬

ger a Beatles backlash in the

ford, Yorkshire

'Bible Belt states

Another Beatles Christmas

AUG 12

AUG 29

I96S Ringo Starr marries Maureen Cox Filming Help!, the Beatles' second feature film,

NOV 9

MARCH - APRIL

John and George experience LSD for the first time when a

NOV 24

Songs

Paul announces his engage¬

MAY 26-JUNE 2

John and Yoko arrange a bed-in at the Queen

1968 (BBC) FEB 15

Elizabeth Hotel in

Magical Mystery Tour pre¬

in Chicago

John, Cynthia, George and

Montreal JULY I

AUG

8

ebrated cover photo of the four Beatles walking across

Candlestick Park, San

in Rishikesh where they will

Francisco

study meditation FEB 19

Maureen join the rest of the

War in Germany and Spain

Beatles in India

John meets Japanese artist

Abbey Road AUG 11

Paul, Jane, Ringo and

John films How I Won The

Tittenhurst Park, Sunningdale, Ascot AUG 20

Beatles would be together in

York to announce the forma¬

a recording studio

in London

tion of Apple, Paul is reunit¬

Beatles enter Abbey Road to

ed with Linda Eastman MAY

JAN 1 - APRIL 2

AUG 31

Isle of Wight festival. SEPT 13

Beatles demo the songs

Yoko, Eric Clapton, Klaus Voormann and

their stay in India

Alan White) makes its live

Spaniard In The Works, is

Pepper's Lonely Hearts Club

Recording The beetles, better

published

Band

known as 'The White Album'

debut in Toronto

MAY 3 I - OCT 14 NOV 25

World premiere of Help!

APRIL 3

Paul flies to San Francisco

AUG 14

Beatles arrive in New York

JUNE

Sgt Pepper’s Lonely Hearts

Paul is in Los Angeles on

Club band is released in

business and again meets up

JAN 4

with Linda Eastman

APR 10

to confess to having taken LSD, in a Life cover story

almost 56,000 makes it the

JUNE 25

biggest pop concert ever

gramme in which the Beatles

The Beatles meet Elvis

sing the specially composed

AUG

John and George take their

AUG 31

JULY 24

Beatles sign petition forthe

second LSD trip in the com¬

legalization of cannabis which

pany of actor Peter Fonda

is published in the London

Final concert of 1965 North

Times

American tour takes place at Cow Palace, San Francisco

AUG I

George and Pattie

left the Beatles due to "per¬

her engagement to Paul is off

sonal, business and musical

JULY 31

The Apple Boutique is closed down

OCT 16

to Los

Angeles and later on to San

differences" MAY - AUG

George goes to California to

Battles over the ownership

produce Apple artist Jackie

of Northern Songs and

Lomax

involvement of

OCT 18

John and Yoko arrested on a

Allen Klein continue

NOV 8

Divorce granted to John and

charge of drug possession Cynthia

fly

Paul announces that he has

Jane Asher announces that

'All You Need Is Love',

Presley at his home in Bel Air

1970 The final taping of Let It Be

JULY 20

Our Wor/d television pro¬

AUG 27

to

JUNE 20-24

America

Stadium in Queens, New

John returns his MBE Buckingham Palace

JULY 29

York, The attendance of

The Plastic Qno band (Johnr

which were written during

Recording continues on Sgt

Paul becomes the first Beatle

John, George and Ringo see Bob Dylan perform at the

John begins his affair with Yoko Qno

MAY 30

JUNE 16

The last day on which all four

John and Paul travel to New

MAY 15

John's second book, A

First appearance at Shea

John and Yoko move to

Yoko Qno forthe first time,

1967

concert tour

lain MacMiilan shoots the cel¬

the Maharishi at his ashram

12 Each Beatle is awarded an

AUG 15

on

album

and Ringo takes place at

Lonely Hearts Club band

for their second American

in earnest begins

Abbey Road

Pattie fly out to India to join

after-dinner coffees

I

Work

mance by John, Paul, George

begin recording Sgt. Pepper's

Honours list

poised to buy Northern

Baker Street, London WI

miered on British television

dentist friend spikes their

MBE in the Queen's Birthday

It is announced that ATV are

Apple Boutique opens at 94

Final tour at America begins The last-ever concert perfor¬

Amsterdam Hilton MAR 28

ment to Jane Asher

JAN 5

SEPT6 - NOV 6

FEB 23 - MAY 11

DEC 25

at Marylebone Registry

Time magazine

Japan and on to the

Hammersmith, London

JUNE 24

Beatles make the cover of

San Francisco

John's comments about Jesus

ments with John and Paul.

John marries Yoko Qno

In New York City they are

DEC 5

George temporarily leaves the group after disagree¬

MAR 20

Lennon

JULY

divorce FEBio

Magical Mystery Tour is filmed

which goes from Germany to

the Odeon Cinema,

JUNE

OCT 18

Yoko Qno and Tony Cox

Paul marries Linda Eastman

cert is at the Cow Palace In

Show opens for 20 nights at

FEB 11

SEPT 22

smoke marijuana for the first

FEB 2

MAR 12

Won The War, starring John

JUNE 24

ham for what will eventually

in Transcendental Meditation Brian Epstein dies

Beginning of Far Eastern tour

introduced to Bob Dylan and

OCT 9

At the personal invitation of

JAN 21

American tour. The first con¬

Filming begins in Twicken¬

Pattie Boyd

and pharyngitis

Weybridge, Surrey

1969 JAN 2

George gets engaged to

substituting for RIngo who Is hospitalized with tonsillitis

All four Beatles attend a lec¬

NOV 10

AUG 4

Apple's press office closes down

DEC 31

Paul files a suit against The

John puts his Weybridge

Beatles and Co to dissolve

home on the market

the partnership

2 0 3

DISCOGRAPHY, 1962 - 1970

UK RELEASES

'Something'/Come Together', October 31,1969, Apple [Parlophone] R 5814.

