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[[image:Beatles John Lennon 1964.jpg|left|thumb|150px|[[John Lennon]], vocals and [[rhythm guitar]]]]
[[image:Beatles John Lennon 1964.jpg|left|thumb|150px|[[John Lennon]], vocals and [[rhythm guitar]]]]
{{main|The Quarrymen}}
{{main|The Quarrymen}}
In March 1957, John Lennon formed a [[skiffle]] group called [[The Quarrymen]] whilst attending Quarry Bank Grammar School in [[Liverpool]].<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:995j8qmtbtn4 AMG biography] Retrieved: 29 January 2007 </ref> Lennon and the Quarrymen met guitarist Paul McCartney at the [[Woolton]] Garden Fête held at St. Peter's Church on [[6 July]] [[1957]].<ref name="SpitzPage93"> Spitz 2005 p93</ref> On [[6 February]] [[1958]], the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.<ref>Ray O'Brien, ''There are Places I'll Remember: Volume 1'', 2001</ref> McCartney had become acquainted with Harrison on the morning school bus ride to the [[Liverpool Institute]], as they both lived in [[Speke]]. At McCartney's insistence, Harrison joined the Quarrymen as [[lead guitarist]]<ref name="MilesPage47"> Miles 1998. p47.</ref> after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.<ref name=" SpitzPage126-127"> Spitz 2005. pp126–127</ref> Members continually joined and left the lineup during that period, and in January 1960 Lennon's [[art school]] friend [[Stuart Sutcliffe]] joined on bass.<ref name="MilesPage50"> Miles 1998. p50.</ref> Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers.
In March 1957, John Lennon formed a [[skiffle]] group called [[The Quarrymen]] whilst attending Quarry Bank Grammar School in [[Liverpool]].<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:995j8qmtbtn4 AMG biography] Retrieved: 29 January 2007 </ref> Lennon and the Quarrymen met guitarist Paul McCartney(muah) at the [[Woolton]] Garden Fête held at St. Peter's Church on [[6 July]] [[1957]].<ref name="SpitzPage93"> Spitz 2005 p93</ref> On [[6 February]] [[1958]], the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.<ref>Ray O'Brien, ''There are Places I'll Remember: Volume 1'', 2001</ref> McCartney had become acquainted with Harrison on the morning school bus ride to the [[Liverpool Institute]], as they both lived in [[Speke]]. At McCartney's insistence, Harrison joined the Quarrymen as [[lead guitarist]]<ref name="MilesPage47"> Miles 1998. p47.</ref> after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.<ref name=" SpitzPage126-127"> Spitz 2005. pp126–127</ref> Members continually joined and left the lineup during that period, and in January 1960 Lennon's [[art school]] friend [[Stuart Sutcliffe]] joined on bass.<ref name="MilesPage50"> Miles 1998. p50.</ref> Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers.


The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from [[Larry Parnes]]' suggestion of "Long John and the Silver Beetles") — before settling on "the Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "[[beetle]]s" (as a reference to [[Buddy Holly]]'s band, [[the Crickets]]) and the word "beat". [[Cynthia Lennon]] suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."<ref name=" CynthiaJohnp65"> Cynthia Lennon – “John” 2006. p65.</ref> Lennon, who was well known for giving multiple versions of the same story joked in a 1961 ''[[Mersey Beat]]'' magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".<ref>[[Hunter Davies|Davies, Hunter]]. ''The Beatles'' (1981 edition)</ref> During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the ''Beatles''; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." <ref name=" OBrienp22"> Ray O'Brien – ''There Are Places I'll Remember: The "Beatles" Early Venues in and Around Merseyside'' London, 2001. p22.</ref>
The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from [[Larry Parnes]]' suggestion of "Long John and the Silver Beetles") — before settling on "the Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "[[beetle]]s" (as a reference to [[Buddy Holly]]'s band, [[the Crickets]]) and the word "beat". [[Cynthia Lennon]] suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."<ref name=" CynthiaJohnp65"> Cynthia Lennon – “John” 2006. p65.</ref> Lennon, who was well known for giving multiple versions of the same story joked in a 1961 ''[[Mersey Beat]]'' magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".<ref>[[Hunter Davies|Davies, Hunter]]. ''The Beatles'' (1981 edition)</ref> During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the ''Beatles''; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." <ref name=" OBrienp22"> Ray O'Brien – ''There Are Places I'll Remember: The "Beatles" Early Venues in and Around Merseyside'' London, 2001. p22.</ref>

