View Full Version : Beatle Facts ("Album Of The Week" Master Thread)
In 2004, unemployed and bored, I began a fifteen-week "Beatles Album Of The Week" series on Sitcoms Online. After all was said and done, what you are currently reading became the "master thread" that linked all those threads together, as well as providing more information that one needs to know about the fab four.
The album links below are to the actual "Album Of The Week" threads, all of which are still active.
Enjoy. Or not.
--AKA; August 15, 2006.
The Beatles
John Lennon (http://en.wikipedia.org/wiki/John_Lennon) (1940-1980)
Paul McCartney (http://en.wikipedia.org/wiki/Paul_McCartney) (b. 1942)
George Harrison (http://en.wikipedia.org/wiki/George_Harrison) (1943-2001)
Ringo Starr (http://en.wikipedia.org/wiki/Ringo_Starr) (b. 1940)
Official Website:
www.thebeatles.com (http://www.thebeatles.com/)
Past Members:
Stuart Sutcliffe (http://en.wikipedia.org/wiki/Stuart_Sutcliffe) (1940-1962) – bassist from 1960-1961
Pete Best (http://en.wikipedia.org/wiki/Pete_Best) (b. 1941) – drummer from 1960-1962
”Fifth Beatles:"
Brian Epstein (http://en.wikipedia.org/wiki/Brian_Epstein) (1934-1967) – manager
George Martin (http://en.wikipedia.org/wiki/George_Martin) (b. 1926) – record producer
Mal Evans (http://en.wikipedia.org/wiki/Mal_Evans) (1935-1976) - road manager/personal assistant
Neil Aspinall (http://en.wikipedia.org/wiki/Neil_Aspinall) (b. 1942) – road manager/Apple Records manager
Derek Taylor (http://en.wikipedia.org/wiki/Derek_Taylor) (1932-1997) - press officer
UK Album Discography
[Click on each album title for more information]
Please Please Me (http://www.sitcomsonline.com/boards/showthread.php?threadid=100547) (Parlophone; 1963)
With The Beatles (http://www.sitcomsonline.com/boards/showthread.php?threadid=101481) (Parlophone; 1963)
A Hard Day's Night (http://www.sitcomsonline.com/boards/showthread.php?threadid=102404) (Parlophone; 1964)
Beatles For Sale (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=102919) (Parlophone; 1964)
Help! (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=103610) (Parlophone; 1965)
Rubber Soul (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=105066) (Parlophone; 1965)
Revolver (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=105824) (Parlophone; 1966)
Sgt. Pepper's Lonely Hearts Club Band (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=106820) (Parlophone; 1967)
Magical Mystery Tour (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=107263) (Capitol; 1967)
Originally a U.S. album, now considered part of the "official" UK catalog, due to the fact that it eclipses its UK EP counterpart by five songs.
The Beatles (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=108635) (Apple; 1968)
Yellow Submarine (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=107978) (Apple; 1969)
Abbey Road (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=110655) (Apple; 1969)
Let It Be (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=109387) (Apple; 1970)
Selected After-Market Releases
1962-1966 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731034#post1731034) (Apple; 1973)
1967-1970 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731050#post1731050) (Apple; 1973)
At The Hollywood Bowl (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731071#post1731071) (Parlophone; 1977)
Currently out-of-print.
Past Masters Volume One (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=104326) (Parlophone; 1988)
Past Masters Volume Two (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=110082) (Parlophone; 1988)
Live At The BBC (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731110#post1731110) (Apple; 1994)
The Beatles Anthology 1 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731171#post1731171) (Apple; 1995)
The Beatles Anthology 2 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731211#post1731211) (Apple; 1996)
The Beatles Anthology 3 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731270#post1731270) (Apple; 1996)
Yellow Submarine Songtrack (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1687453#post1687453) (Apple; 1999)
1 (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1731304#post1731304) (Apple; 2000)
Let It Be... Naked (http://www.sitcomsonline.com/boards/showthread.php?s=&postid=1723434#post1723434) (Apple; 2003)
The Capitol Albums, Vol. 1 [box set] (http://www.amazon.com/exec/obidos/ASIN/B00065XJ48/qid=1101501276/sr=2-1/ref=pd_ka_b_2_1/103-9948015-9943004) (Capitol; 2004)
The Capitol Albums, Vol. 2 [box set] (http://www.amazon.com/gp/product/B000EQHXQY/ref=pd_bxgy_img_b/103-0072013-9117449?ie=UTF8) (Capitol; 2006)
Love (Capitol; 2006)
UK Singles Discography:
Love Me Do/P.S. I Love You (Parlophone; 1962)
Please Please Me/Ask Me Why (Parlophone; 1963)
From Me To You/Thank You Girl (Parlophone; 1963)
She Loves You/I'll Get You (Parlophone; 1963)
I Want To Hold Your Hand/This Boy (Parlophone; 1963)
Can't Buy Me Love/You Can't Do That (Parlophone; 1964)
A Hard Day's Night/Things We Said Today (Parlophone; 1964)
I Feel Fine/She's A Woman (Parlophone; 1964)
Ticket To Ride/Yes It Is (Parlophone; 1965)
Help!/I'm Down (Parlophone; 1965)
We Can Work It Out/Day Tripper (Parlophone; 1965)
Paperback Writer/Rain (Parlophone; 1966)
Eleanor Rigby/Yellow Submarine (Parlophone; 1966)
Strawberry Fields Forever/Penny Lane (Parlophone; 1967)
All You Need Is Love/Baby, You're A Rich Man (Parlophone; 1967)
Hello, Goodbye/I Am The Walrus (Parlophone; 1967)
Lady Madonna/The Inner Light (Parlophone; 1968)
Hey Jude/Revolution (Apple; 1968)
Get Back/Don't Let Me Down (Apple; 1969)
The Ballad Of John And Yoko/Old Brown Shoe (Apple; 1969)
Something/Come Together (Apple; 1969)
Let It Be/You Know My Name (Look Up The Number (Apple; 1970)
Free As A Bird/Christmas Time (Is Here Again) (Apple; 1995)
Real Love/Baby's In Black (live) (Apple; 1996)
UK EP Discography:
Twist And Shout (Parlophone; 1963)
"Twist And Shout"/"A Taste Of Honey"/"Do You Want To Know A Secret"/"There's A Place"
The Beatles' Hits (Parlophone; 1963)
"From Me To You"/"Thank You Girl"/"Please Please Me"/"Love Me Do"
The Beatles No. 1 (Parlophone; 1963)
"I Saw Her Standing There"/"Misery"/"Anna (Go To Him)"/"Chains"
All My Loving (Parlophone; 1964)
"All My Loving"/"Ask Me Why"/"Money"/"P.S. I Love You"
Long Tall Sally (Parlophone; 1964)
"Long Tall Sally"/"I Call Your Name"/"Slow Down"/"Matchbox"
Extracts From The Film A Hard Day's Night (Parlophone; 1964)
"I Should Have Known Better"/"If I Fell"/"Ask Me Why"/"And I Love Her"
Extracts From The Album A Hard Day's Night (Parlophone; 1964)
"Any Time At All"/"I'll Cry Instead"/"Things We Said Today"/"When I Get Home"
Beatles For Sale (Parlophone; 1965)
"No Reply"/"I'm A Loser"/"Rock And Roll Music"/"Eight Days A Week"
Beatles For Sale No. 2 (Parlophone; 1965)
"I'll Follow The Sun"/"Baby's In Black"/"Words Of Love"/"I Don't Want To Spoil The Party"
The Beatles' Million Sellers (Parlophone; 1965)
"She Loves You"/"I Want To Hold Your Hand"/"Can't Buy Me Love"/"I Feel Fine"
Yesterday (Parlophone; 1966)
"Yesterday"/"Act Naturally"/"You Like Me Too Much"/"It's Only Love"
Nowhere Man (Parlophone; 1966)
"Nowhere Man"/"Drive My Car"/"Michelle"/"You Won't See Me"
Magical Mystery Tour (Parlophone; 1967)
"Magical Mystery Tour"/"Your Mother Should Know"/"I Am The Walrus"/"The Fool On The Hill"/"Flying"/"Blue Jay Way"
Baby It's You (Apple; 1995)
"Baby It's You"/"I'll Follow The Sun"/"Devil In Her Heart"/"Boys"
All tracks recorded live for BBC radio broadcasts
Free As A Bird (Apple; 1995)
"Free As A Bird"/"I Saw Her Standing There" (take 9)/"This Boy" (takes 12 and 13)/"Christmas Time (Is Here Again)"
Real Love (Apple; 1996)
"Real Love"/"Baby's In Black" (live)/"Yellow Submarine" (alternate version)/"Here, There And Everywhere" (takes 7 and 13)
Films:
A Hard Day’s Night (http://www.amazon.com/exec/obidos/tg/detail/-/B0000542D2/qid=1083306636/sr=1-1/ref=sr_1_1/102-4843919-2319330) (United Artists; 1964)
Help! (http://www.imdb.com/title/tt0059260/) (United Artists; 1965)
Magical Mystery Tour (http://www.imdb.com/title/tt0061937/) (Apple; 1967)
Yellow Submarine (http://www.amazon.com/exec/obidos/ASIN/B00000JRUQ/qid%3D1083306814/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (United Artists; 1968)
Let It Be (http://www.imdb.com/title/tt0065976) (United Artists; 1970)
The Beatles Anthology (http://www.amazon.com/exec/obidos/ASIN/B00008GKEG/qid%3D1083306926/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Apple; 1996)
Also available on DVD:
Ed Sullivan Presents The Beatles (http://www.amazon.com/exec/obidos/tg/detail/-/B0000C3I2X/qid=1083375354/sr=1-2/ref=sr_1_2/102-4843919-2319330) (GoodTimes; 2003)
The First U.S. Visit (http://www.amazon.com/exec/obidos/tg/detail/-/B00018D2X8/qid=1083306965/sr=1-1/ref=sr_1_1/102-4843919-2319330) (MPI; 1991, Apple; 2004)
John Winston Lennon
Born: October 9, 1940 (Liverpool, Merseyside, England)
Died: December 8, 1980 (New York, New York, USA)
Spouses:
Cynthia Powell (http://en.wikipedia.org/wiki/Cynthia_Lennon) - 1962-1968 (divorced)
Yoko Ono (http://en.wikipedia.org/wiki/Yoko_Ono) - 1969-1980 (his death)
Children:
Julian (http://www.julianlennon.com/) (b. 1963), Sean (http://www.seanonolennon.com/) (b. 1975)
Official Website:
www.johnlennon.com (http://www.johnlennon.com/)
Album Discography:
Unfinished Music No. 1: Two Virgins (http://www.amazon.com/exec/obidos/ASIN/B0000009RE/qid%3D1083292492/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Apple/Tetragrammation; 1968)
Unfinished Music No. 2: Life With The Lions (http://www.amazon.com/exec/obidos/ASIN/B0000009RF/102-4843919-2319330 ) (Zapple; 1969)
Wedding Album (http://www.amazon.com/exec/obidos/tg/detail/-/B0000009RG/qid=1083292571/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Apple; 1969)
Live Peace In Toronto (http://www.amazon.com/exec/obidos/tg/detail/-/B00005GL8J/qid=1083292670/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Apple; 1969)
John Lennon/Plastic Ono Band (http://www.amazon.com/exec/obidos/ASIN/B00004WGEL/qid=1083292617/sr=2-1/ref=sr_2_1/102-4843919-2319330) (Apple; 1970)
Remixed and remastered version with bonus tracks released in 2000 by Capitol.
Imagine (http://www.amazon.com/exec/obidos/tg/detail/-/B0000457L2/ref=pd_bxgy_img_2/102-4843919-2319330) (Apple; 1971)
Remixed and remastered version released in 2000 by Capitol.
Sometime In New York City (http://www.amazon.com/gp/product/B000002UW9/ref=sr_11_1/103-0072013-9117449?ie=UTF8) (Apple; 1972)
Remixed and remastered version with added (and subtracted) tracks released in 2005 by Capitol.
Mind Games (http://www.amazon.com/exec/obidos/tg/detail/-/B00006L3S3/ref=pd_sim_music_4/102-4843919-2319330) (Apple; 1973)
Remixed and remastered version with bonus tracks released in 2002 by Capitol.
Walls And Bridges (http://www.amazon.com/gp/product/B000AYQLX6/sr=1-1/qid=1155684056/ref=pd_bbs_1/103-0072013-9117449?ie=UTF8&s=music) (Apple; 1974)
Remastered and partially remixed version with bonus tracks and altered cover art released in 2005 by Capitol.
Rock 'N' Roll (http://www.amazon.com/exec/obidos/ASIN/B0002X4TRA/qid=1116170142/sr=2-1/ref=pd_bbs_b_2_1/002-0457654-1309654) (Apple; 1975)
Remixed and remastered version with bonus tracks released in 2004 by Capitol.
Double Fantasy (http://www.amazon.com/exec/obidos/tg/detail/-/B00004WGEK/ref=pd_sim_music_6/102-4843919-2319330) (Geffen; 1980)
Remixed and remastered version with bonus tracks released in 2000 by Capitol.
Milk And Honey (http://www.amazon.com/exec/obidos/tg/detail/-/B00005Q66O/ref=pd_sim_music_1/102-4843919-2319330) (Polydor; 1984)
Remastered version released in 2001 by Capitol/EMI.
Live In New York City (http://www.amazon.com/exec/obidos/tg/detail/-/B000002U9I/qid=1083292924/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Capitol; 1986)
Menlove Ave. (http://www.amazon.com/exec/obidos/ASIN/B000002UC2/qid%3D1083292980/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Capitol; 1986)
The John Lennon Anthology [box set] (http://www.amazon.com/exec/obidos/ASIN/B00000DG1Q/qid%3D1083293009/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Capitol; 1998)
Wonsaponatime (http://www.amazon.com/exec/obidos/ASIN/B00000DG1T/qid%3D1083293034/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Capitol; 1998)
Compilations/Best-ofs:
Shaved Fish (http://www.amazon.com/exec/obidos/ASIN/B000002UCG/qid%3D1083293052/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Apple; 1975)
The John Lennon Collection (http://en.wikipedia.org/wiki/The_John_Lennon_Collection) (Geffen; 1982)
Expanded version reissued by Capitol in 1989; both versions are currently out-of-print.
Imagine: John Lennon (Music From The Motion Picture) (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UTI/qid=1083293135/sr=1-3/ref=sr_1_3/102-4843919-2319330) (Capitol; 1988)
Lennon [box set] (http://en.wikipedia.org/wiki/Lennon_%28John_Lennon_box_set%29) (Capitol; 1990)
Currently out-of-print.