SINGLES 'Love Me Do'/'PS I Love You', Octobers, 1962, Parlophone 4S-R 4949.

'Let It Be'/You know My Name (Look Up The Number)', March 6, 1970, Apple [Parlophone] R 5833,

'From Me To You'/’Thank You Girl', April I I, 1963, Parlophone RS0I5. ‘She Loves You'/TII Get You', August 23, 1963, Parlophone R 5055. ‘I Want To Hold Your Hand'/'This Boy', November 29, 1963, Parlophone R5084. 'Can't Buy Me Love'/'You Cant Do That', March 20, 1964. Parlophone RSI 14. 'A Hard Day's Night'/'Things We Said Today', July 10, 1964, Parlophone R 5 160. 'i Feel Fine'/'She's A Woman', November 27, 1964, Parlophone R 5200. 'Ticket To Ride'/'Yes It Is', April 9, 1965, Parlophone R 5265. 'Helpl'/'I'm Down', July 23, 1965, Parlophone R 5305. 'We Can Work It Out'/'Day Tripper', Decembers, 1965, Parlophone R5389, ‘Paperback Writer'/Rain', June 10, 1966, Parlophone R 5452, 'Eleanor Rigby'/'Yellow Submarine', August 5, 1966, Parlophone R 5493. 'Strawberry Fields Forever'/'Penny Lane', February i 7, 1967, Parlophone R 5570. ‘All You Need Is Love'/'Baby, You're A Rich Man', July 7, 1967, Parlophone R 5620 'Hello, Goodbye'/'l Am The Walrus', November 24, 1967, Parlophone R 5655, 'Lady Madonna'/'The Inner Light', March 15, 1968, Parlophone R 5675, ‘Hey jude'/'Revolution', August 30, 1968, Apple [Parlophone] R 5722, ‘Get Back'/'Dont Let Me Down', April 11,1969, Apple [Parlophone] R 5777, 'The Ballad Of John And Yoko'/'Old Brown Shoe', May 30, 1969, Apple Parlophone] R 5786.

1 0 4

'She Loves You'; 'I Want To Hold Your Hand'/’Can't Buy Me Love'; ‘I Feel Fine', Yesterday, March 4, 1966, Parlopone GEP 8948 (mono only)- ‘Yesterday’; 'Act Naturally’/'You Like Me Too Much'; 'It's Only Love',

'Please Please Me'/'Ask me Why', January I I, 1963, Parlophone 45-R 4983.

Parlophone GEP 8946 (mono) -

EPS Twist And Shout, July 12, 1963, Parlophone CEP 8882 (mono)'Twist And Shout'; 'A Taste Of Honey'/ Do You Want To Know A Secret'; ‘There's A Place'. The Beatles'Hits, September 6, 1963, Parlophone

Nowhere Man, July 8, 1966, Parlophone GEP 8948 - ‘Nowhere Man'; 'Drive My Car’/'Michelle'; 'You Won't See Me'. Magical Mystery Tour, Decembers, 1967, Parlophone MMT-1 (mono), SMMT-I (stereo) - 'Magical Mystery Tour’; 'Your Mother

CEP 8880 ( mono) —

Should Know'/'l Am The Walrus'; ‘The Fool On

'From Me To You'; 'Thank You Girl'/'Please

The Hill'; 'Flying'/’BlueJay Way’.

Please Me'; 'Love Me Do'. The Beatles (No I). November I, 1963, Parlophone CEP 8883 (mono) 'I Saw Her Standing There'; 'Misery'/'Anna (Go To Him)'; ‘Chains'. All My Loving, February 7, 1964, Parlophone GEP 889 I (mono) -

ALBUMS Please Please Me, March 22, 1963, Parlophone PMC 1202 (mono), PCS 3042 (stereo) 'I Saw Her Standing There'; 'Misery'; 'Anna (Go To Him)’; 'Chains'; 'Boys'; 'Ask Me Why'; 'Please Please Me’/'Love Me Do'; ‘PS I Love You’; ‘Baby

'All My Loving'; 'Ask Me Why'/'Money (That's

It's You'; 'Do you Want To Know A Secret'; 'A

What I Want)'/'PS I Love You'.

Taste Of Honey'; ‘There's A Place'; 'Twist And

Long Tall Sally, June 19, 1964, Parlophone GEP 8913 (mono) -

Shout'. With The Beatles, November 22, 1963, Parlophone

'Long Tall Sally’; 'I Cali Your Name'/ 'Slow Down';

1206 (mono), PCS 3045 (stereo) -

'Matchbox'.

'It Won't Be Long'; ‘All I've Got To Do'; 'All My

Extracts From The Film A Hard Day’s Night,

Loving'; 'Don't Bother Me’; ‘Little Child'; 'Till

November 6, 1964, Parlophone GEP 8920

There Was You’; 'Please Mister Postman'/

(mono) - 'I Should Have Known Better'; 'If I

'Roll Over Beethoven'; 'Hold Me Tight'; 'You

Feli'/'Tell Me Why'; ‘And I Love Her’.