Revision as of 16:35, 11 May 2007

This article is about the band. For the self-titled album, see The Beatles (album).
The Beatles

The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are among the most commercially successful and critically acclaimed bands in the history[2] of popular music. Their innovative music and cultural impact helped define the 1960s.[2]

The Beatles are the best-selling musical act of all time in the United States, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums.[3] In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide.[4] In 2004, Rolling Stone Magazine ranked the Beatles #1 on their list of the 100 Greatest Artists of All Time.[5]

The Beatles led the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s.

1957–1960: Formation

File:Beatles John Lennon 1964.jpg
John Lennon, vocals and rhythm guitar
Main article: The Quarrymen

In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool.[6] Lennon and the Quarrymen met guitarist Paul McCartney(muah) at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957.[7] On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning school bus ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist[9] after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.[10] Members continually joined and left the lineup during that period, and in January 1960 Lennon's art school friend Stuart Sutcliffe joined on bass.[11] Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers.

The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — before settling on "the Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a reference to Buddy Holly's band, the Crickets) and the word "beat". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[12] Lennon, who was well known for giving multiple versions of the same story joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".[13] During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." [14]

In May 1960 the Beatles toured northeast Scotland as a back-up band with singer Johnny Gentle.[15] They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band.[16] For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others.[17] Soon after the tour, however, feeling the age gap was too great Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service in a few weeks. His departure posed a significant problem as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany.[19]

1960–1970: The Beatles

Hamburg

File:Beatles James Paul McCartney 1964.jpg
Paul McCartney, vocals and bass guitar

On 15 August 1960, McCartney invited Pete Best to become the group's permanent drummer. He had watched Best play with the Blackjacks[20] in the Casbah Club, owned by Pete's mother, Mona Best. This was a cellar club in West Derby, Liverpool, where the Beatles had played and often visited.[21] In the documentary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable."

The Beatles started playing in Hamburg at the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club",[22] Harrison was deported for having lied to the German authorities about his age.[23] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[24] Lennon followed the others to Liverpool in mid-December.

The reunited Beatles played their first engagement on 17 December 1960 at the Casbah Club and returned to Hamburg in April 1961. While playing at the Top Ten they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[25] produced by famed bandleader Bert Kaempfert.[19] Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and the Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band.[26] In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and the Beatles". A few copies were also pressed under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] (This was ironic, considering that by this time the then-unaffiliated British Decca had turned down the group's attempt to gain a recording contract.) When the group returned to Liverpool, Sutcliffe stayed on in Hamburg with his new German fiancee Astrid Kirchherr, [28] and McCartney took over bass duties.[29]

Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club.[19] Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.[30]

Brian Epstein took over as the group's manager in January 1962 and led the Beatles' quest for a British recording contract. Epstein had been manager of the record department at North End Music Store (NEMS), an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein."[31] While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[32] White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record the Beatles.[33] White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[34]

Record contract

File:Beatles George Harrison 1964.jpg
George Harrison, lead guitar and vocals

After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who signed the group to EMI on a one-year renewable contract and scheduled their first recording session on 6 June at EMI's Abbey Road studios in north London.[35] Martin had not been particularly impressed by the band's demo recordings,[36] but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him was their wit and humour.[37]