Lennon Legend: The Very Best Of John Lennon (http://www.amazon.com/exec/obidos/ASIN/B00000634J/qid=1083293213/sr=2-1/ref=sr_2_1/102-4843919-2319330) (Parlophone; 1997)
Acoustic (http://www.amazon.com/exec/obidos/ASIN/B000641ZJ0/qid=1101501422/sr=2-1/ref=pd_ka_b_2_1/103-9948015-9943004) (Capitol; 2004)
Working Class Hero: The Definitive Lennon (http://www.amazon.com/exec/obidos/tg/detail/-/B000AV2G3I/qid=1127059717/sr=1-1/ref=sr_1_1/103-2391579-5561427?v=glance&s=music) (Capitol; 2005)
The U.S. Vs. John Lennon: Original Motion Picture Soundtrack (http://www.amazon.com/U-S-vs-John-Lennon/dp/B000HKDEDI/sr=1-1/qid=1161046106/ref=pd_bbs_sr_1/104-0946250-0874323?ie=UTF8&s=music) (Capitol; 2006)
Singles Discography:
Give Peace A Chance/Remember Love (Apple; 1969)
Cold Turkey/Don't Worry Kyoko (Mummy's Only Looking For A Hand In The Snow) (Apple; 1969)
Instant Karma! (We All Shine On)/Who Has Seen The Wind? (Apple; 1970)
Mother/Why (Apple; 1970)
Power To The People/Touch Me (Apple; 1971)
Imagine/It's So Hard (Apple; 1971)
Happy Xmas (War Is Over)/Listen, The Snow Is Falling (Apple; 1971)
Woman Is The ****** Of The World/Sisters, O Sisters (Apple; 1972)
Mind Games/Meat City (Apple; 1973)
Whatever Gets You Thru The Night/Beef Jerky (Apple; 1974)
#9 Dream/What You Got (Apple; 1974)
Stand By Me/Move Over Ms. L (Apple; 1975)
(Just Like) Starting Over/Kiss Kiss Kiss (Geffen; 1980)
Woman/Beautiful Boys (Geffen; 1981)
Watching The Wheels/Yes, I'm Your Angel (Geffen; 1981)
Nobody Told Me/O' Sanity (Polydor; 1984)
I'm Stepping Out/Sleepless Nights (Polydor; 1984)
Borrowed Time/Your Hands (Polydor; 1984)
Every Man Has A Woman Who Loves Him/It's Alright (Polydor; 1984)
DVD Releases:
Gimme Some Truth: The Making Of John Lennon’s Imagine (http://www.amazon.com/exec/obidos/tg/detail/-/6305847118/qid=1083381381/sr=1-6/ref=sr_1_6/102-4843919-2319330) (Capitol; 2000)
John Lennon And The Plastic Ono Band: Sweet Toronto (http://www.amazon.com/exec/obidos/tg/detail/-/B00005UM2O/qid=1083381581/sr=1-5/ref=sr_1_5/102-4843919-2319330) (Pioneer; 2002)
Come Together: A Night For John Lennon’s Words And Music (http://www.amazon.com/exec/obidos/tg/detail/-/B00006ISA9/qid=1083381381/sr=1-3/ref=sr_1_3/102-4843919-2319330) (Pioneer; 2002)
Lennon Legend: The Very Best Of John Lennon (http://www.amazon.com/exec/obidos/tg/detail/-/B0000DJZ9M/qid=1083381522/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 2003)
Imagine: John Lennon (http://www.amazon.com/gp/product/B000AYELY2/sr=1-1/qid=1155686499/ref=pd_bbs_1/103-0072013-9117449?ie=UTF8&s=dvd) (Warner Bros.; 1988/2005)
James Paul McCartney
Born: June 18, 1942 (Liverpool, Merseyside, England)
Spouses:
Linda Eastman (http://en.wikipedia.org/wiki/Linda_McCartney) - 1969-1998 (her death)
Heather Mills (http://en.wikipedia.org/wiki/Heather_Mills) - 2002-2006 (separated; divorce pending)
Children:
Heather (http://en.wikipedia.org/wiki/Heather_McCartney) (stepdaughter; b. 1962), Mary (http://en.wikipedia.org/wiki/Mary_McCartney) (b. 1969), Stella (http://www.stellamccartney.com/) (b. 1972), James (http://en.wikipedia.org/wiki/James_McCartney) (b. 1977), Beatrice (b. 2003)
Official Website:
www.paulmccartney.com (http://www.paulmccartney.com)
Album Discography:
McCartney (http://www.amazon.com/exec/obidos/ASIN/B000002UC5/qid=1083293329/sr=2-2/ref=sr_2_2/102-4843919-2319330) (Apple; 1970)
Ram (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UC7/ref=pd_bxgy_img_2/102-4843919-2319330) (Apple; 1971)
Wings Wild Life (http://www.amazon.com/exec/obidos/ASIN/B000007PC8/qid=1083293397/sr=2-1/ref=sr_2_1/102-4843919-2319330)* (Apple; 1971)
Red Rose Speedway (http://www.amazon.com/exec/obidos/ASIN/B00000721M/qid=1083293433/sr=2-1/ref=sr_2_1/102-4843919-2319330)* (Apple; 1973)
Band On The Run (http://www.amazon.com/exec/obidos/ASIN/B00000I7KL/qid=1083293457/sr=2-1/ref=sr_2_1/102-4843919-2319330)* (Apple; 1973)
Venus And Mars (http://www.amazon.com/exec/obidos/ASIN/B00000721O/qid=1083293486/sr=2-1/ref=sr_2_1/102-4843919-2319330)* (Capitol; 1975)
Wings At The Speed Of Sound (http://www.amazon.com/exec/obidos/tg/detail/-/B00000721C/qid=1083293542/sr=1-1/ref=sr_1_1/102-4843919-2319330)* (Capitol; 1976)
Wings Over America (http://www.amazon.com/exec/obidos/tg/detail/-/B000007638/qid=1083293597/sr=1-1/ref=sr_1_1/102-4843919-2319330) [live]* (Capitol; 1976)
London Town (http://www.amazon.com/exec/obidos/tg/detail/-/B00000721I/qid=1083293637/sr=1-1/ref=sr_1_1/102-4843919-2319330)* (Capitol; 1977)
Back To The Egg (http://www.amazon.com/exec/obidos/tg/detail/-/B00000721D/qid=1083293671/sr=1-1/ref=sr_1_1/102-4843919-2319330)* (Columbia; 1979)
McCartney II (http://www.amazon.com/exec/obidos/tg/detail/-/B000005RT8/ref=pd_sim_music_5/102-4843919-2319330) (Columbia; 1980)
Tug Of War (http://www.amazon.com/exec/obidos/ASIN/B00000DQSE/qid=1083293882/sr=2-1/ref=sr_2_1/102-4843919-2319330) (Columbia; 1982)
Pipes Of Peace (http://www.amazon.com/exec/obidos/tg/detail/-/B000007NZI/ref=pd_bxgy_text_1/102-4843919-2319330) (Columbia; 1983)
Give My Regards To Broad Street (http://www.amazon.com/exec/obidos/tg/detail/-/B000008TWP/qid=1083293953/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Columbia; 1984)
Press To Play (http://www.amazon.com/exec/obidos/tg/detail/-/B000005RPV/qid=1083293987/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1986)
Flowers In The Dirt (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UUM/qid=1083294016/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1989)
Tripping The Live Fantastic (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UWY/qid=1083294040/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1990)
Unplugged (The Official Bootleg) (http://www.amazon.com/exec/obidos/ASIN/B000008IAG/qid%3D1083294071/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Capitol; 1991)
Choba B CCCP (The Russian Album) (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UZL/ref=pd_bxgy_text_1/102-4843919-2319330) (Capitol; 1991)
Off The Ground (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UQJ/qid=1083294128/sr=1-1/ref=sr_1_1/102-4843919-2319330?v=glance&s=music) (Capitol; 1993)
Paul Is Live (http://www.amazon.com/exec/obidos/ASIN/B000002TNI/qid%3D1083294154/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Capitol; 1993)
Flaming Pie (http://www.amazon.com/exec/obidos/tg/detail/-/B000002ULO/ref=pd_sim_music_2/102-4843919-2319330) (Capitol; 1997)
Run Devil Run (http://www.amazon.com/exec/obidos/tg/detail/-/B00001QGPH/ref=pd_sim_music_3/102-4843919-2319330) (Capitol; 1999)
Driving Rain (http://www.amazon.com/exec/obidos/tg/detail/-/B00005QK3W/ref=pd_bxgy_text_1/102-4843919-2319330) (Capitol; 2001)
Back In The U.S. (http://www.amazon.com/exec/obidos/tg/detail/-/B00006LSOG/qid=1083294263/sr=1-1/ref=sr_1_1/102-4843919-2319330)[live] (Capitol; 2002)
Chaos And Creation In The Backyard (http://www.amazon.com/gp/product/B000AL730O/sr=1-1/qid=1155683982/ref=pd_bbs_1/103-0072013-9117449?ie=UTF8&s=music) (Capitol; 2005)
Memory Almost Full (http://www.amazon.com/Memory-Almost-Full-Paul-McCartney/dp/B000P2A242/ref=pd_bbs_sr_2/002-8090521-2206445?ie=UTF8&s=music&qid=1180376536&sr=1-2) (Concord/Hear Music; 2007)
*Paul McCartney & Wings
Classical work:
The Family Way (Original Soundtrack Album) (http://www.amazon.com/exec/obidos/ASIN/B00008W6RI/qid%3D1083294289/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (London; 1967)
Liverpool Oratorio (http://www.amazon.com/exec/obidos/tg/detail/-/B000002RSK/qid=1083294313/sr=1-2/ref=sr_1_2/102-4843919-2319330) (EMI Classics; 1991)
Standing Stone (http://www.amazon.com/exec/obidos/tg/detail/-/B000002RZ7/ref=pd_bxgy_img_2_cp/102-4843919-2319330) (EMI Classics; 1997)
Working Classical (http://www.amazon.com/exec/obidos/tg/detail/-/B00001ZSXH/ref=pd_bxgy_img_2_cp/102-4843919-2319330) (EMI Classics; 1999)
Ecce Cor Meum (http://www.amazon.com/Ecce-Cor-Meum-Classic/dp/B000HOJBWM/sr=1-1/qid=1161046321/ref=pd_bbs_sr_1/104-0946250-0874323?ie=UTF8&s=music) (EMI Classics; 2006)
Compilations/Best-ofs:
Wings Greatest (http://www.amazon.com/exec/obidos/tg/detail/-/B000002U8M/qid=1083294393/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1978)
All The Best! (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UDG/qid=1083294418/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1987)
Wingspan (Hits And History) (http://www.amazon.com/exec/obidos/ASIN/B00005BA03/qid=1083294448/sr=2-1/ref=sr_2_1/102-4843919-2319330) (Capitol; 2001)
Selected Singles Discography:
Another Day/Oh Woman, Oh Why (Apple; 1971)
Uncle Albert-Admiral Halsey/Too Many People (Apple; 1971)
Give Ireland Back To The Irish/Give Ireland Back To The Irish (version) (Apple; 1971)
Mary Had A Little Lamb/Little Woman Love (Apple; 1972)
Hi Hi Hi/C Moon (Apple; 1972)
My Love/The Mess (Apple; 1973)
Live And Let Die/I Lie Around (Apple; 1973)
Helen Wheels/Country Dreamer (Apple; 1973)
Jet/Mamunia (Apple; 1974)
Band On The Run/Nineteen Hundred And Eighty Five (Apple; 1974)
Junior's Farm/Sally G (Apple; 1974)
Walking In The Park With Eloise/Bridge Over The River Suite (EMI; 1974)
Listen To What The Man Said/Love In Song (Capitol; 1975)
Letting Go/You Gave Me The Answer (Capitol; 1975)
Venus And Mars-Rock Show/Magneto And Titanium Man (Capitol; 1975)
Silly Love Songs/Cook Of The House (Capitol; 1976)
Let 'Em In/Beware My Love (Capitol; 1976)
Maybe I'm Amazed/Soily (Capitol; 1977)
Girl's School/Mull Of Kintyre (Capitol; 1977)
With A Little Luck/Medley: Backwards Traveler-Cuff Link (Capitol; 1978)
I've Had Enough/Deliver Your Children (Capitol; 1978)
London Town/I'm Carrying (Capitol; 1978)
Goodnight Tonight/Daytime Nighttime Suffering (Columbia; 1979)
Getting Closer/Spin It On (Columbia; 1979)
Arrow Through Me/Old Siam, Sir (Columbia; 1979)
Wonderful Christmastime/Rudolph The Red-Nosed Reggae (Columbia; 1979)
Coming Up/Coming Up (live at Glasgow)/Lunch Box-Odd Sox (Columbia; 1980)
Waterfalls/Check My Machine (Columbia; 1980)
Ebony And Ivory (with Stevie Wonder)/Rainclouds (Columbia; 1982)
Take It Away/I'll Give You A Ring (Columbia; 1982)
Tug Of War/Get It (Columbia; 1982)
Say Say Say (with Michael Jackson)/Ode To A Koala Bear (Columbia; 1983)
So Bad/Pipes Of Peace (Columbia; 1983)
No More Lonely Nights/No More Lonely Nights (playout version) (Columbia; 1984)
Spies Like Us/My Carnival (Capitol; 1985)
Press/It's Not True (Capitol; 1986)
Stranglehold/Angry (remix) (Capitol; 1986)
Only Love Remains/Tough On A Tightrope (Capitol; 1987)
My Brave Face/Flying To My Home (Capitol; 1989)
Ou Est Le Soleil/Ou Est Le Soleil (Tub Dub Mix) (Capitol; 1989)
This One/The First Stone (Capitol; 1989)
Figure Of Eight/Ou Est Le Soleil (Capitol; 1989)
Put It There/Mama's Little Girl (Capitol; 1990)
Birthday/Good Day Sunshine (Capitol; 1990)
Save The Child/The Drinking Song (EMI Classics; 1991)
Hope Of Deliverance/Big Boys Bickering/Long Leather Coat/Kicked Around No More (Capitol; 1993)
Off The Ground/Cosmically Conscious/Style Style/Sweet Sweet Memories/Soggy Noodle (Capitol; 1993)
C'mon People/I Can't Imagine/Keep Coming Back To Love/Down To The River (Capitol; 1993)
The World Tonight/Looking For You/Oobu Joobu - Part 1 (Capitol; 1997)
From A Lover To A Friend/From A Lover To A Friend (David Kahne Remix 1)/From A Lover To A Friend (David Kahne Remix 2) (Capitol; 2001)
Freedom/From A Lover To A Friend/From A Lover To A Friend (David Kahne Remix 2) (Capitol; 2001)
Tropic Island Hum/We All Stand Together (EMI; 2004) [UK Only]
Fine Line/Growing Up Falling Down (Capitol; 2005)
Fine Line/Comfort Of Love (Capitol; 2005)
Jenny Wren/Summer Of '59 (Capitol; 2005)
Jenny Wren/I Want You To Fly/This Loving Game (Capitol; 2005)
Ever Present Past (Concord/Hear Music; 2007)
Dance Tonight/Nod Your Head (Concord/Hear Music; 2007)
[i]DVD Releases:
Give My Regards To Broad Street (http://www.amazon.com/exec/obidos/tg/detail/-/B0001FR552/qid=1083381736/sr=1-2/ref=sr_1_2/102-4843919-2319330) (20th Century Fox; 1984)
Paul Is Live In Concert On The New World Tour (http://www.amazon.com/exec/obidos/tg/detail/-/B0000ALFY3/qid=1083382067/sr=1-5/ref=sr_1_5/102-4843919-2319330) (Universal; 1993)
In The World Tonight (http://www.amazon.com/exec/obidos/tg/detail/-/6305038732/qid=1083381839/sr=1-4/ref=sr_1_4/102-4843919-2319330) (Pioneer; 1997)
Live At The Cavern Club (http://www.amazon.com/exec/obidos/tg/detail/-/B00005IA8B/qid=1083381839/sr=1-9/ref=sr_1_9/102-4843919-2319330) (Image; 1999)
Paul McCartney & Friends: The PETA Concert (http://www.amazon.com/exec/obidos/tg/detail/-/B00005NFZP/qid=1083381999/sr=1-18/ref=sr_1_18/102-4843919-2319330) (Image; 2000)
Wingspan: An Intimate Portrait (http://www.amazon.com/exec/obidos/tg/detail/-/B00005QJHL/qid=1083381891/sr=1-10/ref=sr_1_10/102-4843919-2319330) (Capitol; 2001)
Back In The U.S. (http://www.amazon.com/exec/obidos/tg/detail/-/B00007149K/qid=1083381795/sr=1-3/ref=sr_1_3/102-4843919-2319330) (Capitol; 2002)
The Music And Animation Collection (http://www.amazon.com/exec/obidos/tg/detail/-/B0001A79HG/qid=1083381670/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Miramax; 2004)
Live In Red Square (http://www.amazon.com/exec/obidos/ASIN/B0007QJ1ES/qid%3D1122249408/sr%3D11-1/ref%3Dsr%5F11%5F1/002-4613724-3488832) (A&E; 2005)
The Space Within US (http://www.amazon.com/Paul-McCartney-Space-Within-US/dp/B000H5U5V2/ref=sr_11_1/104-0946250-0874323?ie=UTF8) (A&E; 2006)
George Harrison
Born: February 25, 1943 (Liverpool, Merseyside, England)
Died: November 29, 2001 (Los Angeles, California, USA)
Spouses:
Pattie Boyd (http://en.wikipedia.org/wiki/Patti_Boyd) - 1966-1977 (divorced)
Olivia Trinidad Arias (http://en.wikipedia.org/wiki/Olivia_Harrison) - 1978-2001 (his death)
Children:
Dhani (http://en.wikipedia.org/wiki/Dhani_Harrison) (b. 1978)
Official Website:
www.georgeharrison.com (http://www.georgeharrison.com)
Album Discography:
Wonderwall Music (http://www.amazon.com/exec/obidos/tg/detail/-/B000009H0D/qid=1083294585/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Apple; 1968)
Electronic Sound (http://www.amazon.com/exec/obidos/tg/detail/-/B0000070RC/ref=pd_sim_music_1/102-4843919-2319330) (Apple; 1969)
All Things Must Pass (http://www.amazon.com/exec/obidos/tg/detail/-/B00005UKE0/qid=1083294664/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Apple; 1970)
Remastered version with bonus tracks and colorized cover art released in 2001 by Capitol.
The Concert For Bangla Desh (http://www.amazon.com/gp/product/B000BF0D88/sr=1-2/qid=1155685022/ref=pd_bbs_2/103-0072013-9117449?ie=UTF8&s=music) (Apple; 1971)
Remastered version with bonus tracks released in 2005 by Rhino Records
Living In The Material World (http://www.amazon.com/gp/product/B000HIVQK8/sr=1-3/qid=1155702726/ref=sr_1_3/103-0072013-9117449?ie=UTF8&s=music) (Apple; 1973)
Remastered version with bonus tracks and DVD released in 2006 by Capitol.