Really Got A Hold On Me'; 'I Wanna Be Your

Extracts From The Album A Hard Day's Night,

Man'; '(There’s A) Devil In Her Heart'; 'Not A

November 6, 1964, Parlophone GEP 8924

Second Time'; ‘Money (That's What I Want)',

(mono)- 'Any Time At AH’; 'I'll Cry Instead'/

A Hard Day's Night, July 10, 1964, Parlophone PMC

'Things We Said Today’; ‘When I Get Home'. Beatles For Sale, April 6, 1965, Parlophone GEP

1230 (mono), PCS 3058 (stereo) ‘A Hard Day's Night'; ‘I Should Have Known

893 I (mono)- 'No Reply’; 'I'm A Loser'/'Rock

Better'; 'If I Fell'; 'I’m Happy Just To Dance With

And Roll Music'; 'Eight Days A Week’.

you’; 'And I Love Her'; 'Tell Me Why’; 'Can't Buy

Beatles For Sale (No 2), June 4, 1965, Parlophone GEP 8938 (mono) 'I'll Follow The Sun'; 'Baby’s In Black'/’Words Of

Me Love'/'Any Time At AH'; ‘I'll Cry Instead'; ‘Things We Said Today’; ‘When I Get Home'; 'You Can’t Do That'; 'I'll Be Back’,

Love'; ‘I Don't Want To Spoil The Party’

Beatles For Sale, December 4, 1964, Parlophone

The Beatles' Million Sellers, December 6, 1965,

PMC 1240 (mono), PCS 3062 (stereo) -

DISCOGRAPHY

'No Reply'; 'I'm A Loser’; 'Baby's In Black'; ‘Rock And Roll Music'; 'I'll Follow The Sun'; ‘Mr

Day In The Life’,

US RELEASES

The Beatles, November 22, 1968, Apple

Moonlight’; ‘Kansas CIty’/'Hey-Hey-Hey!’/

[Parlophone] PMC 7067-7068 (mono),

'Eight Days A 'vVeek; 'Words Of Love'; 'Honey

7067-7068 (stereo) -'Back In The USSR'; 'Dear

Don't'; ‘Every Little Thing'; 'I Don't Want To

Prudence’; ‘Glass Onion'; 'Ob-La-Di, Ob-La-Da’;

Spoil The Party'; ‘What You're Doing’; ‘

‘Wild Honey Pie’; 'The Continuing Story Of

Everybody's Trying To Be My Baby'. Help!, August 6, 1965, Parlophone PMC 1255

PCS

Bungalow Bill’; 'While My Guitar Gently Weeps'; ‘Happiness Is A Warm Gun'/‘Martha My Dear’;

(mono), PCS 3071 (stereo) -

Tm So Tired’; 'Blackbird'; ‘Piggies'; 'Rocky

'Helpl'; 'The Night Before'; ‘You’ve Got To Hide

Racoon'; 'Don’t Pass Me By'; 'Why Don't We Do

Your Love Away'; ‘I Need You'; ‘Another Girl’;

It In The Road'; 'I Will’; 'julia'/'Birthday’; 'Yer

'You’re Going To Lose That Girl'; ‘Ticket To

Blues'; 'Mother Nature's Son’; ‘Everybody’s Got

Ride’/'Act Naturally'; 'It's Only Love'; ‘You Like

Something To Hide Except Me And My Monkey’;

Me Too Much'; ‘Tell Me What You See'; Tvejust

'Sexy Sadie'; 'Helter Skelter’; ‘Long Long

Seen A Face’; 'Yesterday’f‘Dizzy Miss Lizzy'.

Long'TRevolution I'; ‘Honey Pie’; ‘Savoy Truffle';

Rubber Soul, Decembers, 1965, Parlophone PMG 1267 (mono), PCS 3075(stereo) -

'Cry Baby Cry’; 'Revolution 9’; ‘Good Night', Yellow Submarine, january 17, 1969, Apple

'Drive My Car'; ‘Norwegian Wood (This Bird Has

[Parlophone] PMG 7070 (mono), PCS 7070

Flown)'; ‘You Won’t See Me'; ‘Nowhere Man';

(stereo) - A; ‘Yellow Submarine'; 'Only A

‘Thing For Yourself; 'The Word'; 'Michelle'/

Northern Song'; 'All Together Now'; 'Hey

‘What Goes On’; ‘Girl’; Tm Looking Through

Bulldog’; 'It's All too Much'; 'All You Need Is

You'; 'in My Life’; 'Wait'; ‘If I Needed Someone';

Love'/ [Seven soundtrack instrumental cuts by

‘Run For Your Life'. Revolver, Augusts, 1966, Parlophone PMG 7009

the George Martin Orchestra] Abby Road, September 26, 1969, Apple

(mono), PGS 7009 (stereo) - ‘Taxman’; 'Eleanor

[Parlophone] PCS 7088 (stereo only) -

Rigby'; Tm Only Sleeping’; 'Love You To'; ‘Here,

‘Come Together’; 'Something’; ‘Maxwell’s Silver

There And Everywhere’; 'Yellow Submarine'; 'She

Hammer'; 'Oh! Darling’; 'Octopus’s Garden’; 'I

Said She Said’/'Good Day Sunshine’; ‘And Your

Want You (She’s So Heavy)7'Here Comes The

Bird Can Sing'; ‘For No One’; 'Doctor Robert’; 'I

Sun’; 'Because'; ‘You Never Give me Your

Want To Tell You'; 'Got To Get You Into My

Money’; ‘Sun King'/'Mean Mr Mustard'; 'Polythene

Life’; 'Tomorrow Never Knows',

Pam'/’She Came In Through The Bathroom

A Collection Of Beatles Oldies, December 9, 1966, Parlophone PMC 701 6 (mono), PPCS 701 6 (stereo) - 'She Loves You'; 'From Me To You’;

Window’; ‘Golden Slumbers’/'Garry That Weight'; ‘The End’; Her Majesty', Let It Be, May 8, 1970, Apple [Parlophone] PCS

'We Can Work It Out'; 'Helpl'; 'Michelle';

7096 (stereo only) - ‘Two Of Us’; ‘Dig A Pony’;

‘Yesterday’; ‘I Feel Fine'; 'Yellow Submarine’/

'Across The Universe'; 'I Me Mine’; 'Dig It'; 'Let It

'Can't Buy Me Love'; ‘Bad Boy’; ‘Day Tripper’; 'A

Be’; 'Maggie Mae'/Tve Got A Feeling'; 'The One

Hard Day's Night’; ‘Ticket To Ride‘;' Paperback

After 909'; 'The Long And Winding Road’; 'For

Writer’; ‘Eleanor Rigby'; 'I Want To Hold Your

You Blue'; 'Get Back.