Martin did have a problem with Pete Best, [36] whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best was good-looking and popular with the group's fans, but the three founding members had become increasingly unhappy with his drumming and his personality.[citation needed] There was speculation by some that Best's popularity[38] with fans was another source of friction. In addition, Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also had missed a number of engagements because of illness. The three founding members enlisted Epstein to dismiss Best - which he did on 16 August 1962.[39] They had previously asked Ringo Starr (real name: Richard Starkey), the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, and a frequent fill-in for Pete Best, to join the band.[40] Starr had performed occasionally with the Beatles in Hamburg. The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters.[41] Starr played on the Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.[42]

Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[43] This royalty rate was further reduced for singles sold outside the UK, on which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[43] Their publishing contract with Dick James Music (DJM) was also standard for the time: songwriters received the statutory minimum of 50% of the gross monies received, with the publisher retaining the other 50%.[citation needed]

The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17.[44] ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) On 26 November they recorded their second single and first number-one hit, "Please Please Me". Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on the People and Places programme transmitted live from Manchester by Granada Television on 17 October 1962.[45] As the Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed 'Beatlemania'. In November 1963 the Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.[citation needed]

America

File:Beatles Ringo Starr 1964.jpg
Ringo Starr, drums and vocals

Although the band experienced huge popularity in the UK record charts from early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You".[46] Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963 making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to the Beatles were later cancelled for non-payment of royalties.[47]

In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles. New York disc jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' show in January.[48] In early November 1963, Brian Epstein persuaded Ed Sullivan to present the Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[49] On 7 December 1963 a clip of the Beatles was shown on the CBS Evening News, inspiring a teenage girl in Washington, D.C. to request a Beatles song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" — forcing Capitol Records to release the song ahead of schedule on 26 December.[50]

Several New York radio stations — first WMCA, then WINS and WABC — began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January). On 3 January 1964 a film of the Beatles performing "She Loves You" was aired on the late-night Jack Paar Show.

Beatlemania crosses the Atlantic

File:Beatlessullivantogether.jpg
The Beatles on The Ed Sullivan Show

On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to the Beatles as they took off for their first trip to America as a group.[51] They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight.[52] The pilot had radioed ahead, and as they prepared to land said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced such a crowd, estimated at about 3,000 screaming fans.[53] After a press conference (where they first met Murray the K) they were put into limousines and driven to New York. On the way McCartney turned on a radio and listened to a running commentary: "They [the Beatles] have just left the airport and are coming to New York City..."[54] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.[55]

Their first live American television appearance was on the The Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper wrote that the Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[56] Their first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February.[57]

After the Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to the Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to the Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles, which was essentially the Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This 2-LP set paired Introducing... The Beatles and The Golden Hits Of The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon," while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee Jay Beatles album Capitol Records could not reclaim.

The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand," and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on the 1980 Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market, and all have been copiously bootlegged.[58] The Swan tracks ("She Loves You" and "I'll Get You") were issued on the Capitol LP The Beatles' Second Album. (Swan also issued the German-language version of "She Loves You," called "Sie Liebt Dich." This song later appeared (in stereo) on Capitol's US version of the Rarities compilation album.)

In mid-1964 the band undertook their first appearances outside of Europe and North America. They toured Australia and New Zealand without Ringo Starr, who was ill and temporarily replaced by session drummer Jimmy Nicol. In Adelaide they were greeted by over 300,000 people who turned out at Adelaide Town Hall.[59]

In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson (who also was the M.P. for Huyton, Liverpool).[60] The appointment — at that time primarily bestowed upon military veterans and civic leaders — sparked some conservative MBE recipients to return their insignia in protest.[61] The first two were returned on 14 June, before the Beatles received theirs on 26 October 1965.[62] On 15 August that year, the Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.[63] Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[64]

Backlash and controversy

In July 1966, when the Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace.[65] When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations.[66] The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of the Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[67] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[68] Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.[69]

Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against the Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave,[70] Lennon had offered his opinion that Christianity was dying and that the Beatles were "more popular than Jesus now."[71] Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.[72]

The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.[72]

Elvis Presley disapproved of the Beatles's anti-war activism and open use of drugs, later asking President Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[73] Guralnick adds, "Presley indicated that he is of the opinion that the Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[74] Despite Elvis' remarks, Lennon still had some positive feeling towards him: "Before Elvis, there was nothing."[75]

The studio years

File:Beatleslastconcert.jpg
The Beatles at their last concert, Candlestick Park.