Dark Horse (http://www.amazon.com/exec/obidos/tg/detail/-/B000008GED/ref=pd_bxgy_text_1/102-4843919-2319330) (Apple; 1974)
Extra Texture (http://www.amazon.com/exec/obidos/tg/detail/-/B000008GEE/ref=pd_bxgy_text_1/102-4843919-2319330) (Apple; 1975)
Thirty Three & 1/3 (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJ6G/ref=pd_sim_music_3/102-4843919-2319330) (Dark Horse/Warner Bros.; 1976)
Remastered version with bonus tracks released in 2004 by Capitol. This version also is part of the Dark Horse Years 1976-1992 box set.
George Harrison (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJ6Q/ref=pd_bxgy_text_1/102-4843919-2319330) (Dark Horse/Warner Bros.; 1979)
Remastered version with bonus tracks released in 2004 by Capitol. This version is also part of the Dark Horse Years 1976-1992 box set.
Somewhere In England (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJ70/ref=pd_sim_music_1/102-4843919-2319330) (Dark Horse/Warner Bros.; 1981)
Remastered version with bonus tracks released in 2004 by Capitol. This version is also part of the Dark Horse Years 1976-1992 box set.
Gone Troppo (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJ7A/ref=pd_sim_music_2/102-4843919-2319330) (Dark Horse/Warner Bros.; 1982)
Remastered version with bonus tracks released in 2004 by Capitol. This version is also part of the Dark Horse Years 1976-1992 box set.
Cloud Nine (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJ7K/ref=pd_sim_music_3/102-4843919-2319330) (Dark Horse/Warner Bros.; 1987)
Remastered version with bonus tracks released in 2004 by Capitol. This version is also part of the Dark Horse Years 1976-1992 box set.
Traveling Wilburys (http://en.wikipedia.org/wiki/Traveling_Wilburys) - Traveling Wilburys Vol. 1 (http://en.wikipedia.org/wiki/Traveling_Wilburys_Vol._1) (Wilbury/Warner Bros; 1988)
Remastered version with bonus tracks released in 2007 by Rhino as part of the Traveling Wilburys box set. This is currently the only way the album can be obtained.
Traveling Wilburys (http://en.wikipedia.org/wiki/Traveling_Wilburys) - Traveling Wilburys Vol. 3 (http://en.wikipedia.org/wiki/Traveling_Wilburys_Vol._3) (Wilbury/Warner Bros.; 1990)
Remastered version with bonus tracks released in 2007 by Rhino as part of the Traveling Wilburys box set. This is currently the only way the album can be obtained.
Live In Japan (http://www.amazon.com/exec/obidos/tg/detail/-/B00014TJU2/ref=pd_sim_music_4/102-4843919-2319330) (Dark Horse/Warner Bros.; 1992)
Remastered version with bonus tracks released in 2004 by Capitol. This version is also part of the Dark Horse Years 1976-1992 box set.
Brainwashed (http://www.amazon.com/exec/obidos/tg/detail/-/B00006LSM3/ref=pd_sim_music_6/102-4843919-2319330) (Dark Horse/Capitol; 2002)
Official tribute concert:
The Concert For George (http://www.amazon.com/exec/obidos/tg/detail/-/B0000E6I1J/qid=1083295006/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Warner Strategic Marketing; 2003)
Compilations/Best-ofs:
The Best Of George Harrison (http://www.amazon.com/exec/obidos/tg/detail/-/B000002UCN/qid=1083295077/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Capitol; 1976)
Best Of Dark Horse 1976-1989 (http://en.wikipedia.org/wiki/Best_of_Dark_Horse_1976-1989) (Dark Horse/Warner Bros.; 1989)
Currently out-of-print.
The Dark Horse Years 1976-1992 [box set] (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=96609) (Dark Horse/Capitol; 2004)
Traveling Wilburys (http://en.wikipedia.org/wiki/Traveling_Wilburys) - Traveling Wilburys [box set] (http://www.amazon.com/Traveling-Wilburys-2CD-1DV-Deluxe/dp/B000OYC1J0/ref=pd_bbs_sr_1/002-8090521-2206445?ie=UTF8&s=music&qid=1180377091&sr=1-1) (Wilbury/Rhino; 2007)
Singles Discography:
My Sweet Lord/Isn't It A Pity (version one) (Apple; 1970)
What Is Life/Apple Scruffs (Apple; 1971)
Bangla Desh/Deep Blue (Apple; 1971)
Give Me Love (Give Me Peace On Earth)/Miss O'Dell (Apple; 1973)
Dark Horse/I Don't Care Anymore (Apple; 1974)
Ding Dong, Ding Dong/Hari's On Tour (Express) (Apple; 1974)
You/World Of Stone (Apple; 1975)
This Guitar (Can't Keep Me From Crying)/Maya Love (Apple; 1975)
This Song/Learning How To Love You (Dark Horse/Warner Bros.; 1976)
Crackerbox Palace/Learning How To Love You (Dark Horse/Warner Bros.; 1977)
Blow Away/Soft-Hearted Hana (Dark Horse/Warner Bros.; 1979)
Love Comes To Everyone/Soft Touch (Dark Horse/Warner Bros.; 1979)
All Those Years Ago/Writing's On The Wall (Dark Horse/Warner Bros.; 1981)
Teardrops/Save The World (Dark Horse/Warner Bros.; 1981)
Wake Up My Love/Greece (Dark Horse/Warner Bros.; 1982)
I Really Love You/Circles (Dark Horse/Warner Bros.; 1983)
I Don't Want To Do It/Queen Of The Hop (by Dave Edmunds) (Columbia; 1985)
Got My Mind Set On You/Lay His Head (Dark Horse/Warner Bros.; 1987)
When We Was Fab/Zig Zag (Dark Horse/Warner Bros.; 1988)
This Is Love/Breath Away From Heaven (Dark Horse/Warner Bros.; 1988)
The Traveling Wilburys - Handle With Care/Margarita (Wilbury/Warner Bros.; 1988)
The Traveling Wilburys - End Of The Line/Congratulations (Wilbury/Warner Bros.; 1988)
Cheer Down/That's What It Takes (Dark Horse/Warner Bros.; 1989)
My Sweet Lord/Let It Down (demo)/My Sweet Lord (2000) (gnOMe/Capitol; 2002)
Any Road/Marwa Blues (Dark Horse/Parlophone; 2003)
DVD Releases:
The Making Of “Brainwashed” (available only as part of Brainwashed special edition) (http://www.amazon.com/exec/obidos/tg/detail/-/B00006YXEK/qid=1083447294/sr=1-2/ref=sr_1_2/102-1818101-8642555) (Dark Horse/Capitol; 2003)
The Concert For George (http://www.amazon.com/exec/obidos/tg/detail/-/B0000CEB4V/qid=1083447192/sr=1-1/ref=sr_1_1/102-1818101-8642555) (Warner Strategic Marketing; 2003)
The Dark Horse Years 1976-1992 (http://www.amazon.com/exec/obidos/ASIN/B0002Y69RC/qid%3D1116170269/sr%3D11-1/ref%3Dsr%5F11%5F1/002-0457654-1309654) (Dark Horse/Capitol; 2004)
This DVD was originally only available as part of the Dark Horse Years 1976-1992 box set, but is now available individually.
The Concert For Bangla Desh (http://www.amazon.com/gp/product/B000AYQJ3I/sr=1-2/qid=1155684896/ref=pd_bbs_2/103-0072013-9117449?ie=UTF8&s=dvd) (Apple/Rhino; 1971/2005)
Ringo Starr
Born: July 7, 1940, 1940 (Liverpool, Merseyside, England)
Birth name: Richard Starkey
Spouses:
Maureen Cox (http://en.wikipedia.org/wiki/Maureen_Starkey) - 1965-1975 (divorced)
Barbara Bach (http://en.wikipedia.org/wiki/Barbara_Bach) - 1981-present
Children:
Zak (http://en.wikipedia.org/wiki/Zak_Starkey) (b. 1965), Jason (b. 1967), Lee (b. 1970)
Official Website:
www.ringostarr.com (http://www.ringostarr.com)
Album discography:
Sentimental Journey (http://www.amazon.com/exec/obidos/tg/detail/-/B000007MVU/qid=1083295168/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Apple; 1970)
Beaucoups Of Blues (http://www.amazon.com/exec/obidos/tg/detail/-/B000006N4I/ref=pd_bxgy_text_1/102-4843919-2319330) (Apple; 1970)
Ringo (http://www.amazon.com/exec/obidos/tg/detail/-/B00000DRC2/ref=pd_sim_music_2/102-4843919-2319330) (Apple; 1973)
Goodnight Vienna (http://www.amazon.com/exec/obidos/tg/detail/-/B000009CBY/ref=pd_bxgy_text_1/102-4843919-2319330) (Apple; 1974)
Ringo's Rotogravure (http://www.amazon.com/exec/obidos/tg/detail/-/B000002IU2/ref=ase_url/102-4843919-2319330) (Atlantic; 1976)
Ringo The 4th (http://www.amazon.com/exec/obidos/tg/detail/-/B000002IU1/ref=ase_url/102-4843919-2319330) (Atlantic; 1977)
Bad Boy (http://www.amazon.com/exec/obidos/ASIN/B0000025DA/qid%3D1083299428/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Portrait; 1978)
Stop And Smell The Roses (http://www.amazon.com/exec/obidos/ASIN/B0000025DA/qid%3D1083299428/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Boardwalk; 1981)
Old Wave (http://www.amazon.com/exec/obidos/tg/detail/-/B000002TRQ/ref=pd_sim_music_1/102-4843919-2319330) (RCA; 1983)
Ringo Starr And His All-Starr Band (http://en.wikipedia.org/wiki/Ringo_Starr_and_His_All-Starr_Band) (Rykodisc; 1990)
Time Takes Time (http://www.amazon.com/exec/obidos/tg/detail/-/B0000000KW/ref=pd_sbs_m_4/102-4843919-2319330) (Private Music; 1992)
Ringo Starr And His All-Starr Band: Live From Montreux (http://en.wikipedia.org/wiki/Ringo_Starr_and_His_All_Starr_Band_Volume_2:_Live_From_Montreux) (Rykodisc; 1993)
Vertical Man (http://www.amazon.com/exec/obidos/tg/detail/-/B000009N9K/qid=1083299691/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Mercury; 1998)
VH1 Storytellers (http://www.amazon.com/exec/obidos/ASIN/B00000DBYY/qid%3D1083299718/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Mercury; 1998)
I Wanna Be Santa Claus (http://www.amazon.com/exec/obidos/tg/detail/-/B000028TVA/qid=1083299740/sr=1-1/ref=sr_1_1/102-4843919-2319330?v=glance&s=music) (Mercury; 1999)
King Biscuit Flower Hour Presents Ringo & His New All-Starr Band (http://en.wikipedia.org/wiki/King_Biscuit_Flower_Hour_Presents_Ringo_%26_His_New_All-Starr_Band) (Razor & Tie; 2002)
Ringo Rama (http://www.amazon.com/exec/obidos/tg/detail/-/B00008BRDC/qid=1083299818/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Koch; 2003)
Tour 2003 (http://www.amazon.com/exec/obidos/ASIN/B0001CNQ4Y/qid%3D1083299844/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Koch; 2004)
Choose Love (http://www.amazon.com/exec/obidos/ASIN/B00096S3TK/qid=1122249241/sr=2-1/ref=pd_bbs_b_2_1/002-4613724-3488832) (Koch; 2005)
Liverpool 8 (Capitol; 2008)
Compilations/Best-ofs:
Blast From Your Past (http://www.amazon.com/exec/obidos/tg/detail/-/B000006MV0/qid=1083299867/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Apple; 1975)
Starr Struck: Best Of Ringo Starr, Vol. 2 (http://www.amazon.com/exec/obidos/ASIN/B0000032BC/qid%3D1083299892/sr%3D11-1/ref%3Dsr%5F11%5F1/102-4843919-2319330) (Rhino; 1989)
Ringo Starr And His All-Starr Band: The Anthology... So Far (http://www.amazon.com/exec/obidos/tg/detail/-/B00005LOOL/qid=1083299912/sr=1-1/ref=sr_1_1/102-4843919-2319330) (Koch; 2001)
Photograph: The Very Best Of Ringo Starr (Capitol; 2007)
Singles Discography:
Beaucoups Of Blues/Coochy-Coochy (Apple; 1970)
It Don't Come Easy/Early 1970 (Apple; 1971)
Back Off Boogaloo/Blindman (Apple; 1972)
Photograph/Down And Out (Apple; 1973)
You're Sixteen (You're Beautiful And You're Mine)/Devil Woman (Apple; 1973)
Oh My My/Step Lightly (Apple; 1974)
Only You/Call Me (Apple; 1974)
No No Song/Snookeroo (Apple; 1975)
It's All Down To Goodnight Vienna/Oo-Wee (Apple; 1975)
A Dose Of Rock 'N' Roll/Cryin' (Atlantic; 1976)
Hey Baby/Lady Gaye (Atlantic; 1976)
Wings/Just A Dream (Atlantic; 1977)
Drowning In The Sea Of Love/Just A Dream (Atlantic; 1977)
Lipstick Traces (On A Cigarette)/Old Time Relovin' (Portrait; 1978)
Heart On My Sleeve/Who Needs A Heart (Portrait; 1978)
Wrack My Brain/Drumming Is My Madness (Boardwalk; 1981)
Private Property/Stop And Smell The Roses (Boardwalk; 1982)
Act Naturally (Ringo Starr and Buck Owens)/The Key's In The Mailbox (Buck Owens) (Capitol; 1989)
Weight Of The World/After All These Years/Don't Be Cruel (Private; 1992)
DVD Releases:
Give My Regards To Broad Street (http://www.amazon.com/exec/obidos/tg/detail/-/B0001FR552/qid=1083381736/sr=1-2/ref=sr_1_2/102-4843919-2319330) (20th Century Fox; 1984)
The Best Of Ringo Starr And His All-Starr Band: So Far (http://www.amazon.com/exec/obidos/tg/detail/-/B00005OCKZ/qid=1083446856/sr=1-3/ref=sr_1_3/102-1818101-8642555) (Image; 2001)
Ringo And His New All-Starr Band (http://www.amazon.com/exec/obidos/tg/detail/-/B00005OCKZ/qid=1083446856/sr=1-3/ref=sr_1_3/102-1818101-8642555) (Pioneer; 2002)
Ringo Rama (bonus DVD) (available only with Ringo Rama CD) (http://www.amazon.com/exec/obidos/tg/detail/-/B00008BRDC/qid=1083299818/sr=1-2/ref=sr_1_2/102-4843919-2319330) (Koch; 2003)
Ringo has also had many acting roles in various films (http://www.imdb.com/name/nm0823592/), including Caveman and the aforementioned Give My Regards To Broad Street.
Brian
05-01-2004, 06:28 PM
My favorite albums are "White", "Sgt. Pepper's Lonely Hearts Club Band", and "Revolver." I would like to someday get the Beatles Anthology albums, those look good, too. I've never listened to them.
John's son, Julian, followed in his father's footsteps and became a musician. His debut album, Valotte (Atlantic; 1984), was a moderate hit, peaking at number seventeen on the Billboard charts.
Lead single "Too Late For Goodbyes," fared better than the album from whence it came. It peaked at number 1.
Since then, Julian hasn't been as successful in terms of record sales. However, subsequent albums have received praise from critics, especially his most recent album, Photograph Smile (Varese; 1998).
John's other son, Sean, also turned out to be a talented musician. In 1998, he released his debut (and so far, only) album on the Beastie Boys' Grand Royal label via Capitol Records. The Beach Boys-inspired album, Into The Sun, didn't sell well, despite Sean's famous surname. It reached only number 153 on the Billboard charts. Even so, Sean still has a cult following.
Sean is currently dating Elizabeth Jagger, daughter of Mick Jagger and Jerry Hall.
Paul's daughter, Stella, is a successful fashion designer.
Zak Starkey, Ringo's oldest son, has been The Who's drummer since 1996.
Penny Lane
05-01-2004, 08:41 PM
I chose Revolver but I LOVE them all!!!!!!!!!!!!!:nod:
Dean Winchester
05-01-2004, 08:55 PM
my favorite Beatles album is not on this list.
REEL MUSIC from 1982... this was the Beatles album that was in the house when I was a kid. It was 14-16 songs from 1964-1970 that were in movies. The first side was Hard Days Night and Help songs, and the other side was Magical Mystery Tour (also All You Need Is Love), Yellow Submarine and Let It Be tracks.
If this was released on CD, I would purchase it. Most of my favorite Beatle songs are either on this album or PAST MASTERS VOL. 2
Steve M.
05-01-2004, 09:47 PM
Billy Preston (b. 1946) - played keyboards for the Beatles on the Get Back/Let It Be sessions
Sid Bernstein (b. 1924) - promoted the Beatles's 1964 Carnegie Hall and 1965 Shea Stadium concerts in New York
Bob Dylan (b. 1941) - inspired the Beatles to write more poetic and enigmatic lyrics; one of George Harrison's best friends
Maharishi Mahesh Yogi - was the Beatles's personal guru in late 1967 and early 1968
Eric Clapton (b. 1945) - another of George's best friends; secretly played lead guitar on the White Album ("While My Guitar Gently Weeps")
Phil Spector (b. 1940) - produced the Let It Be album
Norman Smith (b. circa 1935?) - engineered the first five Beatles albums and all of their singles up to and including December 1965; later Pink Floyd's first producer
Geoff Emerick (b. 1946) - engineered Revolver and Sgt. Pepper, and part of the White Album and Abbey Road
Glyn Johns (b. 1942) - the greatest British rock producer who isn't George Martin; engineered the original Get Back/Let It Be tapes
James Taylor (b. 1948) - American singer/songwriter; one of Apple's first artists
Jackie Lomax (b. circa 1948), British singer/songwriter; another of Apple's first artists and a personal favorite of George
Any others? :D
Steve M.