Hand'. Sgt Pepper's Lonely Hearts Club Band, June 1, 1967, Parlophone PMC 7017 (mono), PCS 7027 (stereo) - ‘Sgt Pepper’s Lonely Hearts Club Band’; ‘With A Little Help From My Friends'; 'Lucy In The Sky With Diamonds'; 'Getting Better'; 'Fixing A Hole'; ‘She's Leaving Home'; 'Being For The Benefit Of Mr Kitell'/ ‘Within You Without You'; 'When I'm Sixty Four'; 'Lovely Rita'; 'Good Morning Good Morning’; ‘Sgt Pepper’s Lonely Hearts Club Band (Reprise)'; 'A

SINGLES "Please Please Me'/’Ask Me Why', February 25, 1963, VeejayVJ498, 'From Me To You'/’Thank You Girl', May 27, 1963, Vee Jay VJ 522. 'She Loves You’/TII Get You’, September I 6, 1963, Swan 4152. 'I Want To Hold Your Hand'/’l Saw Her Standing There’, December 26, 1963, Capitol 5112. ‘Please Please Me’/'From Me To You', January 30, 1964, Vee Jay VJ 581. ‘Twist And Shout’/’There’s A Place', March 2, 1964, Tollie 9001. 'Can’t Buy Me Love'/'You Can't Do That', March 16, 1964, Capitol 5 150. 'Do You Want To Know A Secret’/'Thank You Girl’, March 23, 1964, Veejay VJ 587. 'Love Me Do’/'PS I Love You’, April 27, 1964, Tollie 9008. 'Sie Llebt Dich'/TII Get You', May 21,1964, Swan 4182. 'A Hard Day’s Night’/’l Should Have Known Better’, July 13, 1964, Capitol 5222. Til Cry Instead'/’I'm Happy Just To Dance With You’, July 20, 1964, Capitol 5234. 'And I Love Her’V'lf I Fell’, July 20, 1964, Capitol 5235. ‘Matchbox'/’Slow Down', August 24, 1964, Capitol 5255. ‘I Feel Fine'/’She's A Woman', November 23, 1964, Capitol 5327. 'Eight Days A Week’/'l Don't Want To Spoil The Party’, February 15, 1965, Capitol 5371. 'Ticket To Ride'/’Yes It Is', April 19, 1965, Capitol 5407, 'Help!’/Tm Down’, July 19, 1965, Capitol 5476. 'Yesterday'/’Act Naturally', September 13, 1965, Capitol 5498. 'We Can Work It Out’/'Day Tripper’, December 6, 1965, Capitol 5555. 'Nowhere Man’/'What Goes On', February 21, 1966, Capitol 5587. 'Paperback Writer’/Rain’, May 30, 1966, Capitol 5651. 'Eleanor Rigby'/’Yellow Submarine', August 8, 1966, Capitol 5715 'Strawberry Fields Forever'/'Penny Lane', February 13, 1967, Capitol 5810,

II

DISCOGRAPHY

'Ail You Need Is Love'/'Baby, You're A Rich Man', 17 July 1967, Capitol 5964.

Instead'; 'I'm Happy Just To Dance With You’; plus two soundtrack instrumental cuts by George

'Lady Madonna'/’The Inner Light', March 18, 1968, Capitol 2138.

Martin & Orchestra/ Love’; plus two soundtrack instrumental cuts by George Martin & Orchestra.

'Hey jude'/'Revolution', August 26, 1968, Apple [Capitol] 2276, 'Get Back'/'Don't Let Me Down', May 5, 1969, Apple [Capitol] 2490. 'The Ballad Of John And Yoko'/'Old Brown Shoe’, June 4, 1969. Apple [Capitol] 253 I. 'Something'/'Come Together', October 6, 1969,

Something New, July 20, 1964, Gapitol T-2108

Orchestra. Rubber Soul, December 6, 1965, Capitol T-2442 (mono), ST-2442 (stereo) - A; Tvejust Seen A Face'; Norwegian Wood (This Bird Has Flown)’;

(mono), ST-2108 (stereo) - ‘I’ll Cry Instead’;

'You Won't See Me’; 'Think For Yourself; 'The

'Things We Said Today’; 'AnyTime At AH';

Word’; 'Michelle'/ ‘It’s Only Love'; 'Girl'; ‘I'm

'When I Get Home’; 'Slow Down';

Looking Through You'; ‘In My life'; 'Wait'; 'Run

‘Matchbox’/'Tell Me Why'; 'And I Love Her'; 'I'm Happy Just To Dance with You'; 'If I Fell'; 'Komm, Gib Mir Deine Hand'. The Beatles' Story, November 23, 1964, Gapitol

Apple [Capitol] 2654.

soundtrack instrumental cuts by George Martin &

For Your life', "Yesterday"... And Today, June 20, 1966, Capitol T2553 (mono), ST-2553 (stereo) 'Drive My Car’; 'I’m Only Sleeping’; 'Nowhere

TBO-2222 (mono), STBO-2222

Man’; ‘Doctor Robert’; ‘Yesterday’; ‘Act

Number)', March 11,1970, Apple [Capitol]

(stereo) - ‘Interviews plus extracts from 'I Want

Naturally’/'And Your Bird Can Sing’; 'If I Needed

2764.

To Hold Your Hand’; 'Slow Down'; 'This Boy'/

Someone'; 'We Can Work It Out’; ‘What Goes

'Let It Be'/'You Know My Name (Lock Up The

'The Long And 'Winding Road'/'For You Blue', May 11,1970, Apple [Capitol] 2832.

