Beatles FAQ

There have several thousand covers of Beatles songs but a short list of those which work well. Twist my arm and I’d go for George Benson’s interpretation of Golden Slumbers   from his extraordinary The Other Side of Abbey Road (1971) Benson was a young jazz guitar prodigy at a time when the form appeared to have hit the buffers. To purists, his attempt to take on The Beatles was the first in long series of contemptible sellouts. His musical peers saw it differently, with Herbie Hancock, Freddie Hubbard, and Sonny Fortune all contributing to what was essentially a new take on the a tradition pioneered by the Ella Fitzgerald Songbooks. Golden Slumbers is a highlight that draws on the unusual genesis of the original. This was famously inspired by  Paul McCartney coming across his step-sister's sheet music for a piece called Cradle Music left on the piano at his father's house in Liverpool. Intrigued, but unable to read the 'black dots on the page' Paul invented a melody an

On Saturday the 6th July, 1957 St Peter's Church held it a annual summer fete in the Liverpool suburb of Woolton. After the usual stalls and games for children in the afternoon, a new skiffle group played in the church hall in the evening. They were named The Quarrymen, after the school the band-leader attended. His name was John Lennon. John with the Quarrymen a few hours before meeting Paul Paul McCartney was only just fifteen, eighteen months younger than Lennon. He lived a bus ride away and went to a different school. But he and Lennon shared a mutual friend, Ivan Vaughan. Vaughan invited McCartney to the fete, promising that there would be girls there. “You can meet my mate John, too,” he added. “He plays guitar like you…” Read full piece free on on Medium    3 min read with video The Beatles Teaching Pack  free download during pandemic BBC Witness (audio): The Band That Made The Beatles

The melody for YESTERDAY came to Paul McCartney in a dream but in other respects it was the most complex Beatles project until that point.  McCartney worked on  the  song for 18 months. He was still writing the song during the filming of Help!. This irritated director, Richard Lester so much that he banned him from playing the then Scrambled Eggs on the set.. George Harrison was similarly unimpressed, remarking ‘Who does he think he is? Beethoven?’  The Arrangement When George Martin suggested adding strings, McCartney was uneasy (‘No vibrato, George. I don’t want to sound like Mantovani!’). Realsiing this would be unnatural for a modern string player, Martin followed McCartney's instructions when writing the part but then asked him to help supervise the arrangement, knowing that this would demonstrate the issue. ‘As a result of which,{McCartney} added the cello phrase in bar 4 of the middle eight (1.25–27) and the first violin’s held high  A in the final verse.’ Macdonald. The Rec

During their early musical education, The Beatles steered clear of classical music. Paul tells how his father 'a jazzer' would pointedly turn off the radio when a classical piece was broadcast. His son metaphorically followed suit, as did his bandmates. It was not for them. Bach - but not as he wrote it George had, however, learned one classical 'party-piece' at an early age. He did not know the title but had the vague idea that it was by Bach. George then taught this partial, inaccurate version of  Bourrée from the E Minor Lute Suite, to Paul. Here it is played according to original score: In 1968 McCartney used the Bourrée as a starting point for what would become one of his most admired compositions. Would Bach have been due a Chiffons-style copyright infringement payday if he had had hung around for another 240 years? It seems very unlikely. McCartney acknowledges that Bach provided the 'original inspiration' for Blackbird - but argues that musically he took

When I taught myself piano I liked to see how far I could go, and this started life almost as a piece you’d learn as a piano lesson. It’s quite hard for me to play, it’s a two-handed thing, like a little set piece .... I wrote it as that, something a bit more complex for me to play’    Paul McCartne y Many Years From Now, Barry Miles Paul dabbled with the piano since early childhood when he listened to his father play in the family living room. As with every other instrument, he did not use sheet music but learned by exploration  and experimentation. While he lodged with the Asher family,  (1964/66) he began devising his own exercises. One of these would end up on The Beatles - better known as the White Album Words The love object of Martha My Dear is in the photo Then while I was blocking out words – you just mouth out sounds and some things come – I found the words ‘Martha my dear’. Many assumed that 'Martha' was Jane Asher. Others suspected it was one of the other glamorous

Photo by Annie Spratt on Unsplash   This ghastly miscalculation ... represents by far {McCartney's} worst lapse of taste under the auspices of The Beatles.    Ian MacDonald The Revolution in the Head Maxwell’s Silver Hammer belongs to a very niche musical tradition: the cheerful murder sing-along. There is also speculation that the lyric was influenced by the murder of Joe Orton, who spent an evening with McCartney some months before his death.  Read More