05-01-2004, 09:55 PM
Revolver is my favorite. Every song on that LP could be a single, as the 1976 success of "Got To Get You Into My Life" proved. :)
Various Solo Beatle Collaborations
John Lennon
Ringo Starr - Ringo
-Songwriter, piano, and backing vocals - "I'm The Greatest" (the song also features George Harrison)
Ringo Starr - Goodnight Vienna
-Songwriter and piano - "Goodnight Vienna" "Goodnight Vienna (Reprise)
-Guitar - "All By Myself,"
-Acoustic guitar - "Only You (And You Alone)"
Ringo Starr - Ringo's Rotogravure
-Songwriter and piano - "Cookin' (In The Kitchen Of Love)"
Paul McCartney
Ringo Starr - Ringo
-Kazoo solo - "You're Sixteen (You're Beautiful And You're Mine),"
-Songwriter, piano, synthesizer, and background vocals - "Six O'Clock"
Ringo Starr - Ringo's Rotogravure
-Songwriter and backing vocals - "Pure Gold"
George Harrison - Somewhere In England
-Backing vocals - "All Those Years Ago" (the song also features Ringo Starr)
Ringo Starr - Stop And Smell The Roses
-Songwriter, bass, piano, and background vocals - "Private Property," "Attention"
-Bass, piano, background vocals - "Sure To Fall (In Love With You)"
Ringo Starr - Vertical Man
-Bass and background vocals - "What In The... World,"
-Background vocals - "I Was Walkin'," "La De Da"
The Concert For George
-Bass and vocals on various tracks with Ringo Starr
George Harrison
Ringo Starr - Blast From Your Past
-Guitar - "It Don't Come Easy, "Back Off Boogaloo"
John Lennon - Imagine
-Guitar - "Crippled Inside," "I Don't Wanna Be A Soldier Mama," "Gimme Some Truth," "Oh My Love," and "How Do You Sleep?"
The Concert For Bangla Desh
-Guitar and vocals on various tracks with Ringo Starr
The John Lennon Anthology
-Guitar - "Oh My Love," "How Do You Sleep," and "I'm The Greatest"
John Lennon - Wonsaponatime
-Guitar - "How Do You Sleep" and "Oh My Love"
John Lennon - Sometime In New York City ("Live Jam" disc)
-Guitar on "Cold Turkey" and "Don't Worry Kyoko" - John Lennon and Yoko Ono's Sometime In New York City ("Live Jam" disc)
Ringo Starr - Ringo
-Guitar - "I'm The Greatest" (the song also features John Lennon)
-Co-songwriter, guitar, and harmony vocals - "Photograph"
-Songwriter, guitar, and background vocals - "Sunshine Life For Me (Sail Away Raymond)"
-Co-songwriter and electric guitar - "You And Me (Babe)"
Ringo Starr - Stop And Smell The Roses
-Songwriter, lead guitar, acoustic guitar, background vocals - "Wrack My Brain"
-Lead guitar - "You Belong To Me"
Ringo Starr - Vertical Man
-Guitar solos - "King Of Broken Hearts" and "I'll Be Fine Anywhere"
Ringo Starr
George Harrison - All Things Must Pass
-Drums - various tracks
John Lennon/Plastic Ono Band
-Drummer for the whole album
The Concert For Bangla Desh
-Drums and vocals on various tracks with George Harrison
George Harrison - Living In The Material World
-Drums - various tracks
John Lennon - The John Lennon Anthology
-Drums - "God," "Hold On," "Isolation," "Mother," "Remember," "Long Lost John," "I'm The Greatest," "Goodnight Vienna," and "Only You"
John Lennon - Wonsaponatime
-Drums - "God" and "Only You"
George Harrison - Dark Horse
-Drums - "So Sad" and "Ding Dong; Ding Dong"
George Harrison - Somewhere In England
-Drums and backing vocals - "All Those Years Ago" (the song also features Paul McCartney)
Paul McCartney - Tug Of War
-Drums - "Take It Away" - Paul McCartney's Tug Of War
Paul McCartney - Pipes Of Peace
-Drums - various tracks
Paul McCartney - Give My Regards To Broad Street
-Drums - "Wanderlust," "Ballroom Dancing," "Not Such A Bad Boy," "No Values," "No More Lonely Nights (reprise)"
George Harrison - Cloud Nine
-Drums - various tracks
Paul McCartney - Flaming Pie
-Drums and co-songwriter - "Really Love You"
-Drums and backing vocals - "Beautiful Night"
The Concert For George
-Drums and vocals on various tracks with Paul McCartney
Jrnygrl
05-01-2004, 11:25 PM
AKA you really make it hard for us Beatle fans.:lol: :lol:
I picked HDN, because it was the movie that made me aware of these four wonderful men, especially Paul!;)
Also thanks for all the hard work that you do to put these polls up for us with all the great info.
Your the best!:cheers: :clap: props: props: peacesign: :rockon:
Thanks, Jrnygrl! Believe me; it's my pleasure to make these. A labour of love I spend way too much time working on.
I'm just sad that I only have four albums left. Maybe I'll go into the after-market stuff after the last "album of the week."
Thanks again, Jrnygrl. It makes me happy you guys like these threads. Gives 'em more validity.
Even though the pre-Pepper American albums are abominations, I'll post them anyway.
U.S. Album Discography, 1964-1970:
Introducing The Beatles (Vee Jay; 1964)
Meet The Beatles! (Capitol; 1964)
The Beatles' Second Album (Capitol; 1964)
A Hard Day's Night (United Artists; 1964)
Something New (Capitol; 1964)
The Beatles' Story (Capitol; 1964)
Beatles '65 (Capitol; 1964)
The Early Beatles (Capitol; 1965)
Beatles VI (Capitol; 1965)
Help! (Capitol; 1965)
Rubber Soul (Capitol; 1965)
"Yesterday"... And Today (Capitol; 1966)
Revolver (Capitol; 1966)
Sgt. Pepper's Lonely Hearts Club Band (Capitol; 1967)
Magical Mystery Tour (Capitol; 1967)
The Beatles (Apple; 1968)
Yellow Submarine (Apple; 1969)
Abbey Road (Apple; 1969)
Hey Jude (Apple; 1970)
Let It Be (Apple; 1970)
U.S. Singles Discography, 1963-1970:
Please Please Me/Ask Me Why (Vee Jay; 1963)
From Me To You/Thank You Girl (Vee Jay; 1963)
She Loves You/I'll Get You (Swan; 1963)
I Want To Hold Your Hand/I Saw Her Standing There (Capitol; 1964)
Please Please Me/From Me To You (Vee Jay; 1964)
Twist And Shout/There's A Place (Tollie; 1964)
Can't Buy Me Love/You Can't Do That (Capitol; 1964)
Do You Want To Know A Secret/Thank You Girl (Vee Jay; 1964)
Love Me Do/P.S. I Love You (Tollie; 1964)
Sie Liebt Dich/I'll Get You (Swan; 1964)
A Hard Day's Night/I Should Have Known Better (Capitol; 1964)
I'll Cry Instead/I'm Happy Just To Dance With You (Capitol; 1964)
And I Love Her/If I Fell (Capitol; 1964)
Slow Down/Matchbox (Capitol; 1964)
I Feel Fine/She's A Woman (Capitol; 1964)
Eight Days A Week/I Don't Want To Spoil The Party (Capitol; 1965)
Ticket To Ride/Yes It Is (Capitol; 1965)
Help!/I'm Down (Capitol; 1965)
Yesterday/Act Naturally (Capitol; 1965)
Roll Over Beethoven/Misery (Capitol Starline; 1965)
Boys/Medley: Kansas City-Hey! Hey! Hey! Hey! (Capitol Starline; 1965)
We Can Work It Out/Day Tripper (Capitol; 1965)
Nowhere Man/What Goes On (Capitol; 1966)
Paperback Writer/Rain (Capitol; 1966)
Yellow Submarine/Eleanor Rigby (Capitol; 1966)
Strawberry Fields Forever/Penny Lane (Capitol; 1967)
All You Need Is Love/Baby, You're A Rich Man (Capitol; 1967)
Hello, Goodbye/I Am The Walrus (Capitol; 1967)
Lady Madonna/The Inner Light (Capitol; 1968)
Hey Jude/Revolution (Apple; 1968)
Get Back/Don't Let Me Down (Apple; 1969)
The Ballad Of John And Yoko/Old Brown Shoe (Apple; 1969)
Something/Come Together (Apple; 1969)
Let It Be/You Know My Name (Look Up The Number) (Apple; 1970)
The Long And Winding Road/For You Blue (Apple; 1970)
Shine
05-02-2004, 02:51 PM
The White Album is my favorite. It is a two album set and there isn't a single bad song on it. I feel that John Lennon did some of his best writing on this album with songs like "Dear Prudence", "I'm So Tired", "Julia", "Revolution 1" among others. It was also on The White Album that George Harrison was allowed to finally compose more then his standard two songs per album and I think that he really came into his own as a songwriter with songs like "While My Guitar Gently Weeps." The White Album is not only my favorite Beatles album but my all time favorite album period.
Dean Winchester
05-02-2004, 03:13 PM
Originally posted by AKA
Even though the pre-Pepper American albums are abominations, I'll post them anyway.
I think those of us who are younger should be glad we weren't around in 1964-1965 when a new "Beatles album" was out every 2 months, whereas in the UK, it was 2 a year
Dean Winchester
05-02-2004, 03:17 PM
I am surprised as a "quicky" way to make some cash, they haven't come up with a box set of the "American Beatles albums 1963-1966", just as a way to cash in for those who would love to have the artwork for albums like Beatles 65, Yesterday And Today, etc.... Knowing how rabid Beatles fans are, I'm surprised they haven't comissioned a box set release like that
Steve M.
05-02-2004, 09:23 PM
Originally posted by BuffySlayer79
I am surprised as a "quicky" way to make some cash, they haven't come up with a box set of the "American Beatles albums 1963-1966", just as a way to cash in for those who would love to have the artwork for albums like Beatles 65, Yesterday And Today, etc.... Knowing how rabid Beatles fans are, I'm surprised they haven't comissioned a box set release like that
Rumor has it, in fact, that Capitol plans to release the pre-Pepper U.S. albums on compact disc soon. Ugh! The U.S./Canadian* discography was an abomination. And when they switched from the U.S. to the U.K. discography ion the eighties, and also from vinyl to CD, I was trying to accumulate the pre-1967 recordings, and I ended up having to buy a lot of the same songs twice.
Thrice, in some cases. :(
FUN FACT: :"From Me To You," the Beatles's first unanimous number-one single on all four British pop charts, was never a Top 40 hit here. Released by Vee Jay in 1963, it flopped. It was reissued in 1964 - as a B-side, only making number 41 as a separate entry. It then disappeared from U.S. Beatles records, not resurfacing until The Beatles - 1962-1966 was issued in 1973.
(*Capitol's first Canadian album, Beatlemania, featured the same contents as Britain's With the Beatles. "All My Loving" and "Roll Over Beethoven" were issued as singles north of the border to promote the album on Canadian hit radio. The Canada-only repackages Twist and Shout and Long Tall Sally followed, then United Artists' edition of A Hard Day's Night Beginning with July 1964 and Something New, all Canadian Capitol albums corresponded to the the American ones.)
Sometime between the deaths of John Lennon in 1980 and George Harrison in 2001, the then-remaining Beatles became lovingly referred to by fans as the "Threetles."
Here are the Threetles and their wives on April 27, 1981 - just four months after John's death - at Ringo Starr's wedding to Barbara Bach.
"...niaga ecin tuo denruT"
In 1994, The Beatles recorded their first song in 24 years, and thanks to modern technology, John was there to help. In fact, he was the lead singer!
Assisted by producer Jeff Lynne, Paul, George and Ringo added instruments, vocals and new lyrics to a rough 1977 John Lennon cassette demo supplied to them by Yoko Ono.
From the Beatles Anthology 1 liner notes, written by Mark Lewisohn:
Free As A Bird
[Original composition by John Lennon. Beatles version by John Lennon, Paul McCartney, George Harrison and Ringo Starr.]
Recorded New York, circa 1977, and Sussex, England, February/March, 1994
Producers John Lennon, Paul McCartney, George Harrison, Richard Starkey, Jeff Lynne
Engineer Geoff Emerick
This Recording brings together John Lennon, Paul McCartney, George Harrison and Ringo Starr.
A piece of music that he never completed, "Free As A Bird" was recorded in demo form by John Lennon at his home in New York, circa 1977. In early 1994, that original tape was entrusted to the careful attention of Paul, George and Ringo for the first "Beatles" sessions since 1970.
"We took the attitude that John had gone on holiday, saying 'I finished all the tracks except this one but I leave it to you guys to finish it off,'" Paul McCartney has since said, "and once we agreed to take that attitude it gave us a lot of freedom."
In terms of composition, that freedom resulted in further development of the melody and lyric. In recording terms, John's original mono cassette had been expanded into analogue 48-track form, his voice and piano augmented by new vocals from Paul, Ringo and George, Ringo's drums, George and Paul's acoustic guitars, Paul's bass guitar, George's lead guitar and slide solo, and Paul's piano, which doubles with John's original. And there are one or two instrumental surprises.
The outcome is an elevation of the simple beauty of John's original demo to a much higher level. Jeff Lynne, co-producer of the recording, modestly remarks, "It was tricky, but I think we've pulled it off."
"Free As A Bird" premiered, in music video form, on November 19, 1995, at the end of part one of The Beatles Anthology miniseries.
Two days later, the two-CD set The Beatles Anthology 1, featuring "Free As A Bird," hit store shelves. The album peaked at number one on the Billboard charts, while the "Free As A Bird" single made its way to number 8 on the hot 100 chart.
Free As A Bird
(Lennon/McCartney/Harrison/Starkey)
Free
As a bird
It's the next best thing to be
Free as a bird
Ah, home and dry
Like a homing bird I fly
As a bird on wings
Whatever happened to
The life that we once knew
Can we really live without each other?
Where did we lose the touch
That seemed to mean so much?
It always made me feel so free
As a bird
It's the next best thing to be
Free as a bird
Ah, home and dry
Like a homing bird I fly
As a bird on wings
Whatever happened to
The life that we once knew
It always made me feel so free
Free
As a bird
It's the next best thing to be
Free as a bird
A year later, the Threetles returned to the studio and began work on the second new Beatles song for the Anthology project.
The original John Lennon demo for the song, entitled "Real Love," was more complete than its predecessor. In fact, a demo for it is included on 1988's Imagine: John Lennon (Music From The Motion Picture), though not the same recording used by Paul, George and Ringo. This, however, didn't make the project any less challenging.
From the Beatles Anthology 2 liner notes, written by Mark Lewisohn:
Real Love
[John Lennon]
Recorded New York, circa 1979, and Sussex, England, 1995
Producers Jeff Lynne, John Lennon, Paul McCartney, George Harrison, Ringo Starr
Engineers Geoff Emerick, Jon Jacobs
Audio Sequencing Marc Mann
Thanks to Eddie Klein, John Hammel, Keith Smith, Mark Hamilton, Jamie Kirkham, Phil Hatton
A year after realising "Free As A Bird," Paul McCartney, George Harrison and Ringo Starr convened to complete a second unfinished John Lennon recording, reuniting again, by means of magnetic tape, The Beatles.
The song was different but the scenario remained the same: some time in the months before his death, John had placed a cassette recorder on the top of a piano in his New York apartment and roughly taped a basic demo of "Real Love" - adding a simple drum-machine beat, and, as he so often did, a second vocal track. In 1994, this cassette was given to Paul, George and Ringo by Yoko Ono, and the three set out to finish the job with the same degree of love and care that they had invested in "Free As A Bird."
After extraneous hum, hiss, clicks and static and been carefully removed from the cassette sound, and the original mono recording had been transferred to two 24-track analogue tapes, George and Paul added acoustic guitars, George the lead guitar and Ringo the drum track. Paul contributed two bass t5racks, first playing an electric bass guitar and then using the stand-up double bass that Bill Black had played on Elvis Presley's "Heartbreak Hotel." George, Paul and Ringo added a variety of percussion sounds, George and Paul sang backing and harmony vocals and Paul recorded a vocal track as an accompaniment to John's lead, not to duet with him but to strengthen the occasionally thin sound that came off the cassette.
"Everybody was comfortable with the final result," remarks Jeff Lynne, co-producer of the recording. "We are all very happy with it."