Interviews plus extracts from 'You Can't Do That'; 'If I Fell'; 'And I Love Her’/Interviews plus

On’; ‘Day Tripper'. Revolver, August 8, 1966, Gapitol T-2576 (mono),

extracts from 'A Hard Day’s Night’; 'And I Love

ST-2576 (stereo) -

ALBUMS

Her'/Interviews plus extracts from 'Twist And

Taxman’; 'Eleanor Rigby’; 'Love You To'; 'Here,

Introducing the Beatles, July 22, 1963, Veejay VJLP

Shout’ (live); 'Things We Said Today'; Tm Happy

There And Everywhere'; 'Yellow Submarine’; 'She

1062 (mono), SR 1062 (stereo) -

Just To Dance With You’; ‘Little Child’; ‘Long Tall

Said She Said’/'Good Day Sunshine’; ‘For No

'I Saw Her Standing There’; 'Misery’; 'Anna (Go

Sally’; ‘She loves You'; 'Boys’.

One’; 'I WantToTell You'; ‘Gotto GetYou Into

To Him)’; 'Chains’; 'Boys'; 'Love Me Do'/ 'PS I Love You’; 'Baby It’s You’; 'Do You Want To

Beatles ‘65, December 15, 1964, Capitol T-2228 (mono), ST-2228 (stereo) -

My Life'; 'Tomorrow Never Knows', Sgt Pepper's Lonely Hearts Club Band, June 2, 1967,

Know A Secret'; 'A Taste Of Honey’; 'There's A

'No Reply'; 'I’m A Loser’; ‘Baby’s In Black'; 'Rock

Capitol MAS-2653 (mono). SMAS-2653 (stereo)

Place '; 'Twist And Shout’.

And Roll Music’; ‘I’ll Follow The Sun’; 'Mr

- tracks as UK release

/Meet The BeatlesI, January 20, 1964, Capitol T-2047

Moonlight’/'Honey Don’t; 'I'll Be Back’; 'She’s A

Magical Mystery Tour, November 27, 1967, Capitol

(mono), ST-2047 (stereo) - 'I Want To Hold

Woman’; 'I Feel Fine'; ‘Everybody's Trying To Be

MAL-2835 (mono), SMAL-283S (stereo) -

Your Hand'; 'I Saw Her Standing There"; ‘This

My Baby’.

'Magical Mystery Tour'; 'The Fool On The Hill';

Boy'; 'It Won't Be Long'; 'All I’ve Got To Do'; 'All

The Early Beatles, March 22, 1965, Capitol T-2309

'Flying'; 'Blue Jay Way'; 'Your Mother Should

My Loving'/'Don't Bother Me’; 'Little Ghild'; ‘Till

(mono), ST-2309 (stereo) -

There Was You'; 'Hold Me Tight'; 'I Wanna Be

'Love Me Do'; 'Twist And Shout’; 'Anna (Go To

'Strawberry Fields Forever'; 'Penny Lane'; 'Baby,

Your Man’; 'Not A Second Time'.

Him)'; ‘Chains'; 'Boys'; ' Ask Me Why'/'Please

You’re A Rich Man'; ‘All You Need Is Love’.

Introducing The Beatles, January 27, 1964, Veejay

Please Me’; 'PS I Love You'; 'Baby It’s You’; ‘A

VJLP 1062 (mono) - 'I Saw Her Standing There’;

Taste Of Honey’; ' Do You Want To Know A

Misery’; 'Anna (Go To Him)'; 'Ghains'; ‘Boys’; 'Ask

Secret’.

Me Why'/'Please Please Me'; 'Baby It's You'; 'Do You Want To Know A Secret’; 'A Taste Of Honey’; 'There’s A Place’; 'Twist And Shout'. The Beatles'Second Album, April 10, 1964, Capitol

Beatles VI, June 14, 1965, Capitol T-2358 (mono). ST-2358 (stereo) 'Kansas City’/’Hey-Hey-Hey-Heyl'; 'Eight Days A

Know'; 'I Am The Walrus'/'Hello, Goodbye’;

The Beatles, November 25, 1968, Apple [Gapitol] SWBO-101 (stereo) - tracks as UK release Yellow Submarine, 13 January 1969, Apple [Gapitol] SW-153 (stereo) - tracks as UK release Abbey Road, October 1, 1969, Apple [Gapitol] SO383 (stereo) - tracks as UK release

Week’; 'You Like Me Too Much’; 'Bad Boy'; I

Hey Jude, February 26, 1970, Apple [Capitol] SW-

T-2080 (mono), ST-2080 (stereo) -

Don’t Want To Spoil The Party’; ‘Words Of

385 (stereo) - ‘Can't Buy Me Love'; 'I Should

■Roll Over Beethoven'; 'Thank You Girl'; ‘You

Love'/ What You're Doing'; 'Yes It Is'; 'Dizzy Miss

Have Known Better’; ‘Paperback Writer’;

Really Got A Hold On Me’; '(There’s A) Devil In

Lizzy’; 'Tell Me What You See'; 'Every little Thing’.

'Lady Madonna'; 'Revolution'/'Hey Jude'; ‘Old

Her Heart'; 'Money (That's What I Want)'; 'You Can't Do That'/ 'Long Tall Sally'; 'I Call Your

Help! August 13, 1965, Capitol MAS-2386 (mono), SMAS-2386 (stereo) -

Name’; 'Please Mister Postman'; 'I'll Get You';

'Helpl'; 'The Night Before'; You’ve Got To Hide

'She Loves You'.

