Beatles FAQ

In February 1962 The Beatles played at a youth club in Liverpool, using the church hall. The venue was modest but fit for purpose. With its low ceiling and wooden floors it provided excellent acoustics for the local fans who managed to squeeze in. Two years later they travelled to Washington DC in the immediate wake of their triumph on the Ed Sullivan Show. A concert was hastily arranged in a venue used for basketball and boxing, It set the template for all the live shows that were to come: An 8000-voice choir performed last night at Washington Coliseum in the premiere of what is likely to become an American classic. Call it in B for want of a better name. The choir was accompanied, incidentally, by four young British artists who call themselves the Beatles. Their part was almost completely obscured by the larger choral group, The 'thin voices' of the visiting group could not compete with the thousands of screaming teenagers.  This problem would plague The Beatles for their rem

Tomorrow Never Knows took The Beatles into previously unexplored musical territory. Its use of tape loops, a mellotron, Tibetan chants and various Musique Concrete techniques were startling innovations for a mainstream pop record.  The title, however,  was inspired by a more homely source: I took one of Ringo's malapropisms as the title, to sort of take the edge off the heavy philosophical lyrics. Where did this  'heavy' philosophy come from? The Tibetan Book of the Dead via  The Psychedelic Experience by Timothy Leary and Richard Alpert (1964). Leary notoriously promoted the use of LSD as the key to what Huxley had termed the Doors of Perception.  Lennon discovered the  The Psychedelic Experience when browsing the shelves at the Indica Bookshop in London:  John began to scan the shelves. His eyes soon alighted upon a copy of The Psychedelic Experience, Dr Timothy Leary's psychedelic version of the Tibetan Book of the Dead.  John was delighted and settled down

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

  He was a terrible driver…with bad eyesight’. John Lennon's cousin, Stan. John Lennon's Austin Maxi, the last car he ever drove Unlike most of his rockstar peers, Lennon had little interest cars. He learned to drive comparatively late, only passing his test in 1965, when he was twenty-four.  Even when he got his licence, he showed little enthusiasm for getting behind the wheel, rarely doing so for the next four years. In 1969, however, he decided 'on the spur of the moment' to drive his family to the Scottish Highlands. It did not go well. Full Story here  (five minute read)

Aunt Mimi’s house — Copyright Pernille Eriksen — reprinted here with permission —  prints available John Lennon's childhood traumas are documented in series of songs he wrote in the late 60s and early 70s: Julia, Mother, Working Class Hero. In fact the whole of his first solo album is an extended therapy session aimed at healing his troubled psyche. Yet in the early days of their friendship what struck Paul was not John's emotional  pain. It was his posh house. Paul For Paul,  Mendips  was a different social world - one in which an auntie was an aunt and the shelves were filled with books and artwork. Until this point all he had known were council houses.  In his own home their had been a fairly recent tragedy - his adored mother had died from a cancer that consumed her with brutal rapidity. In an age before grief counselling Paul and his brother were encouraged not to dwell on this misfortune The McCartney home — Copyright Pernille Eriksen — reprinted here with permiss

Many of the best Beatles songs start and/or finish with a bang: the opening chord or A HARD DAY'S NIGHT, for example. The opening of A DAY IN THE LIFE is unusually muted in this respect, perhaps indicating shift into more subtle musical territory.  Where A DAY IN THE LIFE delivers its knockout blow is in its finale. Originally recorded as a modest  hummed  E Major vocal chord, it evolved into what Jonathan Gould describes as:  "a forty-second meditation on finality that leaves each member of the audience listening with a new kind of attention and awareness to the sound of nothing at all". [66] ByTom Swain www.tomswain.com CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=11750716 This was achieved using absurdly primitive technology in today's term. Lennon, McCartney, Evans and Martin played the chord on three pianos. Each was then multi-tracked four times. For the final chord of  A DAY IN THE LIFE  Lennon had asked George Martin for a  'a sound like t

Releasing a double album was considered commercially foolhardy in 1968. LPs, as they were then called, were much more expensive than they are today. A double album seemed to price out the teenagers, still considered The Beatles main market. There were other seemingly quixotic features. Officially called The Beatles it was immediately dubbed The White Album because of its distinctive Richard Hamilton designed cover. This went down a storm with art students but marketing executives were less impressed. They reasonably concluded that there were not enough art students to create the sales need for a gold record. 'What has happened to the Yeah-Yeahs? Nor did  The White Album     attempt to reach out to those not yet bitten by the Beatle bug. There were no singles to entice the casual record buyer. All the material was new to most listeners. Even trend-setting disc jockeys were wrong-footed by the sheer scale of the musical experimentation.  And the number of tracks - an unheard of twen