"Real Love" premiered, in music video form, on November 21, 1995, at the end of part two of The Beatles Anthology miniseries.
The Beatles Anthology 2, featuring "Real Love," was released on March 19, 1996. The album peaked at number one on the Billboard charts, while the "Real Love" single made its way to number 11 on the hot 100 chart.
Real Love
(Lennon)
All my little plans and schemes
Lost like some forgotten dreams
Seems that I really was doing
Was waiting for you
Just like little girls and boys
Playing with their little toys
Seems like all we really were doing
Was waiting for love
Don't need to be alone
No need to be alone
It's real love, it's real
Yes, it's real love, it's real
From this moment on I know
Exactly where my life will go
Seems that I really was doing
Was waiting for love
Don't need to be afraid
No need to be afraid
It's real love, it's real
Yes, it's real love, it's real
Thought I'd been in love before
But in my heart I wanted more
Seems like all I really was doing
Was waiting for you
Don't need to be alone
No need to be alone
It's real love, it's real
Yes, it's real love, it's real
Other John Lennon demos considered for "new" Beatle songs:
"Now And Then"
The sound quality on that particular cassette was so bad that it was impossible to clean up. On top of that, George thought the song was awful.
"Grow Old With Me"
I'm not sure why they didn't use this one, but I'm glad they didn't. The simplistic beauty of the demo recording that appears on John's posthumous album Milk And Honey needs not be overshadowed.
Below, l-r: George Harrison, Jeff Lynne, Paul McCartney, Ringo Starr.
Every year from 1963-1969, The Beatle issued Christmas recorded Christmas messages to their fan club members. These were issued on 33 1/3 flexi-discs, and distributed by Lyntone Records.
Beatles Fan Club Christmas Records:
The Beatles Christmas Record (1963)
Another Beatles Christmas Record (1964)
The Beatles' Third Christmas Record (1965)
Pantomime: Everywhere It's Christmas (1966)
Christmas Time (Is Here Again) (1967)
The Beatles' Sixth Christmas Record (1968)
The Beatles' Seventh Christmas Record (1969)
After the breakup was official, the fan club's final offering to its members was a 1970 compilation featuring all seven Christmas messages on one LP. It was issued under the title From Then To You: The Beatles Christmas Record, 1970.
Only one of these messages has made it onto CD. In 1995, an edited and "Christmas Time (Is Here Again)" was featured on the "Free As A Bird" maxi-single.
Dean Winchester
05-04-2004, 06:44 PM
I'm surprised nobody's picked Abbey Road, I know a lot of people who consider that their fave
Steve M.
05-04-2004, 10:10 PM
Originally posted by AKA
After the breakup was official, the fan club's final offering to its members was a 1970 compilation featuring all seven Christmas messages on one LP. It was issued under the title From Them To You: The Beatles Christmas Record, 1970.
I have this record on vinyl. I play it every Christmas night. :) When is Apple going to issue this album on CD? :confused:
Originally posted by Steve M.
I have this record on vinyl. I play it every Christmas night. :) When is Apple going to issue this album on CD? :confused:
It's kind of idiotic that they haven't. They'd definitely make a good profit off of it.
The Bizarre Story Of Paul McCartney and Michael Jackson
In the early '80s, Paul McCartney and Michael Jackson collaborated on three songs. The first, "The Girl Is Mine," appeared on Jackson's 1982 album, Thriller. A schmaltzy ballad, it's hard to listen to all the way through without incurring suicidal tendencies. "The gosh darn girl is mine," indeed.
The second two songs, "Say Say Say" and "The Man," were much better. They both appeared on Paul's 1983 album, Pipes Of Peace.
Both "The Girl Is Mine" and "Say Say Say" reached number one in the Billboard charts.
Paul considered Jackson a friend. This all changed in 1985 when Jackson outbid Paul on The Beatles' catalogue.
From a November, 1995 article in The Guardian:
Jackson angers ex-Beatles
Fellow artist who bought publishing rights 'cheapened' songs by using them in adverts
Angella Johnson
The Guardian
The three surviving members of the Beatles attack fellow singer Michael Jackson in a magazine article published today for 'cheapening' their work by allowing it to be used in advertising.
Jackson, who bought the publishing rights to the Beatles ' music for £50m in 1985, allows songs to be used in TV commercials for products including Nike trainers. He is thought to have received about $250,000 (about £166,000) for one advert.
They are, not surprisingly, a little miffed and a row has been brewing for some time. George Harrison warned: "Unless we do something about it, every Beatles song is going to end up advertising bras and pork pies."
He was backed by Paul McCartney, who said Jackson - with whom he recorded two singles in the 1980s, "Say Say Say" and "The Girl Is Mine" - had "cheapened" the songs released.
The bitter comments are made in the latest edition of Elle magazine, just ahead of the release of the Beatles Anthology 1 album this month, which will feature the first new tracks for a quarter of a century.
McCartney was outbid by Jackson for the rights and is said to still be furious at his refusal either to sell them back or, more gallingly, to increase his royalties, despite stories that Yoko Ono has re-negotiated the share due to her late husband, John Lennon.
It is perhaps an even more painful pill to swallow because, as he reveals in a book, McCartney: Yesterday And Today, by Ray Coleman, that it was he who advised Jackson, at a lunch party given by singer and actor Adam Faith, to get into publishing.
The 4,000-song ATV catalogue includes over 159 Lennon-McCartney Northern Songs gems and almost 100 other Beatles compositions. The group own neither their greatest compositions nor their most treasured recordings.
Despite the row, Jackson sees himself as a custodian of the great recordings of the 1960s, and recently blocked a rap album of Beatles' songs.
Since the publication of the article, Jackson has had many legal and financial troubles. He has since sold more than half the catalogue to Sony.
The Concert For George
November 29th 2002
Royal Albert Hall - London
Featuring:
Eric Clapton (Musical Director)
Joe Brown, Jools Holland and Sam Brown, Jeff Lynne, Paul McCartney, Tom Petty And The Heartbreakers, Billy Preston and Ringo Starr.
Summary (from concertforgeorge.com)
On the 29th November 2002, one year to the day that George left us, his closest friends gathered to celebrate his life in the only way they knew how - by playing his music. This amazing and historic event was captured on film and will have a limited theatrical release, opening in Los Angeles, September 24th.
The first half of the show provided an insight into George's spiritual self as Anoushka Shankar and a 16-piece orchestra of Indian musicians performed a special composition by her father and George's mentor, Ravi Shankar. The piece was entitled "Arpan," which means offering. Within the piece Ravi expresses aspects of George's moods and spiritual aspirations. "Arpan" includes Eric Clapton playing a haunting acoustic solo.
The second half gave the audience a rare sighting of members of the Monty Python team performing some of George's favorite skits, including participation from a surprise guest. This was a tribute to George's well-known sense of humor.
The night then moved to Eric and friends giving the performance of their lives singing George's songs. All the musicians that George worked with over the years, from the Beatles to the Traveling Wilburys, dedicated their time to learn the songs and perform them as a tribute to their dear friend.
Eric Clapton led the band with Jeff Lynne singing "I Want To Tell You," "The Inner Light," and "Give Me Love (Give Me Peace On Earth)." Jools Holland and Sam Brown gave "Horse To The Water" its first live outing. Tom Petty And The Heartbreakers gave a particularly resounding performance of "Taxman" as well as "I Need You" and the Wilburys number, "Handle With Care." Ringo Starr caught everyone with a tear in their eye with a rendition of "Photograph," a composition he wrote with George, which seemed to sum up how everyone felt. Paul McCartney, fresh from his world tour, treated everyone to a little bit of ukelele - one of George's favorite instruments and joined Eric and band for "While My Guitar Gently Weeps" and "For You Blue." Billy Preston had everyone out of their seats and singing along with "My Sweet Lord." The band then came together to give a rousing version of "Wah-Wah."
Joe Brown closed the evening with the old standard, "I'll See You In My Dreams," a loving and appropriate sentiment. It was a great show for one of the most loved men of our generation. We will remember George and this evening forever and hopefully we will see him in our dreams.
A limited theatrical release will begin with premieres in Los Angeles, New York, London and Tokyo, followed by the release of a two-disc DVD (the complete concert and theatrical version plus extras in late November 2003). The film was directed by David Leland and produced by Ray Cooper, Olivia Harrison and Jon Kamen.
All profits from the evening, the theatrical release and DVD will go to The Material World Charitable Foundation, founded by George in 1973.
Here's the setlist for the evening:
Sarve Shaam
Your Eyes performed by Anoushka Shankar
The Inner Light performed by Anoushka Shankar and Jeff Lynne
Arpan performed by Anoushka Shankar
Sit On My Face performed by Monty Python
The Lumberjack Song performed by Monty Python
I Want To Tell You performed by Jeff Lynne
If I Needed Someone performed by Eric Clapton
Old Brown Shoe performed by Gary Brooker
Give Me Love (Give Me Peace On Earth) performed by Jeff Lynne
Beware Of Darkness performed by Eric Clapton
Here Comes The Sun performed by Joe Brown
That's The Way It Goes performed by Joe Brown
Horse To The Water performed by Jools Holland and Sam Brown
Taxman performed by Tom Petty And The Heartbreakers
I Need You performed by Tom Petty And The Heartbreakers
Handle With Care performed by Tom Petty and Jeff Lynne
Isn't It A Pity performed by Billy Preston
Photograph performed by Ringo Starr
Honey Don't performed by Ringo Starr
For You Blue performed by Paul McCartney
Something performed by Paul McCartney and Eric Clapton
All Things Must Pass performed by Paul McCartney
While My Guitar Gently Weeps performed by Paul McCartney and Eric Clapton
My Sweet Lord performed by Billy Preston
Wah Wah performed by Eric Clapton
I'll See You In My Dreams performed by Joe Brown
The Concert For George is available on DVD (http://www.amazon.com/exec/obidos/tg/detail/-/B0000CEB4V/qid=1083789358/sr=1-1/ref=sr_1_1/102-1818101-8642555) and CD (http://www.amazon.com/exec/obidos/tg/detail/-/B0000E6I1J/qid=1083789421/sr=1-1/ref=sr_1_1/102-1818101-8642555).
Pictured below (l-r): Ringo Starr, Barbara Bach, Dhani Harrison, Olivia Harrison, Heather Mills McCartney, and Paul McCartney at the theatrical premiere of The Concert For George; September 24, 2003.
Ringo Starr, Jeff Lynne, Eric Clapton, Dhani Harrison, Paul McCartney, and others perform at The Concert For George; November 29, 2002.
Dhani Harrison (a dead ringer for his father) performs at The Concert For George; November 29, 2002.
Monty Python (sans John Cleese and the late Graham Chapman), George's favorite comedy troupe, performs "The Lumberjack Song" at The Concert For George; November 29, 2002. For bonus points: can you spot Tom Hanks in this picture?
Eric Clapton and Dhani Harrison at The Concert For George; November 29, 2002.
George's old buddy Tom Petty performs at The Concert For George; November 29, 2002.
Yes, the Heartbreakers were there, too. :)
Billy Preston performs at The Concert For George; November 29, 2002.
Paul performs "Something" on a ukelele at The Concert For George; November 29, 2002.
Ringo singing "Photograph" at The Concert For George; November 29, 2002.
A beautiful shot of George looking over the festivities (The Concert For George; November 29, 2002).
Steve M.
05-05-2004, 09:02 PM
Names the Beatles went under before settling on that name:
The Quaary Men Skiffle Group (later the Quarrymen)
Johnny and the Moondogs
The Rainbows
The Silver Beetles
The Kumquats (Okay, I made that last one up! :lol: )
Also. . .John Lennon and Paul McCartney performed as a duo one weekend in April 1960 as the Nurk Twins. :)
Steve M.
05-05-2004, 09:33 PM
Several groups have been called the new Beatles for one reason or another. Here are several of them, and why they were called a "new Beatles:"
The Dave Clark Five: Considered a potential threat to the Beatles in the Fab Four's early years.
The Rolling Stones: The only serious competitors to the Beatles, they also started out with Lennon-McCartney material ("I Wanna Be Your Man").
The Monkees: "The Prefab Four," this American (save Davy Jones, the group's British ambassador) pop group was assembled to act like the Beatles in their moptop phase. They also made some good records.
The Byrds: Gerorge Harrison called them an "American Beatles" for their harmonies and their jangly guitar sound; Derek Taylor was their press agent for two years. Roger McGuinn also admitted that the misspelling of "Byrds" was an attempt at copying the Beatles, not a pun on Admiral Byrd.
The Temptations: The Motown group from Philadelphia were revered in their hometown like the Fabs were worldwide. "They [the Temptations] were like the Beatles in Philadelphia," Daryl Hall later told MTV.
The Beau Brummels: They were the first American attempt to copy the Beatles.
The Buckinghams: Another attempt to copy the Beatles, this Chicago group (named for the fountain in Grant Park) was the Windy City's answer to the British Invasion. Their producer was James Willianm Guercio, who later produced Blood, Sweat and Tears and Chicago the group.
Creedence Clearwater Revival: The Beatles were the world's greatest rock band; CCR was America's greatest rock band. :)
Led Zeppelin: The Beatles of heavy metal. :)
The Eagles: Sometimes they were called a seventies Beatles or an American Beatles for their reputation as pop tunesmiths and for concept albums like Hotel California - not to mention for their record sales - but critics despised them for being too mellow and professional.
The Bee Gees: They started out copying light Beatles tunes, then became the biggestgroup of the seventies.
Badfinger: They got the Beatles sound down pat - so much, that people who heard "Come and Get It" and "No Matter What" in 1970 thought they were hearing a new Fab Four song.
Steely Dan: They were called "the most strategically innovative group to follow the Beatles" by pop critic Tim Riley.
Pink Floyd: The Beatles of progressive rock, their early psychedelic albums devastated Sgt. Pepper.
Squeeze: The songwriting team of Glenn Tillbrook and Chris Difford drew comparisons to Lennon and McCartney.
The Sex Pistols: The Beatles of punk.
Daryl Hall and John Oates: "I think we're the eighties Beatles," Daryl Hall said of himself and John Oates in a Rolling Stone interview. "If we'd been born twenty years earlier, maybe the world would have seen that."
Run-DMC: the Beatles of rap.
The Knack: I saved the worst for last. The Knack were marketed as a new Beatles by Capitol, and they had a chart-topping debut single - the disgusting "My Sharona" - but no one bought the new Fab Four bit, thankfully.
Originally posted by Steve M.
Badfinger: They got the Beatles sound down pat - so much, that people who heard "Come and Get It" and "No Matter What" in 1970 thought they were hearing a new Fab Four song.
Besides James Taylor, they're Apple's greatest discovery. "Come And Get It" was actually written by Paul. His demo of the tune can be heard on The Beatles Anthology 3.
In March, The Who released two new studio recordings. The songs, "Real Good Looking Boy" and "Old Red Wine," feature Zak Starkey, who's been the band's drummer since 1996. While he's certainly no Keith Moon (who is?), I think he's a much more skilled drummer than his dad, [Puts on flame-proof suit.] and a great addition to The Who.
The new tracks are currently available as part of the new Who compilation Then And Now! 1964-2004 (http://www.amazon.com/exec/obidos/tg/detail/-/B0001IXTMW/qid=1083883532/sr=1-3/ref=sr_1_3/102-1818101-8642555).
The band is currently working on a new studio album, their first since 1982's It's Hard (though it won't be the same without The Ox). Expect it to hit shelves before the end of 2004.
Aliases the Beatles have used over the years:
John:
Long John
Jockandyono
Dr. Winston O'Boogie
Rev. Thomas Ghurkin
Paul:
Paul Ramon
Percy "Thrills" Thrillington
The Fireman
George:
Carl Harrison
L'Angelo Mysterioso
Nelson Wilbury
Spike Wilbury
musicradio77
05-08-2004, 12:53 AM
AKA, you love the Beatles. You put all the information and facts about the artists and all other stuff.:) Here is a website for the Beatles from Allen Sniffen's Musicradio 77 website:
http://www.musicradio77.com/beatles.html
Cool site, BrooklynGuy.
You know a heck of a lot about radio! Do you know what station John Lennon guest-DJed on in the mid-'70s? The call letters have escaped me!