Your Love Away’; 'I Need You'; plus three

A Hard Day's Night, June 26, 1964, United Artists UA 6366 (mono). UAS 6366

(stereo) —

'A Hard Day's Night'; 'Tell Me Why’; 'I’ll Cry

2 0 6

soundtrack instrumental cuts by George Martin & Orchestra/'AnotherGirl'; 'Ticket To Ride'; 'You're Going To Lose That Girl'; plus three

'Rain';

Brown Shoe’; 'Don’t Let Me Down’; ‘The Ballad of John And Yoko’. Let It Be, May 18, 1970, Apple [Capitol] AR-34001 (stereo) - tracks as UK release

BIBLIOGRAPHY

BOOKS ABOUT THE BEATLES Bacon, David and Maslov, Norman. The Beatles' England. Columbus Books, London ,1982; 910 Books, San Francisco, 1982. Baird, Julia. John Lennon My Brother. Grafton, London, 1988. The Beatles Lyrics. MacDonald, London, 1969. Bedford, Carol. Waiting For The Beatles, Blandford Press, Newron Abbot, 1984. Braun, Michael. Love Me Do. Penguin, London, 1964. Brown, Peter. The Love You Make. MacMillan, London, I 983. Coleman, Ray. Lennon. McGraw Hill, New York, 1984. Dalton, David and Cott, Jonathan. The Beatles Get Back. Apple, London, 1969. Davies, Hunter. The Beatles. Heinemann, London 1968. Elson, Howard. McCartney: Songwriter. W.H.AIIen, London, 1986. Freeman, Robert. The Beatles: A Private View. Pyramid, London, 1992. Fulpen, H.V. The Beatles: An Illustrated Diary. Plexus, London, 1982. Giuliano, Geoffrey. Blackbird. Smith Gryphon, London, 1991. Goldman, Albert. The Lives Of John Lennon. Bantam Press, London, New York, Harrison, George. I A4e Mine. W.H.AIIen, London, 1980. Harry, Bill (Editor). Mersey Beat: The Beginnings Of The Beatles. Columbus Books, London, 1977. The Ultimate Beatles Encyclopedia. Virgin, London, 1992. Lennon, Cynthia. A Twist Of Lennon. W.H. Allen, London 1978. Lennon, John. In His Own Write. Jonathan Cape, London, I 964. Lewisohn, Mark. The Complete Beatles Recording Sessions. Hamlyn, London, 1988.

GENERAL BOOKS The Complete Beatles Chronicle. Pyramid, London, 1992. McCabe, Peter and Schonfeld, Robert. Apple To The Core. Sphere Books, London, 1972. McCartney, Mike. Thank U Very Much.Weidenfeld & Nicolson, London, 1982. Mellers, Wilfrid. Twilight Of The Gods. Schirmer Books, New York, 1973. Norman, Philip. Shout, Elm Tree, London, 1981, Rolling Stone magazine. The Ballad Of John and Yoko. Michael Joseph, London, 1982. Salewicz, Chris. McCartney: The Biography. MacDonald, London, 1986. Schafiner, Nicholas. The Beatles Forever. MSF Books, New York, 1978. Schultheiss,Tom. A Day In The Life. Pierian Press, Ann Arbor, 1980, Sheff, David. The Playboy Interviews with John Lennon and Yoko Ono. New English Library, London, 1981; Playboy Press, Chicago, 1981. Shepherd, Billy. The True Story of the Beatles. Beat Publications, London, 1964. Shotton, Pete. John Lennon In My Life. Stein & Day, New York, 1983. Stuart Ryan. David, John Lennon's Secret, Kozmik Press Center, New York, 1982. Taylor, Alistair. Yesterday. Sidgwick and Jackson, London; Pioneer Books, Las Vegas, 1989. Wenner, Jann. Lennon Remembers. Straight Arrow Books, San Francisco, 1971.

Anthony, Gene. Summer Of Love. Celestial Arts, Berkeley, 1980. Buglioso, Vincent. Helter Skelter. Bantam, New York, 1974. Fein, Art. The LA Musical History Tour. Faber and Faber, Boston, 1990. Gaines, Steven. Heroes and Villains. MacMillian, London, I 986; New American Library, New York, 1986. Gibran, Kahlil. Sand and Foam, 1927, Gillett, Charlie. The Sound Of The City. Sphere Books, London, 1970. Goodman, Pete. The Rolling Stones: Our Own Story. Bantam, New York, 1965. Guinness Book of Rock Stars. Guinness, London, 1989. Hotchner, A.E. Blown Away. Simon and Schuster, London, 1990. Leary, Timothy, Flashbacks. Heinemann, London, 1983. Maharishi Mahesh Yogi,. The Science of Being and the Art of Living. International SRM Publications, London, 1963. Mascaro, Juan. Lamps of Fire, Methuen, London 1958. Marsh, Dave. The Heart of Rock and Roll. Penguin, London, 1989; New American Library, New York, 1989 Smith, Joe. Off The Record. Sidgwick and Jackson, London, 1989.

Wiener, Jon. Come Together: John Lennon In His

Stein, Jean. Edie. Jonathan Cape, London, I 982.