In April 1966, the group began recording what would be their most ambitious album to date, Revolver. During the recording sessions for the album, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music.

The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[72] McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.[76]

From then on, the Beatles concentrated on recording. Less than seven months after recording Revolver, the Beatles returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967.

On 25 June 1967, the Beatles became the first band globally transmitted on television—before an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up, a show titled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show.

The band's business affairs began to unravel after manager Brian Epstein died of an accidental prescription drug overdose on 27 August 1967 at the age of 32. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[77] Part of the criticism arose because colour was an integral part of the film, but in 1967 few viewers in the UK had colour televisions. The film's soundtrack, which features one of the Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version).

The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[78] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily walking out. The band carried on, with McCartney recording the drums on the songs "Martha My Dear", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through almost all of the sessions, and that the others felt that McCartney was becoming too dominating.[79] Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles albums.

File:Jk beatles george.jpg
George Harrison, 1968.

On the business side, McCartney wanted Lee Eastman, the father of his then-girlfriend Linda Eastman, to manage the Beatles, but the other members wanted New York manager Allen Klein. All past Beatles' decisions had been unanimous, but this time the four could not agree. Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from the Beatles' holdings. Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he [Lee Eastman] was biased against them."

Their final live performance was on the rooftop of the Apple building in Savile Row, London, on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called because of complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film.

The Beatles recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio.

Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark when the song was recorded.[80]

Breakup

Main article: Breakup of the Beatles

John Lennon announced his departure to the rest of the group on 20 September 1969 but agreed that no announcement was to be publicly made until a number of legal matters was resolved.

In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production was against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney. Pre-release copies included a press release with a self-written interview explaining the end of the Beatles and his hopes for the future.[81] On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the documentary film of the same name. The Beatles' partnership was finally dissolved in 1975.[82]

1970-present: After The Beatles

File:Jk beatles ringo.jpg
Ringo Starr, 1968

Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs.

Other than an unreleased jam session in 1974 (later bootlegged as A Toot and a Snore in '74), Lennon and McCartney never recorded together again. Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. Harrison died of cancer on 29 November 2001.

In the wake of the expiration in 1975 of the Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue.

In 1981, after Lennon's murder, the three surviving Beatles reunited to record "All Those Years Ago", released as a George Harrison solo single. Its original lyrics had been rewritten as a tribute to John Lennon.

The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from the Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC.

In 1988 the Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility.[83] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. Solo Beatles later inducted were Lennon in 1994, McCartney in 1999 and Harrison in 2004.

Collage of the various covers of the Anthology series

In February 1994, the three surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television documentaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known the Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept.

450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the ninth best selling album of all time). More recently, in 2006, George and Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love.

Musical evolution

The Abbey Road album cover
See also: The Beatles' influence on music recording

The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967).

The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[84] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[85]

Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, the Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar and the swarmandel. They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man".

Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, the Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenberg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967.

Main article: The Beatles' influence on popular culture

Lifestyle

The Beatles' lifestyles were greatly altered by their success and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including the Beatles' — about life, marriage, and sexual relationships.[86]

Recreational drug use

In Hamburg, the Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[87] McCartney would usually take one, but Lennon would often take four or five.[87] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[88] McCartney remembered them all getting "very high" and giggling.[89] The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[90]

In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley.[91] Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times. McCartney was more reluctant to try LSD, but finally did so in 1966 and was the first Beatle to talk about it in the press.