Various Beatle Guest Appearances
John Lennon
-The Rolling Stones - "We Love You" (single; song is currently available on the compilations More Hot Rocks: Big Hits And Fazed Cookies and Singles Collection: The London Years); 1967
-The Rolling Stones - Rock And Roll Circus; recorded 1968, released 1996
-Harry Nilsson - Pussy Cats; 1974
-Elton John - Captain Fantastic And The Brown Dirt Cowboy; 1975
-David Bowie - Young Americans; 1975
Paul McCartney
-Donovan - Mellow Yellow; 1967
-The Rolling Stones - "We Love You" (single; song is currently available on the compilations More Hot Rocks: Big Hits And Fazed Cookies and Singles Collection: The London Years); 1967
-James Taylor - James Taylor; 1968
-Steve Miller Band - Brave New World; 1969
-Badfinger - Magic Christian Music; 1970
-Carly Simon - No Secrets; 1972
-James Taylor - Walking Man; 1974
-Mike McGear (http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDSUB020404142046112448&sql=B2m9yxdkbjola) - McGear; 1974
-Roy Harper - One Of Those Days In England; 1977
-Duane Eddy - Duane Eddy; 1979
-Michael Jackson - Thriller; 1982
-The Everly Brothers - EB 84; 1984
-Johnny Cash - Water From The Wells Of Home; 1988
-Elvis Costello - Spike; 1989
-Super Furry Animals - Rings Around The World; 2001
George Harrison
-Cream - Goodbye; 1969
-Billy Preston - That's The Way God Planned It; 1969
-Derek And The Dominos - Layla And Other Assorted Love Songs; 1970
-Badfinger - Straight Up; 1971
-Billy Preston - I Wrote A Simple Song; 1971
-Gary Wright - Footprint; 1972
-Harry Nilsson - Son Of Dracula; 1974
-Billy Preston - It's My Pleasure; 1975
-Mick Fleetwood - The Visitor; 1981
-Gary Wright - Who I Am; 1988
-Eric Clapton - Crossroads; 1988
-Belinda Carlisle - Runaway Horses; 1989
-Eric Clapton - Journeyman; 1989
-Tom Petty - Full Moon Fever; 1989
-Bob Dylan - Under The Red Sky; 1990
-The Jeff Healey Band - Hell To Pay; 1990
-Gary Wright - First Signs Of Life; 1995
-Electric Light Orchestra - Zoom; 2001
-Jools Holland's Big Band Rhythm & Blues; 2002
Ringo Starr
-Howlin' Wolf - The London Howlin' Wolf Sessions; 1971
-B.B. King - In London; 1971
-Peter Frampton - Wind Of Change; 1972
-T. Rex - Slider; 1972
-Harry Nilsson - Son Of Dracula; 1974
-Harry Nilsson - Pussy Cats; 1974
-Keith Moon - Two Sides Of The Moon; 1975
-Carly Simon - Playing Possum; 1975
-Steven Stills - Stills; 1975
-The Manhattan Transfer - Coming Out; 1976
-Peter Frampton - I'm In You; 1977
-The Band - The Last Waltz; 1978
-Bob Dylan - Shot Of Love; 1981
-The Beach Boys - The Beach Boys; 1985
-Paul Simon - Rhythm Of The Saints; 1990
-Nils Lofgren - Silver Lining; 1991
-Tom Petty - Wildflowers; 1994
-Tom Petty And The Heartbreakers - Songs And Music From "She's The One"; 1996
Coming soon: the after-market.
1962-1966
1962-1966 (aka "The Red Album") was released by Apple Records on April 19, 1973. The album was a compilation of material the Beatles recorded up through Revolver, hand-picked by the former band members themselves.
1962-1966 contained twenty-six tracks:
Side One:
Love Me Do (Lennon/McCartney)
Please Please Me (Lennon/McCartney)
From Me To You (Lennon/McCartney)
She Loves You (Lennon/McCartney)
I Want To Hold Your Hand (Lennon/McCartney)
All My Loving (Lennon/McCartney)
Can't Buy Me Love (Lennon/McCartney)
Side Two:
A Hard Day's Night (Lennon/McCartney)
And I Love Her (Lennon/McCartney)
Eight Days A Week (Lennon/McCartney)
I Feel Fine (Lennon/McCartney)
Ticket To Ride (Lennon/McCartney)
Yesterday (Lennon/McCartney)
Side Three:
Help! (Lennon/McCartney)
You've Got To Hide Your Love Away (Lennon/McCartney)
We Can Work It Out (Lennon/McCartney)
Day Tripper (Lennon/McCartney)
Drive My Car (Lennon/McCartney)
Norwegian Wood (This Bird Has Flown) (Lennon/McCartney)
Side Four:
Nowhere Man (Lennon/McCartney)
Michelle (Lennon/McCartney)
In My Life (Lennon/McCartney)
Girl (Lennon/McCartney)
Paperback Writer (Lennon/McCartney)
Eleanor Rigby (Lennon/McCartney)
Yellow Submarine (Lennon/McCartney)
Stephen Thomas Erlewine of the All Music Guide has this to say about the compilation:
Assembling a compilation of the Beatles is a difficult task, not only because they had an enormous number of hits, but also because singles didn't tell the full story; many of their album tracks were as important as the singles, if not more so. The double-album 1962-1966, commonly called the "Red Album," does the job surprisingly well, hitting most of the group's major early hits and adding important album tracks like "You've Got to Hide Your Love Away," "Drive My Car," "Norwegian Wood," and "In My Life." Naturally, there are many great songs missing from the 26-track 1962-1966, and perhaps it would have made more sense to include the Revolver cuts on its companion volume, 1967-1970, yet the Red Album captures the essence of the Beatles' pre-Sgt. Pepper records.
1967-1970
1967-1970 (aka "The Blue Album") was released by Apple Records on April 19, 1973. The album was a compilation of material the Beatles recorded after Revolver, hand-picked by the former band members themselves.
1967-1970 contained twenty-eight tracks:
Side One:
Strawberry Fields Forever (Lennon/McCartney)
Penny Lane (Lennon/McCartney)
Sgt. Pepper's Lonely Hearts Club Band (Lennon/McCartney)
With A Little Help From My Friends (Lennon/McCartney)
Lucy In The Sky With Diamonds (Lennon/McCartney)
A Day In The Life (Lennon/McCartney)
All You Need Is Love (Lennon/McCartney)
Side Two:
I Am The Walrus (Lennon/McCartney)
Hello, Goodbye (Lennon/McCartney)
The Fool On The Hill (Lennon/McCartney)
Magical Mystery Tour (Lennon/McCartney)
Lady Madonna (Lennon/McCartney)
Hey Jude (Lennon/McCartney)
Revolution (Lennon/McCartney)
Side Three:
Back In The U.S.S.R. (Lennon/McCartney)
While My Guitar Gently Weeps (Harrison)
Ob-La-Di, Ob-La-Da (Lennon/McCartney)
Get Back (Lennon/McCartney)
Don't Let Me Down (Lennon/McCartney)
The Ballad Of John And Yoko (Lennon/McCartney)
Old Brown Shoe (Harrison)
Side Four:
Here Comes The Sun (Harrison)
Come Together (Lennon/McCartney)
Something (Harrison)
Octopus's Garden (Starkey)
Let It Be (Lennon/McCartney)
Across The Universe (Lennon/McCartney)
The Long And Winding Road (Lennon/McCartney)
Stephen Thomas Erlewine of the All Music Guide's review:
Picking up where 1962-1966 left off, the double-album compilation 1967-1970, commonly called the "Blue Album," covers the Beatles' later records, from Sgt. Pepper through Let It Be. Like the Red Album, the Blue Album contains a mixture of hits, including singles like "Lady Madonna," "Hey Jude," and "Revolution" that were never included on an LP, plus important album tracks like "Lucy in the Sky with Diamonds," "A Day in the Life," "While My Guitar Gently Weeps," and "Come Together." Like its predecessor, 1967-1970 misses several great songs, but the compilation nevertheless does capture the essence of the Beatles' later recordings.
At The Hollywood Bowl
The Beatles performed at the Hollywood Bowl in 1964 and 1965. Both concerts were recorded.
On May 6, 1977, Parlophone Records finally officially released these recordings. At The Hollywood Bowl, which was produced by George Martin, contained thirteen tracks:
Side One:
Twist And Shout (Medley/Russell)
She's A Woman (Lennon/McCartney)
Dizzy Miss Lizzy (Williams)
Ticket To Ride (Lennon/McCartney)
Can't Buy Me Love (Lennon/McCartney)
Things We Said Today (Lennon/McCartney)
Roll Over Beethoven (Berry)
Side Two:
Boys (Dixon/Farrell)
A Hard Day's Night (Lennon/McCartney)
Help! (Lennon/McCartney)
All My Loving (Lennon/McCartney)
She Loves You (Lennon/McCartney)
Long Tall Sally (Johnson/Penniman/Blackwell)
The All Music Guide's Richard S. Ginnell's review:
This is the official record of Beatlemania in full cry, a composite of two concerts recorded a year apart in Los Angeles' vast concrete amphitheater, the Hollywood Bowl, only about a mile away from the Capitol Records tower. It nearly didn't get out at all. Producer George Martin had misgivings from the start about recording the band live, and those doubts were borne out by the results, an outgunned rock quartet without stage monitors trying to play over the sheer noise of 17,000-plus kids screaming their lungs out. By 1977, Martin had been cajoled into making something out of these tapes, but there was only so much a brilliant producer could do with three-track tapes recorded under conditions that were, well, unprecedented. The band sounds muffled, tentative in spots, trying to crank out the songs by rote as best they can over the constant screaming. The album opens with five songs from the 1965 concert, then picks up the 1964 concert for three numbers, bounces back to 1965 for two more, and concludes with three from 1964. In general, the 1965 performances are better the 1964 ones, and a bit more together and less prone to lapses of concentration. Perhaps the experience of playing in such chaotic conditions in 1964 proved useful in 1965; indeed, somehow, John, Paul, and George even manage to follow Ringo's tricky rhythm on "Ticket to Ride" amidst all of the madness. In fact, Ringo was the unsung hero of these wild events, always laying down a solid beat come hell or what may. In his stage announcements, John seems to be talking only to himself, while Paul the showman does make an attempt to connect with the crowd. Though a bit late for the rush of flashback Beatlemania that accompanied the release of the Red and Blue albums in 1973, The Beatles at the Hollywood Bowl still managed to rocket up to number two on the album charts, thus knocking the bootleggers temporarily off their axis. However, the album has yet to be issued on CD — the probable reasoning being that the CD medium would further expose the sonic problems. But that didn't stop EMI from issuing the Anthology series — and besides, this is history, folks.
"I'm Ringo and I play the drums."
"I'm Paul and I play the, uh... bass."
"I'm George and I play a guitar!"
"I'm John and I, too, play a guitar. Sometimes I play the fool."
Live At The BBC
On December 6, 1994, Apple Records issued Live At The BBC, a massive document of The Beatles' many appearances on BBC Radio from 1962-1965.
The album contained many great songs the Beatles never performed on disc, including the Lennon/McCartney original "I'll Be On My Way." BBC also proved once and for all that Paul McCartney did a better Little Richard that Little Richard, himself, could do.
A two CD set, Live At The BBC contained 69 tracks:
Disc One:
1. Beatle Greetings (speech)
2. From Us To You (Lennon/McCartney)
3. Riding On A Bus (speech)
4. I Got A Woman (Charles)
5. Too Much Monkey Business (Berry)
6. Keep Your Hands Off My Baby (Goffin/King)
7. I'll Be On My Way (Lennon/McCartney)
8. Young Blood (Leiber/Stoller/Pomus)
9. A Shot Of Rhythm And Blues (Thompson)
10. Sure To Fall (In Love With You) (Perkins/Cantrell/Claunch)
11. Some Other Guy (Leiber/Stoller/Barrett)
12. Thank You Girl (Lennon/McCartney)
13. Sha la la la la! (speech)
14. Baby It's You (David/Williams/Bacharach)
15. That's All Right (Mama) (Crudup)
16. Carol (Berry)
17. Soldier Of Love (Cason/Moon)
18. A Little Rhyme (speech)
19. Clarabella (Pingatore)
20. I'm Gonna Sit Right Down And Cry (Over You) (Thomas/Biggs)
21. Crying, Waiting, Hoping (Holly)
22. Dear Wack! (speech)
23. You Really Got A Hold On Me (Robinson)
24. To Know Her Is To Love Her (Spector)
25. A Taste Of Honey (Marlow/Scott)
26. Long Tall Sally (Johnson/Penniman/Blackwell)
27. I Saw Her Standing There (Lennon/McCartney)
28. The Honeymoon Song (Theodorakis/Sansom)
29. Johnny B. Goode (Berry)
30. Memphis, Tennessee (Berry)
31. Lucille (Collins/Penniman)
32. Can't Buy Me Love (Lennon/McCartney)
33. From Fluff To You (speech)
34. Till There Was You (Wilson)
Disc Two:
1. Crinsk Dee Night (speech)
2. A Hard Day's Night (Lennon/McCartney)
3. Have A Banana! (speech)
4. I Wanna Be Your Man (Lennon/McCartney)
5. Just A Rumour (speech)
6. Roll Over Beethoven (Berry)
7. All My Loving (Lennon/McCartney)
8. Things We Said Today (Lennon/McCartney)
9. She's A Woman (Lennon/McCartney)
10. Sweet Little Sixteen (Berry)
11. 1822! (speech)
12. Lonesome Tears In My Eyes (J. Burnette/D. Burnette/Burlison/Mortimer)
13. Nothin' Shakin' (Calacrai/Fontaine/Lampert/Cleveland)
14. The Hippy Hippy Shake (Romero)
15. Glad All Over (Bennett/Tepper/Schroeder)
16. I Just Don't Understand (Wilkin/Westberry)
17. So How Come (No One Loves Me) (Bryant)
18. I Feel Fine (Lennon/McCartney)
19. I'm A Loser (Lennon/McCartney)
20. Everybody's Trying To Be My Baby (Perkins)
21. Rock And Roll Music (Berry)
22. Ticket To Ride (Lennon/McCartney)
23. Dizzy Miss Lizzy (Williams)
24. Kansas City/Hey! Hey! Hey! Hey! (Leiber/Stoller/Penniman)
25. Set Fire To That Lot! (speech)
26. Matchbox (Perkins)
27. I Forgot To Remember To Forget (Kesler/Feathers)
28. Love These Goon Shows! (speech)
29. I Got To Find My Baby (Berry)
30. Ooh! My Soul (Penniman)
31. Ooh! My Arms (speech)
32. Don't Ever Change (Goffin/King)
33. Slow Down (Williams)
34. Honey Don't (Perkins)
35. Love Me Do (Lennon/McCartney)
The All Music Guide's Richie Unterberger wrote a very positive synopsis of the package:
From 1962 to 1965, the Beatles made 52 appearances on the BBC, recording live-in-the-studio performances of both their official releases and several dozen songs that they never issued on disc. This magnificent two-disc compilation features 56 of these tracks, including 29 covers of early rock, R&B, soul, and pop tunes that never appeared on their official releases, as well as the Lennon-McCartney original "I'll Be on My Way," which they gave in 1963 to Billy J. Kramer rather than record it themselves. These performances are nothing less than electrifying, especially the previously unavailable covers, which feature quite a few versions of classics by Chuck Berry, Little Richard, Carl Perkins, and Elvis Presley. There are also off-the-beaten-path tunes by the Everly Brothers and Buddy Holly, on down to obscurities by the Jodimars, Chan Romero (a marvelous "Hippy Hippy Shake"), Eddie Fontaine, and Ann-Margret. The greatest gem is probably their fabulous version of Arthur Alexander's "Soldier of Love," which (like several of the tracks) would have easily qualified as a highlight of their early releases if they had issued it officially. Restored from existing tapes of various quality, the sound is mostly very good and never less than listenable. Unfortunately, they weren't able to include every single rarity that the Beatles recorded for the BBC; the absence of Carl Perkins' "Lend Me Your Comb," which has circulated on bootlegs in a high-fidelity version, is especially mystifying. Minor quibbles aside, these performances, available on bootlegs for years, compose the major missing chapter in the Beatles' legacy, and it's great to have them easily obtainable in a first-rate package.
The Beatles Anthology 1
Welcome, folks, to Beatlemania, '90s style.
In the early '90s, Paul, George and Ringo got together to tell their version(s) of the Beatles story, and to record two new Beatles songs (for more on those see "Free As A Bird" and "Real Love" earlier in this thread). After two years of interviews and research, the three-night Beatles Anthology miniseries aired on American television.
Two days after the first episode aired, the two-CD set The Beatles Anthology 1 was released. It included the new song "Free As A Bird," as well as previously unreleased material (early recordings, outtakes, home recordings, live recordings; etc.) recorded between 1958 and 1964.