Time. Faber & Faber, London, 1984; Random

Turner, John M. A Dictionary of Circus Biography

.House, New York, 1984

(unpublished). White, Charles. Little Richard. Pan, London, 1984, Wolfe, Tom. The Electric Kool-Aid Acid Test. i:

' r

Bantam, New York, 1968. Worth, Fred and Tamerius, Steve. Elvis: His Life from A-7.. Contemporary Books, New York, 1988, Wyman, Bill. Stone Alone. Viking, London, 1990

II

NDEX

Numbers in italics refer to captions

Freymann, Dr Robert I 14

147, 159, 165, 169, 171,

Mintz, Elliot 64-5, 97

Cochran, Eddie 163

Frost, David 147

177, 181

Miracles 27, 29, 35, 35, 44,

Coe, Elsie 126, 127

Fury. Billy 13,30, 46

95, 106, 106

Aldridge, Alan 23. 125

Coe, John 126

Alexander, Arthur 17

Coe, Melanie 125, 126, 126,

Gaye, Marvin 27, 56

Lennon, Frederick 163

98 Moore, Pete 35

Scott, Jimmy 153, 153, 154

Lennon, Julian 9, 9, 37, 47,

Morey, Larry 25

Scott. Lurcrezia 154

Murray, Rod 94

Sebastian, John III. 112,

Nicol, Jimmy 124, /24

Segal, Erich 135, 141, /4/ Shankar, Ravi 14, 89, 128,

122, 122, 123, 123, 147,

Coley, Doris 38

Ginsberg, Allen 146, 197

147, 148, 148, 172, 172,

Anthony. Les 184

Colyer, Ken 39

Goons 47, 186

181

Apple Scruffs 160, 161, 198,

Como, Peggy 49

Govinda, Lama I 15

Lennon, Sean / 72

Noebel, David A 150-51

Cooke, Nancy 155

Green, Peter / 95

Lester, Dick 46, 47, 48, 53,

Northern Songs Ltd 140,

Cooke III, Richard 155, 155

Gunter, Arthur 98

56, 63, 75, 76, 82, 83,

46. 49, 49, 55, 55, 69, 84,

Costello, Elvis 12

Guru Dev 177

86, 87, 87, 90, 90, 94, 96,

Crosby, Bing 21,2/

104, 108, 108. I 13, 125,

Crosby, David I I I

96

198 Asher, Jane 29. 36. 36,42,

127

142. 159 Asher, Peter 14. 42, 43, 157, 189 Aspinall, Neil 93, I I I. 130, 139, 144, 157

Davies, Hunter 91,96, 122,

Lomax, Jackie 190

Harrison (Boyd), Pattie 82,

Love, Mike 150, 150, 152,

92, 92,78,98, 106, 129,

145, 146, 170

129, 139, 144, 149, 154, 163, 163, 168, 183, 189, 190

Davies, Meta 13 I Davis, Rod 44

73, 163

Harris. Micki 38 124, 128, 134, 142, 143,

I 13

193

I 19, 132 Little Richard 17. 62, 68, 73,

Hargreaves, Christine 129

154 Lovin' Spoonful III, 112,

112 Lynch, Kenny 20, 31 Lyttleton, Humphrey 146,

O'Donnell, Lucy 9. 9, 10, 122, 122, 123

Short, Don 80, I I I Shotton, Pete 77, 89, 97,

147, 147, 157, 159, 163, 165, 171, 171, Ml. 173,

Owen, Alun 46. 48, 53

Stephanie 196, 196

Owens, Shirley 38

Stookey, Paul 62

Havens, Richie 146

Bayley, Stephen 145

Del Vikings 44

Hawkins, Daisy 104

Beach Boys M, 108, 150,

Dene, Terry 46

Hedges, Sandra 24

Domino, Fats 17, 163

Henderson, John 128

Bedford, Carol 198

Donegan, Lonnie 42, 182

Hendrix, Jimi 61, 146

129, 140, 141, 147, 149, 149, 150, 151, 152, 155,

Berry, Chuck 17, 18, 39, 39,

Donovan 104, 108, 150,

Holly, Buddy 14, 17, 68

165, 166, /66, 167, 168,

Palmer. Tony 194

Horn. Paul 140, 149, 150,

177

Panic Brothers 154

Simon and Marijke 129-30 Simone, Nina 94 Starr, Maureen 55

Strong, Barrett 27 Sutcliffe, Stuart 13, 13, 24,

24. 94, 97, 98

Best, Pete 13,17, 24, 24

Doran, Terry 126, 132

Bird, Margo 160, 161, 198

Dorsey, Lee 189

Bishop, Dr John I 14

Duncan, Johnny 182

How I Won The War I 19, 132, 132

Bowie, David 177, 177

Dylan, Bob I I, 14, 22, 35,

Hoyland, John 169

Manson, Charles 160. / 60.

Perkins, Carl 17, 68

Jackson, Ziggy 44

Mardas, Alex 144

Jacobson, Dr Max I 14

Marmalade 154, 154

Peter, Paul and Mary 62

Taylor, Neil 139

Jagger, Mick 39, 134, 137,

Marsh, Dave 32

Phillips, Julia 91

Townsend, Ken 101

Martin, George 12, 12, 13,

Pickett, Wilson 57. 57, 101

Traveling Wilburys 22

Boyd, Jennie / 63

60, 62, 64, 64, 65, 69, 77,

Bramwell, Tony 20, 77, 101,

I 13, 146, 165, 168

127, 195 Bron, Eleanor 77, 77, 104,

105 Brown, Michael 91

Eastman, John 193

Ed Sullivan Show 11, 42, 69, 70, I 12-13

151, 166-67

145, 146, 157 Shumacher, Joel I 14

Harry. Bill 37

152, 161, 163, 163, 170

98, 104, 105, I 19, 128,

MG. 180, 181, 184, 184, 185, 185, 188, 191, 192, 192, 193, 194 Orbison, Roy M, 21,21, 22

Dekker, Thomas 200

150, 189, 189, 194

Shirelles 29, 38, 38, 50

Ono, Yoko 15, 35,97, 123,

Dawson (Hodgett), Pat 196

Mahesh Yogi, Maharishi

30 Sheridan, Tony 37, 144

Oldham, Andrew 39

Bart, Lionel 104

147

183 Shannon, Del 58, 58 Shapiro, Helen / 9, 20, 20,

O'Dell, Denis 186, 186

Barrow, Tony 23

ISO. 154

Savile, Jimmy 101, 101 Schwartz, Francie 160

Lennon, Julia 21, 163 Gin, Auntie 83

Allsop, Kenneth 60, 64, 65,

Samwell, Ian 20

Manfred Mann 129

Paramor, Norrie 20

Mann, William 40, 40

Pariser, Alan 170

Mansfield, Jayne 163

Parker, Bobby 86

161, 167, 170, 171

169

Peter and Gordon 14, 42.