Even at the height of his fame, Paul McCartney enjoyed writing songs for other artists, especially female singers. Often, he did this unbidden, offering Cilla Black Step Inside Love for her first TV show, for example. He was also the most musically adventurous of The Beatles - and eclectic in his taste.  He first heard Those Were the Days in The Blue Angel club in London. The singer was Gene Raskin, a New York-based folk singer with Russian roots. McCartney liked the song and offered to produce a recording by Mary Hopkins, a young Welsh folk singer recently signed by the new Apple label.  Copyright McCartney assumed that  Those Were the Days  had been written by Raskin. In fact, the copyright situation was complex and would become the subject of a legal battle.  The tune is that of the  Russian romance song "Dorogoi dlinnoyu" [ ru ]("Дорогой длинною" Tr: "By the long road").  This may be considered tradtional, though it is sometimes credited to Boris Fom

"Behind the shelter in the middle of a roundabout' Early Lennon & McCartney songs contained few direct references to their home city. The aim was to produce music that would appeal to a global rather than local appeal. The culmination of this approach was I Want to Hold Your Hand - written  with the express intention of appealing to the US market.  The formula worked - I Want to Hold Your Hand became the biggest selling single of all time. It was however, limiting artistically. By 1965, The Beatles success - and that of the openly introspective Bob Dylan - encouraged Lennon & McCartney to draw on more autobiographical material.  In My Lif e Lennon refers  generally to the 'places I remember'.  Strawberry Fields Forever, names one of these, a local Salvation Army Children's home, and weaves it into a hallucinatory dreamscape. On the surface McCartney takes a more functional approach:  Penny Lane" was kind of nostalgic, but it was really

There is no published photo of the Queen with The Beatles, only with her mother and sister (seen here) T he shortest Beatles song   is only 23 seconds long and was unlisted on its original vinyl release. 

So here’s another clue for you all/The Walrus was Paul The Beatles  Glass Onion  (The White Album) There were conspiracy theories long before the internet. The Beatles, with their unprecedented fame and influence on popular culture, were particularly prone to them. Perhaps the most notorious began on   the night of January 7, 1967, when  ‘a rumour swept London that Paul McCartney had been killed in a car crash on the M1’. - read the full story here. On 12 October, 1969 a bizarre on-air phone call to Detroit radio station gave new life (!) to the controversy. A caller, identified only as ‘Tom’, had some startling new information. He revealed that The Beatles had been sending secret messages through their recorded songs. ‘Play ‘Revolution 9’ backwards,’ he said mysteriously. ‘And you’ll hear what I mean!’ The DJ duly spun the disk (backwards). After somehow deciphering discordant wailing, he pronounced judgement. ‘Wow! John is saying “dead man!” He’s trying to tell us that

One of the most enduring legends surrounding The Beatles is that the Fab Four became the Fab Three in November 1966.

In August 1963 The Beatles returned to the Cavern to play what proved to be their last gig there. It proved a chaotic event with frequent power-cuts causing frequent interruptions.  During one of the forced intervals, Paul McCartney calmed the crowd by playing  impromptu acoustic version of an old favourite.

Lovely Rita meter maid Nothing can come between us

Wimpole Street  “I woke up with a lovely tune in my head.  I thought, ‘That’s great, I wonder what that is?’  There was an upright piano next to me, to the right of the bed by the window.    I got out of bed, sat at the piano, found G, found F sharp minor 7th – and that leads you through then to B to E minor, and finally back to E.  It all leads forward logically.  I liked the melody a lot but because I’d dreamed it I couldn’t believe I’d written it. 

Saturday. "Friday Night arrives without a suitcase/Sunday morning creeping like a nun." Perhaps its part of that eight-day-week the Beatles introduced. Lady Madonna was McCartney's 'come-back' single after critics savaged Magical Mystery Tour. Musically, it's an impressive response, the boogiewoogie piano and handclaps combining to create an infectious driving sound.  Lyrically, it is less successful. The title was inspired by a magazine photograph of an African mother and child captioned Mountain Madonna. This image immediately runs into trouble with a very British reference to paying the rent. Then it turns bizarrely accusatory ('Did you think that money was heaven sent?') before losing all coherence in what Ian MacDonald calls 'acid tinged unreality'.  Macdonald particularly disapproves of the 'pointless allusion to I Am the Walrus' suggesting that this 'wanton self-mythologising ... in the context of the developing 'Pa