The Beatles Anthology 1 contained sixty tracks:
Disc One:
1. Free As A Bird (Lennon/McCartney/Harrison/Starkey)
2. Speech: John Lennon
3. That'll Be The Day (Allison/Holly/Petty)
4. In Spite Of All The Danger (McCartney/Harrison)
5. Speech: Paul McCartney
6. Hallelujah, I Love Her So (Charles)
7. You'll Be Mine (Lennon/McCartney)
8. Cayenne (McCartney)
9. Speech: Paul
10. My Bonnie (traditional; arranged by Sheridan)
11. Ain't She Sweet (Ager/Yellen)
12. Cry For A Shadow (Harrison/Lennon)
13. Speech: John
14. Speech: Brian Epstein
15. Searchin' (Leiber/Stoller)
16. Three Cool Cats (Leiber/Stoller)
17. The Sheik Of Araby (Smith/Wheeler/Snyder)
18. Like Dreamers Do (Lennon/McCartney)
19. Hello Little Girl (Lennon/McCartney)
20. Speech: Brian Epstein
21. Besame Mucho (Velazquez/Skylar)
22. Love Me Do (Lennon/McCartney)
23. How Do You Do It (Murray)
24. Please Please Me (Lennon/McCartney)
25. One After 909 (false starts) (Lennon/McCartney)
26. One After 909 (Lennon/McCartney)
27. Lend Me Your Comb (Twomen/Wise/Weisman)
28. I'll Get You (Lennon/McCartney)
29. Speech: John
30. I Saw Her Standing There (Lennon/McCartney)
31. From Me To You (Lennon/McCartney)
32. Money (That's What I Want) (Gordy/Bradford)
33. You Really Got A Hold On Me (Robinson)
34. Roll Over Beethoven (Berry)
Disc Two:
1. She Loves You (Lennon/McCartney)
2. Till There Was You (Wilson)
3. Twist And Shout (Lennon/McCartney)
4. This Boy (Lennon/McCartney)
5. I Want To Hold Your Hand (Lennon/McCartney)
6. Speech: Eric Morecambe and Ernie Wise
7. Moonlight Bay (Madden/Wenrich)
8. Can't Buy Me Love (Lennon/McCartney)
9. All My Loving (Lennon/McCartney)
10. You Can't Do That (Lennon/McCartney)
11. And I Love Her (Lennon/McCartney)
12. A Hard Day's Night (Lennon/McCartney)
13. I Wanna Be Your Man (Lennon/McCartney)
14. Long Tall Sally Johnson/Penniman/Blackwell)
15. Boys (Dixon/Farrell)
16. Shout (Rudolph Isley/Ronald Isley/O'Kelly Isley)
17. I'll Be Back (demo) (Lennon/McCartney)
18. I'll Be Back (complete) (Lennon/McCartney)
19. You Know What To Do (Harrison)
20. No Reply (demo) (Lennon/McCartney)
21. Mr. Moonlight (Johnson)
22. Leave My Kitten Alone (John/Turner/McDougal)
23. No Reply (Lennon/McCartney)
24. Eight Days A Week (false starts) (Lennon/McCartney)
25. Eight Days A Week (Lennon/McCartney)
26. Kansas City/Hey! Hey! Hey! Hey! (Leiber/Stoller/Penniman)
Would this post be complete if I didn't cite the All Music Guide? I didn't think so, either. Here's Richie Unterberger's review.
The first in a series of three double-CD sets of previously unreleased and rare Beatles material, released in conjunction with the mammoth Anthology video documentary. This covers the late '50s to the end of 1964, mixing studio outtakes, live performances, primitive recordings from the Quarrymen/Silver Beatles days, excerpts from the famous 1962 Decca audition, the most notable 1961 Tony Sheridan-era recordings, and brief spoken bits from interviews. Although this material is undeniably of vast historical importance, it can't be placed in the same company as the Beatles' proper albums, in either cohesion or quality. While the studio outtakes (many never even heard on bootleg) are the most enticing items, these are almost exclusively alternate versions of songs they placed on their official releases (the most notable exceptions being the 1964 R&B cover "Leave My Kitten Alone," the 1962 demo "How Do You Do It," and the unimpressive 1964 Harrison original "You Know What to Do"). Sometimes the differences are quite interesting (a much more electric-oriented version of "And I Love Her," for example), but the alternates also illustrate how the group were virtually unerring in selecting the best arrangement and take of their songs for the final versions. The pre-1962 items are sometimes taken from private rehearsal tapes of primitive fidelity and are really of archival value only. One could go on at great length about the many curiosities and finds unearthed by this compilation, but for most general consumers, two observations may suffice. It does not stand up to the Beatles' fully conceived albums (even Live at the BBC), but the Beatles' scraps and leavings are more interesting than over 95 percent of other performers' best work. By that standard, this must be judged a worthwhile collection, especially (but not solely) for dedicated Beatles fans.
The Beatles Anthology 2
Continuing where its predecessor left off, The Beatles Anthology 2 was released on March 19, 1996. The two-disc set contained the new song "Real Love," as well as unreleased material recorded between 1965 and early 1968.
The Beatles Anthology 2 contained 44 tracks:
Disc One:
1. Real Love (Lennon)
2. Yes It Is (Lennon/McCartney)
3. I'm Down (Lennon/McCartney)
4. You've Got To Hide Your Love Away (Lennon/McCartney)
5. If You've Got Trouble (Lennon/McCartney)
6. That Means A Lot (Lennon/McCartney)
7. Yesterday (Lennon/McCartney)
8. It's Only Love (Lennon/McCartney)
9. I Feel Fine (Lennon/McCartney)
10. Ticket To Ride (Lennon/McCartney)
11. Yesterday (live) (Lennon/McCartney)
12. Help! (Lennon/McCartney)
13. Everybody's Trying To Be My Baby (Perkins)
14. Norwegian Wood (This Bird Has Flown) (Lennon/McCartney)
15. I'm Looking Through You (Lennon/McCartney)
16. 12-Bar Original (Lennon/McCartney/Harrison/Starkey)
17. Tomorrow Never Knows (Lennon/McCartney)
18. Got To Get You Into My Life (Lennon/McCartney)
19. And Your Bird Can Sing (Lennon/McCartney)
20. Taxman (Harrison)
21. Eleanor Rigby (strings only) (Lennon/McCartney)
22. I'm Only Sleeping (rehearsal) (Lennon/McCartney)
23. I'm Only Sleeping (take 1) (Lennon/McCartney)
23. Rock And Roll Music (Berry)
24. She's A Woman (Lennon/McCartney)
Disc Two:
1. Strawberry Fields Forever (demo sequence) (Lennon/McCartney)
2. Strawberry Fields Forever (take 1) (Lennon/McCartney)
3. Strawberry Fields Forever (take 7 & edit piece) (Lennon/McCartney)
4. Penny Lane (Lennon/McCartney)
5. A Day In The Life (Lennon/McCartney)
6. Good Morning Good Morning (Lennon/McCartney)
7. Only A Northern Song (Lennon/McCartney)
8. Being For The Benefit Of Mr. Kite! (takes 1 and 2) (Lennon/McCartney)
9. Being For The Benefit Of Mr. Kite! (take 7) (Lennon/McCartney)
10. Lucy In The Sky With Diamonds (Lennon/McCartney)
11. Within You Without You (instrumental) (Harrison)
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) (Lennon/McCartney)
13. You Know My Name (Look Up The Number) (Lennon/McCartney)
14. I Am The Walrus (Lennon/McCartney)
15. The Fool On The Hill (demo) (Lennon/McCartney)
16. Your Mother Should Know (Lennon/McCartney)
17. The Fool On The Hill (take 4) (Lennon/McCartney)
18. Hello, Goodbye (Lennon/McCartney)
19. Lady Madonna (Lennon/McCartney)
20. Across The Universe (Lennon/McCartney)
For completeness' sake, here's Richie Unterberger's review of The Beatles Anthology 2 from The All Music Guide:
As expected, the second installment of the Anthology series reflects the Beatles' increasing use of the studio-as-laboratory during their "middle years." Some live material from 1965 to 1966 appears on the first disc, and the second "reunion" single ("Real Love") leads off the set. But the emphasis is upon alternate takes from early 1965 to early 1968, during which time the group rapidly evolved from post-Merseybeat through folk-rock to psychedelia. As with the first volume, this is nearly always interesting but perhaps thinner on revelations than some might expect. The Help!-era outtakes "If You've Got Troubles" and "That Means a Lot" are on the light side but very fun, especially the latter, which Paul and the group perform much better than P.J. Proby (who covered the song shortly afterward). Some of the alternate takes are extremely different and excellent performances on their own merits: the funkier version of "I'm Looking Through You" and the less mellow arrangement of "Norwegian Wood," a wall-of-drugs reverb for "Tomorrow Never Knows," a very Byrds-like approach to "And Your Bird Can Sing" (with giggle-laden vocals), and an acoustic demo of "Fool on the Hill." The earlier, much more acoustic version of "Strawberry Fields Forever" is the most notable gem. On the other hand, much of the material differs from the official cuts in fairly minute gradations and will be of greater interest to scholars than general listeners (although discoveries like a different solo on "Penny Lane" are fascinating). The seven live tracks on disc one, from the waning days of Beatlemania, are better than many would have assumed, showing the group still capable of generating heat onstage
"You all will have read that Dave Dee's no longer with us..."
The Beatles Anthology 3
The last Anthology album covers 1968-1970, from the "White Album" demos through the final Beatles recording session in January, 1970.
The Beatles Anthology 3, which was released on October 29, 1996, contains fifty tracks.
Disc One:
1. A Beginning (Martin)
2. Happiness Is A Warm Gun (Lennon/McCartney)
3. Helter Skelter (Lennon/McCartney)
4. Mean Mr. Mustard (Lennon/McCartney)
5. Polythene Pam (Lennon/McCartney)
6. Glass Onion (Lennon/McCartney)
7. Junk (McCartney)
8. Piggies (Harrison)
9. Honey Pie (Lennon/McCartney)
10. Don't Pass Me By (Starkey)
11. Ob-La-Di, Ob-La-Da (Lennon/McCartney)
12. Good Night (Lennon/McCartney)
13. Cry Baby Cry (Lennon/McCartney)
14. Blackbird (Lennon/McCartney)
15. Sexy Sadie (Lennon/McCartney)
16. While My Guitar Gently Weeps (Harrison)
17. Hey Jude (Lennon/McCartney)
18. Not Guilty (Harrison)
19. Mother Nature's Son (Lennon/McCartney)
20. Glass Onion (Lennon/McCartney)
21. Rocky Raccoon (Lennon/McCartney)
22. What's The New Mary Jane (Lennon/McCartney)
23. Step Inside Love/Los Paranoias (Lennon/McCartney)
24. I'm So Tired (Lennon/McCartney)
25. I Will (Lennon/McCartney)
26. Why Don't We Do It In The Road (Lennon/McCartney)
27. Julia (Lennon/McCartney)
Disc Two:
1. I've Got A Feeling (Lennon/McCartney)
2. She Came In Through The Bathroom Window (Lennon/McCartney)
3. Dig A Pony (Lennon/McCartney)
4. Two Of Us (Lennon/McCartney)
5. For You Blue (Harrison)
6. Teddy Boy (McCartney)
7. Rip It Up/Shake, Rattle And Roll/Blue Suede Shoes (Blackwell/Marascalo/Calhoun/Perkins)
8. The Long And Winding Road (Lennon/McCartney)
9. Oh! Darling (Lennon/McCartney)
10. All Things Must Pass (Harrison)
11. Mailman, Bring Me No More Blues (Roberts/Katz/Clayton)
12. Get Back (Lennon/McCartney)
13. Old Brown Shoe (Harrison)
14. Octopus's Garden (Starkey)
15. Maxwell's Silver Hammer (Lennon/McCartney)
16. Something (Harrison)
17. Come Together (Lennon/McCartney)
18. Come And Get It (McCartney)
19. Ain't She Sweet (Ager/Yellen)
20. Because (Lennon/McCartney)
21. Let It Be (Lennon/McCartney)
22. I Me Mine (Harrison)
23. The End (Lennon/McCartney)
Here is Richie Unterberger's review of The Beatles Anthology 3 from The All Music Guide:
The final installment of the Anthology series has two discs of previously unreleased material from the "White Album" era through the group's demise in early 1970. In terms of sheer listenability, this may be the strongest volume of the three, if only because it focuses almost solely upon studio recordings, rather than mixing live concerts/broadcasts and outtakes. Also, by this time the Beatles had perfected their approach to recording, meaning that even the early/alternate versions of many of their cuts were often of outstanding quality. There's some prime stuff here: "unplugged" White Album demos from mid-'68, radically different versions of "While My Guitar Gently Weeps" and "Helter Skelter," a stringless "The Long and Winding Road," three beautifully sung and played Harrison solo demos from early 1969, and several songs the Beatles never released, like "All Things Must Pass," "Not Guilty," "Teddy Boy," "Come and Get It," and "Junk." Not everything here is so great that the casual consumer will be fascinated, of course. As on previous Anthology sets, some of these alternates are only very slightly different from the official versions; the oldies covers from the Let It Be era are off-the-cuff jams that aren't up to the group's usual level of brilliance. It's still a fascinating collection, both for the insight it affords us into the group's creative process at the end of their career, and for the considerable excellence of the music itself.
1
On November 14, 2000, Apple Records released a compilation of Beatles singles that went to number one around the world.
Entitled 1, the album contained 27 tracks:
1. Love Me Do (Lennon/McCartney)
2. From Me To You (Lennon/McCartney)
3. She Loves You (Lennon/McCartney)
4. I Want To Hold Your Hand (Lennon/McCartney)
5. Can't Buy Me Love (Lennon/McCartney)
6. A Hard Day's Night (Lennon/McCartney)
7. I Feel Fine (Lennon/McCartney)
8. Eight Days A Week (Lennon/McCartney)
9. Ticket To Ride (Lennon/McCartney)
10. Help! (Lennon/McCartney)
11. Yesterday (Lennon/McCartney)
12. Day Tripper (Lennon/McCartney)
13. We Can Work It Out (Lennon/McCartney)
14. Paperback Writer (Lennon/McCartney)
15. Yellow Submarine (Lennon/McCartney)
16. Eleanor Rigby (Lennon/McCartney)
17. Penny Lane (Lennon/McCartney)
18. All You Need Is Love (Lennon/McCartney)
19. Hello, Goodbye (Lennon/McCartney)
20. Lady Madonna (Lennon/McCartney)
21. Hey Jude (Lennon/McCartney)
22. Get Back (Lennon/McCartney)
23. The Ballad Of John And Yoko (Lennon/McCartney)
24. Something (Harrison)
25. Come Together (Lennon/McCartney)
26. Let It Be (Lennon/McCartney)
27. The Long And Winding Road (Lennon/McCartney)
Here's Stephen Thomas Erlewine's review of 1 from The All Music Guide:
Apparently, there was a gap in the Beatles' catalog, after all — all the big hits weren't on one tidy, single-disc compilation. It's not the kind of gap you'd necessarily notice — it's kind of like realizing you don't have a pair of navy blue dress socks — but it was a gap all the same, so the group released Beatles 1 late in 2000, coinciding with the publication of their official autobiography, the puzzlingly titled Anthology. The idea behind this compilation is to have all the number one singles the Beatles had, either in the U.K. or U.S., on one disc, and that's pretty much what this generous 27-track collection is. It's easy, nay necessary, to quibble with a couple of the judgment calls — look, "Please Please Me" should be here instead of "From Me to You," and it's unforgivable to bypass "Strawberry Fields Forever" (kick out "Yellow Submarine" or "Eleanor Rigby") — but there's still no question that this is all great music, and there is a bit of a rush hearing all these dazzling songs follow one after another. If there's any complaint, it's that even if it's nice to have something like this, it's not really essential. There's really no reason for anyone that owns all the records to get this too — if you've lived happily without the red or blue albums, you'll live without this. But, if you give this to any six- or seven-year-old, they'll be pop fans, even fanatics, for life. And that's reason enough for it to exist.
Other after-market Beatles albums:
Hey Jude (Apple; 1970)
The Beatles' Christmas Album (Apple; 1970)
Rock 'N' Roll Music (Parlophone; 1976)
Love Songs (Parlophone; 1977)
Rarities (Parlophone; 1978)
Ballads (Parlophone; 1980)
Reel Music (Parlophone; 1982)
20 Greatest Hits (Parlophone; 1982)
Steve M.
05-18-2004, 11:29 PM
Originally posted by AKA
"You all will have read that Dave Dee's no longer with us..."
FUN FACT: George Harrison made that remark as a reference to John Lennon's absence in the studio when the other three Beatles recorded "I Me Mine" on January 3, 1970. "Dave Dee" was a member of the group Dave Dee, Dozy, Beaky, Micky, and Tich, a British pop group from Wiltshire that was famous in the U.K. but didn't go anywhere here. Think it had something to do with the name? :lol:
Stuart Sutcliffe
From about early 1960 to mid-1961, Stuart Sutcliffe was the bass player in the Beatles, leaving the group before they even made their first recordings as Tony Sheridan's backing band. Sutcliffe never recorded in a studio with the Beatles (although he is probably on a lengthy bootleg tape of rehearsals from around 1960), and all of the evidence, from recollections of other Beatles and others who saw them in the early 1960s, indicates that his musical talents were marginal at best. He was considered a brilliant and promising young artist, but died of a cerebral hemorrhage at the age of 22, not even surviving to see the Beatles make the charts for the first time in late 1962. However, Sutcliffe did leave an imprint on the band in his sense of visual style and artistic sensibilities, particularly in his combed-down hairstyle, which he was the first member to adopt.
Sutcliffe became close friends with John Lennon when the pair were attending Liverpool Art College in the late 1950s. It was an odd match as Sutcliffe was considered one of the college's best students, and Lennon one of its worst, but they had a lot of mutual intellectual and aesthetic adventurousness. Sutcliffe unexpectedly won a prize for 65 pounds when one of his paintings sold after being shown at an exhibition, and decided to buy an electric bass guitar with the money in January 1960. This was so he could join Lennon's group, known as the Quarry Men, but soon to change their name to the Silver Beatles and, finally, the Beatles.