The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[92] On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.[93]

Meditation

On 24 August 1967, the Beatles met the Maharishi Mahesh Yogi at the London Hilton, and a few days later went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[94] There, the Maharishi gave each of them a mantra.[95] Their time in early 1968 at the Maharishi's ashram in India was highly productive from a musical standpoint, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by Lennon, McCartney, and Harrison.[78]

Discography

Main article: The Beatles discography
Further information: List of Beatles songs by singer; The Beatles record sales, worldwide charts; and The Beatles bootlegs

Official CD catalogue

In 1986–1987, EMI released all 12 of the Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps to standardise the Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks.

One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962–1970 that had not been issued on the original British studio albums.

According to EMI and the Guinness Book of Records, the Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs).

Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases.

Song catalogue

Main article: Northern Songs

In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock.

In 1985, after a short period in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney.

A decade later Jackson and Sony merged its music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by the Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.)

Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon and McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI.

Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by the Beatles, "Don't Pass Me By" and "Octopus's Garden".

Hit singles

Main article: List of Beatles hit singles

Audio samples

On film

Main article: The Beatles on film

The Beatles appeared in several films, all of which featured associated soundtrack albums.

The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the documentary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue.

Other projects

Anthology

Main article: The Beatles Anthology

Love

Main article: Love (Cirque du Soleil)