43

Taylor, Alistair 125, 139, 143, 144 Taylor. Derek 55, 98. 144, 145, 152, 157, 170 Taylor, Joan 157

James, Dick 65, 65

15, 18,20,22, 22,33,34,

Plastic Ono Band 19 I

Travers, Mary 62

Brown, Peter 184

Elliot, Mama Cass I 12

James, Stephen 14

46, 53,61,65, 82, 86, 89,

Potier, Suki 134

Trendle, Doug (Buster

Browne, Tara 132, 132, 134

Ellis, Royston 101, 101, 196,

Janov, Arthur 50

95,98, 102, I 15, I 16,

Power, Duffy 19

Bloodvessel) 153

Jarry, Alfred 190, /9/

121, 123, 124, 130, 131,

Presley, Elvis 13, 17, 30, 32,

Bugliosi, Vincent 167

/96, 197, 197

Burley, Dan 146

Emerick, Geoff I 15

Jefferson Airplane 121, 138

132, 134, 135, 137, 146,

Busby, Matt 178, 178

Epstein, Brian 13, 14, 17, 19,

John, Elton 19

157, 174, 182, 187

Bygraves, Eleanor 104

25, 25, 26, 26, 37, 47, 65,

Johns, Glyn 174

Marvellettes 27, 29

Byrds I 1,98

77, 106, 121, 136, 139,

Jones, Brian 39, 134

Mascaro, Juan 147

Byrne, David 12

149, 180

King, B B 178

McCartney, Jim I I. 83, 130,

Evans, Mai 62, 121, 134, Caldwell, iris 13, 18, (8. 19,

142, 143

21,84

King. Freddie 178 King, Tony 129, 191, 198

130, 145, 170,200

Waller, Gordon 42, 43 Warhol, Andy /14 Welch, Chris 167

Kite, William 127, 128, 128

183, 193, 194, 198

Charles, Ray 17, 190

Quits, Eugene 198

Welch, Bruce 83, 84

Fame and the Blue Flames,

Farrow, Prudence 151 -52,

Voorman, Klaus 129

Quickly, Tommy 26, 37

Richard, Cliff 13, 20, 30, 42,

Cannon, Freddy 65

Channel, Bruce 23, 23

Vincent Gene 13, 17, 163

Rhone, Dot 24, 24, 25

163, 174, 175, /75, 181,

Fanque, Pablo 127, 128

45, 130, 163

15, 157, 157, 159, 162,

Kite, James 128

Cassady, Neal 142

Quarry Men II. II, 13, 44,

Kirchner, Astrid 24 Faithfull, Marianne 84, 137 Georgie 124, 154

Vaughan, Ivan 94, 119 Vaughan, Jan 94

McCartney (Eastman), Linda

Caldwell, Violet 18, /8 Carroll, Lewis 60, 123, 146

46, 98, 163, 194

43,46

Whitaker, Bob 85, 99

Klein, Allen 174, 193, 193

McCartney, Mary 180

Richard, Keith 39

White, Ronnie 35

Kramer, Billy J 14,25, 25, 26,

McCartney, Mike 119, 134

Rigby, Eleanor 104, 105

Who 61, 167

McClinton, Deibert 23, 23

Rigby, Frank 105

Williams, Larry 17

McGough, Roger I 19

Riley, Tim 70, 82

Wilson, Brian 150

McGough, Thelma 27, 34,

Robin, Leo 21

Wilson, Carl 150

Robinson, Smokey 27, 35,

Wilson, Harold 102, 103

37, 53

151

Chiffons 38, 50

Feinstein, Barry 170

Leary, Rosemary 188

Christgau, Robert 21

Fitzpatrick, Paul 144

Leary, Timothy 115, 116,

Churchill, Frank 25

Fleetwood Mac 195, 195

Clapton, Eric I 13, 137, 155,

Fonda, Peter III,///

Lee, Beverly 38

Miles, Barry I 15. I 18

Rogers, Bobby 35

Fourmost 26, 37

Lennon (Powell), Cynthia

Milligan, Spike 123,

Rogers, Claudette 35

Yanovsky, Zal 112

Mimi, Aunt //,34, 97, 120,

Rolling Stones 11,39, 39,

Yarrow, Peter 62

170, 183, 193 Clarke, Allan 20 Cleave, Maureen 8, 47, 75,

2 0 8

Freeman, Robert 34, 42-3, 60

/16, 125, 188, 189, 189

24, 25. 37, 46. 48, 48, 85, 89, 89, 122, 132, 147,

34 McGuinn, Roger 98, I I I

163, 184

35, 40, 44. 190

134, 15.4, 194

Wonder, Stevie 27, 154

Young, Muriel 94, 94

'

i.

.VI

0-

'

1

WHO WERE POLYTHENE PAM AND MR. KITE?

I ADAY'S HARD

DOES OB-LA-DI OB-LA-DA MAKE SENSE?

WRITE /

/

The first pop performers to write their own material, the Beatles raised the quality of song-writing beyond the banal to stand alongside the greats of the golden age of song, Gershwin, Porter, and Berlin. Their lyrics are among the most analysed in pop history.

Rock music journalist Steve Turner reveals the true tales behind the Beatles’ songs. Not hearsay, opini sensation - but the truth as revealed through in-de interviews with the real-life subjects of the songs a the people who were at the heart of the Beatles’ w ISBN 0-316-87871-5

90000>

jacket photograph: London Features International

9 780316 878715

THIS IS A CARLTON/ LITTLE, BROWN BOOK