Beatles FAQ

British album releases generally did not include singles

George in the room above the Bambi Kino cinema George Harrison was seventeen when he first arrived in Hamburg in August 1960. Though legal the age limit for performers was eighteen  club owner Bruno Koschmider was initially unconcerned.  It was when The Beatles jumped ship to work at the bigger Top Ten that Koschmider found his conscience stirred. He then informed the police of his shocking discovery. Those devious Englishmen had an underage performer in their ranks . pen & ink sketch of Hamburg club owner Bruno Koschmider (1926-2000) The police duly deported Harrison on November 21. The guitarist spent his last night teaching John Lennon his parts before reluctantly packing a " crappy suitcase and things in boxes, paper bags with my clothes in, and a guitar." Homeward bound The logistics of getting home proved challenging, as George related in Anthology: Astrid and Stuart dropped me at Hamburg station. It was a long journey on my own on the train to the Hook of Holland.

  Outside Paul's family home in the early 1960s Soon after first seeing them at the Cavern, Brian Epstein invited The Beatles for a formal meeting at his office. This was arranged for the afternoon of Sunday 3rd December 1961 at 4.30. Epstein wanted to manage the band but had doubts about their reliability and professionalism. The Beatles for their part had achieved success in Hamburg and Liverpool but had no record deal or national profile John, George and Pete took the bus to the meeting. They arrived on time - but after forty five minutes there was still no sign of Paul.  A call was made to the McCartney family home. This revealed that  Paul had just got up and was having a bath. Epstein exploded, "How can he be so late for such and important meeting?"     To which Harrison famously replied, "He may be late but he's very clean".  A frosty silence melted into laughter. Why was Paul so  late? On one level Paul's lateness was symptomatic of  what Epstein

"We all play on it, i t’s a genuine Beatles recording .  ” Paul McCartney Is Now and Then  a 'genuine Beatles recording' ? via  Henry Grossman/Wikimedia Commons  and Apple Corps For Paul McCartney the defining component is the presence of all four Beatles in the final mix. This may be stretching a point in that only John Lennon recorded the de facto master tape, namely the demo cassette recorded in his apartment.  It is true that The Beatles recording process was often fragmented. Though they  largely recorded early tracks ‘as live’, improvements in multi-tracking meant that they later relied heavily of recording segments which were later assembled in collaboration with the Abbey Road engineers.  Frequently, two or three band members would work on a particular track. Some recordings, like Yesterday (Paul) and Love You Too (George) had only one of the four on the final recording, while three  contributed to Free as a Bird during the Anthology sessions. Few, however, would

Excluding Maggie Mae - the traditional folk ballad featured on Let it Be  - The Beatles officially released twenty-four cover versions of songs by other artists between 1962 and 1970. 

"one of the Beatles most dispensable items". [8] Run for Your Life’, I always hated ... because it was a song I just knocked off Lennon Remembers Few would argue with this assessment. Thomas Ward diplomatically suggests that it is one of the Beatles most dispensable items".[8] while Ian MacDonald is characteristically forthright ('a dismal track'). 'Run for Life' was the first song recorded for what would become Rubber Soul. It was 'knocked off' during a break between the filming of Help and their return to Abbey Road in October 1965. Words One reason Lennon was later embarrassed by the song was what MacDonald calls its 'lazily sexist lyric'. Even allowing for the different social climate, 'you better run for your life ... or that's the end' has an unpleasant menacing edge. The words and the sentiment came from the old Elvis song 'Baby, Let's Play House'. There was a line on it; I used to like specific lines from

The Beatles cheerfully sang 'Roll Over Beethoven' in their pre-fame stage show. The Chuck Berry anthem also appears on their second album. But if Ludwig was not safely out of copyright, his legal team would most likely have a solid royalties claim. In one of his last interviews, John Lennon revealed how the great German composer provided direct inspiration: I was lying on the sofa in our house, listening to Yoko play Beethoven's - Moonlight Sonata, on the piano. Suddenly I said, 'can you play those chords backwards'. The Beatles version retains the key and key change, plus the pattern of arpeggios. Lennon also added some bass notes and of course and a lyric which he claimed was ' clear, no bullshit, no imagery, no obscure references.' You won't find that kind of language in Fidelio but there is arguably a similarity of intent across the centuries. .

People always ask us how we sit down and write a song. Well, first we sit down. Then we write a song. 

Richard with his mother, Elsie The then Richard Starkey experienced two major medical episodes. According to Lewisohn, Richard Starkey was 'a robust infant' but fell 'dangerously ill in the early summer of 1947'.  Rushed by ambulance to the Royal Liverpool Children's Hospital, the six-year-old was diagnosed with acute appendicitis. An operation revealed that the appendix had burst causing infected peritonitis. As he was wheeled into theatre, Richard requested a cup of tea.  The nurse responded, 'When you come round,'  She kept her promise but it was ten weeks before Richard got his tea. In that time, his mother Elsie was told three times that he would not survive the night. One of these occasions was the eve of his seventh birthday. He continued to slip in and out of consciousness for several months. Even when he left hospital at the beginning of 1948, convalescence from his surgical wounds was slow and painful. There was also a set back which prolonged his

The Everton area of Liverpool, 1960 All four Beatles had what Mark Lewisohn calls ‘unvarnished working-class roots in an industrial city that had seen better days.' They grew up in different areas of Liverpool, though Paul and George attended the same secondary school and John and George (briefly) went to the same primary school. John had a difficult childhood in emotional terms, but essentially grew up in a middle class suburb with his Aunt Mimi and Uncle George. Paul's first impression of his family were that they were 'very posh'. Paul and George both lived in council house (social housing) but neither considered themselves poor. Like John they went to a school with a very good reputation for academic achievement. This suited Paul but George was more disaffected. Working class hero The house where Ringo lived Copyright Pernille Eriksen — reprinted with permission —  prints available One future Beatles did experience a Dickensian childhood combining poverty, ill healt