Instrumentation

Notes

  1. ^ The Beatles touched upon and helped popularise many subgenres of rock and pop. They are too numerous to list here.
  2. ^ a b "The Beatles: Biography". Rolling Stone. rollingstone.com. Retrieved 2007-03-29.
  3. ^ "The American Recording Industry Announces its Artists of the Century". Recording Industry Association of America (RIAA). 1999-11-10. Retrieved 2007-03-18.
  4. ^ Shelokhonov, Steve. "The Beatles - Biography". IMDB.com. Retrieved 2007-04-06.
  5. ^ "The Immortals: The First Fifty". Rolling Stone Issue 946. Rolling Stone.
  6. ^ AMG biography Retrieved: 29 January 2007
  7. ^ Spitz 2005 p93
  8. ^ Ray O'Brien, There are Places I'll Remember: Volume 1, 2001
  9. ^ Miles 1998. p47.
  10. ^ Spitz 2005. pp126–127
  11. ^ Miles 1998. p50.
  12. ^ Cynthia Lennon – “John” 2006. p65.
  13. ^ Davies, Hunter. The Beatles (1981 edition)
  14. ^ Ray O'Brien – There Are Places I'll Remember: The "Beatles" Early Venues in and Around Merseyside London, 2001. p22.
  15. ^ Coleman, Ray (1984). Lennon: The Definitive Biography. Pan Books. p212.
  16. ^ Spitz 2005. pp188–193
  17. ^ Lewisohn, Mark (1992). The Complete Beatles Chronicle. Chancellor Press. ISBN 1-85152-975-6.
  18. ^ Coleman, Ray (1984). Lennon: The Definitive Biography. Pan Books. 213.
  19. ^ a b c Lewisohn, Mark (1996). The Complete Beatles Chronicle. Chancellor Press. p. 368. 1851529756. Cite error: The named reference "LewisohnChronicles" was defined multiple times with different content (see the help page).
  20. ^ ["From Blackjacks to Beatles: How the Fab Four Evolved". Retrieved 2006-06-21. From Blackjacks to Beatles]Retrieved: 29 January 2007
  21. ^ Casbah ClubRetrieved: 29 January 2007
  22. ^ [1] Photos of Clubs in Hamburg]Retrieved: 29 January 2007
  23. ^ Cynthia Lennon “John” 2006. p93.
  24. ^ Lewisohn. p24.
  25. ^ Cynthia Lennon “John” 2006. p97.
  26. ^ Spitz 2005. p.250
  27. ^ Palowski, Gareth L. How They Became The Beatles. Plume. ISBN 978-0452265066
  28. ^ Lewisohn. p25
  29. ^ Miles 1998. p74. It was Astrid Kirchherr who shot the famous black and white headshots, but contrary to popular belief, did not invent the distinctive haircut of the group.
  30. ^ Cynthia Lennon “John” 2006. p109.
  31. ^ The Beatles. The Beatles Anthology. Chronicle Books, LLC, 2000.
  32. ^ Coleman 88–89
  33. ^ Coleman 93
  34. ^ Coleman 93–94
  35. ^ Davies, Hunter. The Beatles (1981 edition). pp. 178
  36. ^ a b Spitz 2005. p318 Cite error: The named reference "Spitzp318" was defined multiple times with different content (see the help page).
  37. ^ Spitz 2005. pp318-319
  38. ^ Spitz 2005. p322
  39. ^ Spitz 2005. p330
  40. ^ Spitz 2005. p328
  41. ^ Lu Walters' recording sessionRetrieved: 29 January 2007
  42. ^ Spitz 2005. p353
  43. ^ a b "Beatles History: 1962" at Beatles Discography. Retrieved: 29 January 2007
  44. ^ Love Me DoRetrieved: 29 January 2007
  45. ^ Bill Harry The Ultimate Beatles Encyclopedia P.516
  46. ^ JPGRRetrieved: 29 January 2007
  47. ^ "The Beatles on Vee Jay Records". {{cite web}}: Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) Retrieved: 29 January 2007
  48. ^ Spitz 2005. p461
  49. ^ JPGR I Want to Hold Your Hand releaseRetrieved: 29 January 2007
  50. ^ I Want to Hold Your HandRetrieved: 29 January 2007
  51. ^ Spitz 2005. p457
  52. ^ Spitz 2006. p458
  53. ^ Spitz 2005. p459
  54. ^ Spitz 2005. p462
  55. ^ Spitz 2005. p464
  56. ^ Spitz 2005. p473
  57. ^ Harry, Bill (2000). The Beatles Encyclopedia: Revised and Updated. p. 1134.
  58. ^ Rare BeatlesRetrieved: 29 January 2007
  59. ^ Ficher, P. and Seamark, K. H. (2005). Vintage Adelaide. East Street Publications. pp. 70–71. ISBN 1-921037-06-7.{{cite book}}: CS1 maint: multiple names: authors list (link)
  60. ^ Spitz 2005. p556
  61. ^ Spitz 2005. p557
  62. ^ Napier ChroniclesRetrieved: 29 January 2007
  63. ^ Badman, Keith (2000). The Beatles Off the Record. London: Omnibus Press. 193. ISBN 0-7119-7985-5.
  64. ^ http://www.allmusic.com/cg/amg.dll?p=amg&sql=Ajex1z82ajyv8
  65. ^ Spitz 2005. p619
  66. ^ Spitz 2005. p620
  67. ^ Spitz 2005. p623
  68. ^ Spitz 2005. p624
  69. ^ Spitz 2005. p625
  70. ^ "The John Lennon I Knew" from the Telegraph, 5 October 2006. Retrieved: 29 January 2007
  71. ^ Cleave, Maureen (1966). "How Does a Beatle Live? John Lennon Lives Like This". London Evening Standard 4 March 1966. Retrieved: 29 January 2007
  72. ^ a b c Miles 1998. pp293-295.
  73. ^ Peter Guralnick, Careless Love: The Unmaking of Elvis Presley, 420.
  74. ^ Guralnick, Careless Love, p.426. On Presley badmouthing the Beatles to President Nixon, see also Geoffrey Giuliano and Vmda Devi, Glass Onion: The Beatles in Their Own Words-Exclusive Interviews With John, Paul, George, Ringo and Their Inner Circle (1999).
  75. ^ CNN.com Elvis is still everywhere August 16, 2002. [2]
  76. ^ Barrow, Tony. John, Paul, George, Ringo & Me. ISBN 1-86200-238-X
  77. ^ Magical Mystery TourRetrieved: 29 January 2007
  78. ^ a b Miles 1998. p397 Cite error: The named reference "MilesPage397" was defined multiple times with different content (see the help page).
  79. ^ Spitz 2005. pp777–779.
  80. ^ Mark Lewisohn. The Beatles Box Set booklet
  81. ^ Spitz 2005. p853
  82. ^ The Beatles' partnership was legally dissolved in 1975bbc.co.uk - Retrieved: 26 January 2007
  83. ^ Hall of FameRetrieved: 29 January 2007
  84. ^ GeocitiesRetrieved: 29 January 2007
  85. ^ Miles 1998. pp280–281.
  86. ^ Miles 1998. p142
  87. ^ a b Miles 1998. pp66–67.
  88. ^ Miles 1998. p185
  89. ^ Miles 1998. pp188–189
  90. ^ Miles 1998. p198.
  91. ^ Independent.co.ukRetrieved: 29 January 2007
  92. ^ Paul McCartney’s arrest in JapanRetrieved: 29 January 2007
  93. ^ Miles 1998. p379
  94. ^ Beatles in Bangor bbc.co.uk 16 November, 2006. Retrieved: 29 January 2007
  95. ^ Miles 1998. p396
  96. ^ LP version originally released in the United States on 27 November 1967.

References

Further reading

  • Astley, John (2006). Why Don't We Do It In The Road? The Beatles Phenomenon. The Company of Writers. ISBN 0-9551834-7-2.
  • Bramwell, Tony (2005). Magical Mystery Tours. St. Martin's Press. ISBN 0-312-33043-X.
  • Braun, Michael (1964 [1995 Reprint]). Love Me Do: The Beatles' Progress. London: Penguin Books. ISBN 0-14-002278-3. {{cite book}}: Check date values in: |year= (help)CS1 maint: year (link)
  • Carr, Roy & Tyler, Tony (1975). The Beatles: An Illustrated Record. Harmony Books. ISBN 0-517-52045-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Colonna, Roberto (2005). Dalla prospettiva degli scarafaggi. Napolipiù - La verità.
  • Cross, Craig (2005). The Beatles: Day by Day, Song by Song, Record by Record. iUniverse, Inc. ISBN 0-595-34663-4.
  • Dimery, Martin. Being John Lennon. SAF books, 2002. ISBN 0-946719-43-8.
  • Emerick, Geoff, & Massey, Howard Chiu (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. Gotham Books. ISBN 1-59240-179-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Goldsmith, Martin (2004). The Beatles Come To America. Turning Points. ISBN 0-471-46964-5.
  • Kubernik, Ken (October 16, 2005). "Here, There & Everywhere". Variety Magazine's 100 Icons of the Century. Variety Magazine. {{cite web}}: Check date values in: |year= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
  • Lewis, Martin (October 16, 2005). "The Apollonian Spirit of the Beatles". Variety Magazine's 100 Icons of the Century. Variety Magazine. {{cite web}}: Check date values in: |year= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
  • MacDonald, Ian (1995). Revolution in the Head: The Beatles' Records and the Sixties. Vintage. ISBN 0-7126-6697-4.
  • Martin, George (1994). Summer of love: The Making of Sgt. Pepper. Macmillan. ISBN 0-333-60398-2.
  • Norman, Philip (1997). Shout: The Beatles in Their Generation. MJF Books. ISBN 1-56731-087-7.
  • Alan J. Porter Before They Were Beatles: The Early Years 1956–1960. Xlibris. ISBN 1-4134-3056-2.
  • Ryan, Kevin, and Brian Kehew. Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums. Houston: Curvebender Publishing, 2006. ISBN 0-9785200-0-9.
  • Schaffner, Nicholas (1977). The Beatles Forever. Cameron House. ISBN 0-8117-0225-1.
  • Spitz, Bob (2005). The Beatles: The Biography. Little Brown. ISBN 0-316-80352-9.
  • Turner, Steve. A Hard Day's Write. 3rd ed. New York: Harper Paperbacks, 2005. ISBN 0-06-084409-4. [Discusses the inspiration for or interprets every Beatles song.]

See also

Wikiquote has quotations related to Paul McCartney, John Lennon, George Harrison, Ringo Starr and The Beatles.
Wikimedia Commons has media related to The Beatles.


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