Sutcliffe was far behind the other Beatles musically, and never did come close to catching up. Such was his lack of proficiency on bass that he would play with his back to the audience (as seen in a frequently published photo of a May 1960 audition). Still, as he was John's friend his place in the band was guaranteed for the time being, and he accompanied them on their first (brief) tour, as a backing group for singer Johnny Gentle in Scotland in mid-1960. Joined by drummer Pete Best, the Beatles went to Hamburg in August 1960, and Sutcliffe was with them for the next few months as they gained experience in the German city's clubs.
Accounts vary as to just how good (or bad) Stuart became on bass. There is a primitive rehearsal tape from (probably) around 1960 that has been bootlegged, but the recording is so technically lo-fi that it's even difficult to hear a bass, let alone determine the virtuosity of the player; a few songs from that tape were officially issued on the Beatles' Anthology 1. The consensus seems to be that he never became good, or even attained a basic professional standard, on the instrument.
He did very occasionally sing onstage. But according to the thorough listing of songs the Beatles performed live in Mark Lewisohn's The Complete Beatles Chronicle, there are just two tunes—the Elvis Presley ballads "Love Me Tender" and "Loving You"—that Sutcliffe is known to have sung lead on. It came to light in the Sutcliffe biography Backbeat: Stuart Sutcliffe: The Lost Beatle that Stuart did actually write some songs, though none seem to have been seriously performed (let alone recorded) by the Beatles. It has sometimes been written that Sutcliffe and Paul McCartney did not get along, perhaps partially due to McCartney's frustrations with Sutcliffe's musical limitations. They did have a fight onstage once (though this apparently didn't have anything to do with music).
While in Hamburg, Sutcliffe met and fell in love with fellow artist Astrid Kirchherr. Kirchherr was the first photographer to take pictures of the Beatles that caught their charisma on film, and also influenced Sutcliffe to change from his James Dean-type hairstyle to a bangs-forward one that had been adopted by some European students. This was the origination of the Beatles hairstyle, and although it was initially ridiculed by some of the other guys in the band, all of them (except Pete Best) eventually took on the haircut too.
Sutcliffe drifted out of the Beatles somewhat earlier than has often been reported. When the Beatles returned to Liverpool from Hamburg in December 1960, Sutcliffe stayed behind in Hamburg, both to be with Kirchherr and to check out the possibility of continuing his art studies at college in Germany. He did come back to Liverpool in early 1961 and played some shows with the Beatles, who were now starting to become a very popular local group. But his heart was now more in other pursuits, and he was for most purposes out of the band when the Beatles came back to Hamburg for another extended stay in April 1961. Paul McCartney assumed the role of Beatles bass player from approximately this point onward. Stuart did sit in with them from time to time, and remained on friendly terms with them, especially Lennon. He did not, according to Lewisohn's The Complete Beatles Chronicle, play on their recording sessions as Tony Sheridan's backup unit in June 1961, although he attended as an observer.
In 1961 Sutcliffe, now engaged to Kirchherr, was studying painting and sculpture under artist Eduardo Paolozzi at Hamburg's State School of Art. As the year progressed he grew seriously ill with a disease that could not be diagnosed, painful headaches being the most alarming symptom. His attacks grew grave by the spring of 1962, and he died after a final collapse on April 10, 1962. The Beatles, by unfortunate coincidence, arrived in Hamburg on April 11 (except George Harrison, who came a day later) to begin an extended engagement at the Star Club. They did not learn of Sutcliffe's death until they were met at the airport by Astrid Kirchherr.
Sutcliffe's influence was not forgotten by the Beatles, particularly Lennon of course. A few years later he said, "I look up to Stuart Sutcliffe—I depended on him to tell me the truth, the way I do with Paul today. Stu would tell me if something was good and I'd believe him." Sutcliffe is one of the many faces pictured on the -Sgt. Pepper album cover.
For someone often described as an artist with enormous potential, Sutcliffe's paintings are surprisingly difficult to view, even as reproductions. Many of them are reproduced in the limited edition fine art biography Stuart, issued by Genesis Publications in 1996, although the cost of 250 pounds or so makes it prohibitive even for most Beatlemaniacs. There is also a conventional full-length biography of Sutcliffe, Backbeat: Stuart Sutcliffe: The Lost Beatle, by Alan Clayson and Pauline Sutcliffe (Sutcliffe's younger sister). Sutcliffe's experiences in the early Beatles formed a large part of the movie Backbeat, which took a lot of liberalizations with the facts in its treatment of Sutcliffe and the other Beatles.—Richie Unterberger
Pete Best
For most general rock fans, the Pete Best story ends on August 16, 1962. That's when Beatles manager Brian Epstein told the unfortunate drummer that he was being replaced by Ringo Starr, just weeks before the group would record their first single. Most fans don't know that Best did continue to perform and record for a few years, usually as the leader of his own group, and usually for cheapo companies eager to exploit his notoriety as an ex-Beatle. Certainly these discs are of little interest to anyone besides Beatle/British Invasion obsessives. But if you're on that path already, you might find them — and indeed the whole Pete Best solo chapter — more interesting than you would expect.
As the Beatles' drummer, no one could dispute that Best played an important part in their formative years, holding a seat in the band between August 1960 and August 1962. He played with them on most of their crucial Hamburg residencies, and his house was a sort of base for some of their business operations; indeed, Pete's mother, Mona Best, can claim to have done a good deal for their early career as an unofficial promoter. Whether he was the most popular Beatle at this point is still a matter of hot dispute, but he was undoubtedly very popular with the fans, especially the female ones.
Both anecdotal and recorded evidence, however, suggests that his musical talents were not up to par with either the other Beatles or his replacement, Ringo Starr. He did record with the group in Hamburg (for sessions on which they mostly functioned as a backup band for Tony Sheridan), as well as their 1962 Decca audition, a couple of early 1962 BBC sessions, and their June 1962 EMI audition. Some of these tracks are officially available on the Beatles' Anthology 1; many others are included on bootlegs. The scant body of work from this period suggests that Best was no more than a pedestrian drummer.
He also rarely took lead vocals, so when Epstein set him up with a job in another group, it was not as the leader, but as the drummer for another popular Liverpool band, Lee Curtis & the All Stars. Best only recorded one 1963 single with them before Curtis & the All Stars went their separate ways. Decca then renamed the All Stars the Pete Best Four to capitalize on the drummer's fame, although he didn't sing on their one Decca single (from 1964).
Then follows the strangest part of the Best saga, as the group were flown over to the United States by a shady promoter. Using New York City as their base, the Pete Best Combo, as they were now called, recorded quite a bit of studio material there in the mid-'60s. Best, although nominally the group's leader, again did nothing but drum. The real creative forces in the group were guitarist Tony Waddington and bassist Wayne Bickerton, who wrote the original material and handled the vocals. The results were issued on singles on tiny fly-by-night U.S. labels in the mid-'60s, with many other tracks dribbling out decades later on reissues.
These recordings were kind of generic, but really weren't half-bad. As singers and writers, Waddington and Bickerton were competent (though no more than that), achieving a strange Mersey-meets-mid-'60s-New York-pop-rock hybrid, with a bit of a garage feel. Nothing came of them commercially, of course, especially when Best decided he'd had enough of the charade and went back to Liverpool. The rest of the group followed, but they only lasted a couple of more gigs before falling apart. Best took a job in a bakery before embarking upon a career as a civil servant, recording what basically amounted to souvenir albums in the 1990s, and going on a year-long tour after his retirement from Liverpool's employment service in 1994.—Richie Unterberger
Pictured below: The Beatles in Hamburg, 1960. From left-right: Pete Best, George Harrison, John Lennon, Paul McCartney, Stuart Sutcliffe. Photo by Astrid Kirchherr.
Stuart Sutcliffe and Astrid Kirchherr.
Stu was the first Beatle to adopt the "Beatle haircut."
The famous "back-to-audience" photo, as mentioned above in Stuart Sutcliffe's bio.
From left: Stuart Sutfliffe, John Lennon, Paul McCartney, John Hutchinson, George Harrison.
Blair85
05-19-2004, 05:51 PM
Originally posted by BuffySlayer79
I'm surprised nobody's picked Abbey Road, I know a lot of people who consider that their fave
I like them all, but Abbey Road is my favorite. Mom has most of the original albums and I love listening to those records. I wish that along w/ cds & tapes that they still made records!!!!
Originally posted by Blair85
I wish that along w/ cds & tapes that they still made records!!!!
They do! I buy new records all the time. You just have to know where to find 'em. :)
Blair85
05-19-2004, 06:19 PM
Originally posted by AKA
They do! I buy new records all the time. You just have to know where to find 'em. :)
HUH?!? Really? Brand new records? Where do you get yours because I would really love to buy records!
Yep, brand new records!
I buy mine at a local store here in town called 4,000 Holes. Check and see if there are any "mom and pop" stores in your town that sell them (don't bother with the big retailers).
I also buy some hard-to-find vinyl online. Here are two stores I shop at:
www.acousticsounds.com
www.redtrumpet.com
More recent albums I own on vinyl:
Audioslave - Audioslave (2000)
Beastie Boys - Hello Nasty (1998)
The Beatles - 1 (2000)
The Beatles - Let It Be... Naked (2003)
George Harrison - Brainwashed (2002)
Jet - Get Born (2003)
Paul McCartney - Run Devil Run (1999)
Nirvana - Bleach (1989)
Nirvana - Nevermind (1991)
Nirvana - In Utero (1993)
Pink Floyd - Echoes: The Best Of Pink Floyd (2001)
Pink Floyd - Dark Side Of The Moon: 30th Anniversary Edition (2003)
Pearl Jam - Ten (1991)
Pearl Jam - Vitalogy (1994)
Pearl Jam - Binaural (2000)
Pearl Jam - Riot Act (2002)
Radiohead - The Bends (1995)
Radiohead - Hail To The Thief (2003)
The Strokes - Is This It? (2001)
Weezer - Maladroit (2002)
The White Stripes - White Blood Cells (2001)
The White Stripes - Elephant (2003)
Pete Yorn - Day I Forgot (2003)
Blair85
05-19-2004, 07:05 PM
Originally posted by AKA
Yep, brand new records!
I buy mine at a local store here in town called 4,000 Holes. Check and see if there are any "mom and pop" stores in your town that sell them (don't bother with the big retailers).
I also buy some hard-to-find vinyl online. Here are two stores I shop at:
www.acousticsounds.com
www.redtrumpet.com
More recent albums I own on vinyl:
Audioslave - Audioslave (2000)
Beastie Boys - Hello Nasty (1998)
The Beatles - 1 (2000)
The Beatles - Let It Be... Naked (2003)
George Harrison - Brainwashed (2002)
Jet - Get Born (2003)
THANKS SO MUCH for telling me! I had no idea that records were still made...I'm excited now and that doesn't happen very often. There's no use in looking for record stores in my town because all we have is a grocery store. I can't believe how expensive records are now! I looked at that site and they're more expensive then cds. Thanks again for the help!
Paul McCartney - Run Devil Run (1999)
Nirvana - Bleach (1989)
Nirvana - Nevermind (1991)
Nirvana - In Utero (1993)
Pink Floyd - Echoes: The Best Of Pink Floyd (2001)
Pink Floyd - Dark Side Of The Moon: 30th Anniversary Edition (2003)
Pearl Jam - Ten (1991)
Pearl Jam - Vitalogy (1994)
Pearl Jam - Binaural (2000)
Pearl Jam - Riot Act (2002)
Radiohead - The Bends (1995)
Radiohead - Hail To The Thief (2003)
The Strokes - Is This It? (2001)
Weezer - Maladroit (2002)
The White Stripes - White Blood Cells (2001)
The White Stripes - Elephant (2003)
Pete Yorn - Day I Forgot (2003)
Steve M.
05-19-2004, 10:15 PM
Originally posted by AKA
The famous "back-to-audience" photo, as mentioned above in Stuart Sutcliffe's bio.
From left: Stuart Sutfliffe, John Lennon, Paul McCartney, Pete Best, George Harrison.
The drummer in the back-to-audience photo is not Pete Best, but John "Johnny Hutch" Hutchinson. A local drummer in the Mersey Beat scene, Hutchinson sat in with the Beatles during their audition for Larry Parnes at a time when the group was between drummers. Colin Hanton, who only played as a hobby, had long since left, and Pete Best hadn't joined yet.
You're right. I did know that. I think my brain was on auto-pilot. They talked about that in the Anthology book.
Mal Evans
Largely through chance, Mal Evans became (with Neil Aspinall) one of the Beatles' two main road managers throughout Beatlemania. Aspinall and Evans were probably, aside from manager Brian Epstein, the two people most apt to be in the Fab Four's company from 1963 to 1966, the most intense years of their international fame. After the Beatles stopped touring in late 1966, Evans remained a personal assistant to the group, and landed a few minor bit parts in Beatles recording sessions and films. He did, however, have ambitions to be more than a gopher at some point, getting involved in record production at the end of the 1960s. Although he wasn't really qualified to be a professional in this field, he did some work in this capacity for Beatle/Apple Records proteges Badfinger, whom he helped bring to the attention of the Beatles to begin with.
Evans was a 27-year-old telecommunications engineer at the post office in Liverpool when he came across the Beatles by accident in 1962. On a lunch break, he passed the Cavern Club, went in, became a regular with more visits, and eventually became a bouncer for the venue. In the summer of 1963, Brian Epstein asked him to become the Beatles' second manager, as the group's increasingly frenzied touring schedule was proving impossible for Neil Aspinall to handle alone. Evans was responsible, among other things, for driving their equipment to gigs, setting it up, testing it, and packing it up. Considering this was for the Beatles, it was far more glamorous than working for the post office. Because he was always with the group during their tours, he can be glimpsed in various scraps of film footage from the time.
Even at the end of touring, Evans was still involved in handling their equipment as it was transported among recording sessions and promotional films. Because he was in the studio so often, he ended up making minor contributions to some of their tracks, probably because he was a friend and he was there. His miscellaneous credits including as the voice counting the bars on an outtake of "A Day in the Life," digging the gravel on "You Know My Name," singing as one of the large chorus on "Yellow Submarine," hitting one of the piano notes that ends "A Day in the Life," playing harmonica on "Being for the Benefit of Mr. Kite," playing some incidental percussion on "Magical Mystery Tour," playing trumpet on "Helter Skelter," doing handclaps on "Birthday."..you get the idea. He wasn't a musician, he was just called upon to do simple things that anyone could have done. He also had bit roles in the Magical Mystery Tour film, in which he played one of the magicians, and the Let It Be movie, in which he can be seen talking to police before they come up to the Apple headquarters rooftop to stop the Beatles' live performance.
When the Beatles were running Apple, Evans got slightly involved in the artistic end of things. In 1968, he brought demos by an unsigned band called the Iveys to Apple, and it was as a result of his uncommon enthusiasm for the music that Paul McCartney actually listened to and got enthusiastic about it as well. The Iveys signed to Apple in 1968, and in 1969, after a few releases as the Iveys, changed their name to Badfinger, who were one of the finer pop-rock groups of the late 1960s and early 1970s. They were also the most successful act (other than the Beatles) to record for Apple.
At the tail end of 1968, Evans actually started to get involved in the Iveys/Badfinger sessions as producer. He ended up producing much of the material that ended up on their Magic Christian Music LP, as well as their hit single "No Matter What" (although he did not produce their first hit, "Come and Get It," which was produced by Paul McCartney). However, he was ousted from the group's affairs in mid-1970, partly, according to the Badfinger biography Without You, because Badfinger manager Bill Collins felt that Evans was angling to get involved in their management too. Badfinger's production was turned over to Geoff Emerick, who had been closely involved with the Beatles' recordings from 1966 to 1969 as an engineer. Badfinger was not Evans' sole production effort from the late 1960s. He also did an unreleased track with the obscure British band Rupert's People, although a Record Collector article claimed that "the rather muddy, distant feel to the song proved that Mal was no producer."
With the breakup of the Beatles and the decline of Apple, Evans had less to keep him occupied in the music business. He moved to Los Angeles and somehow ended up producing some of Keith Moon's disastrous solo album, Two Sides of the Moon, there in 1974. The Evans-supervised sessions from these were considered so unsuitable that many of the parts were re-recorded with a different producer, Skip Taylor. The failure of the project probably exacerbated his low spirits and substance abuse problems. At the end of 1975, he was shot dead by Los Angeles Police in a murky incident at his girlfriend's apartment.—Richie Unterberger
Neil Aspinall
Neil Aspinall has been an important assistant to the Beatles since the early 1960s, first as their road manager, and then as an administrator of their financial company, Apple. Aspinall was studying to be an accountant when he first met the Beatles in late 1960, as a result of renting lodgings at the house of their drummer at the time, Pete Best. He became their road manager, first driving them around the Liverpool area, and then all around Britain as their fame spread in 1963. After Pete Best was fired by Beatles manager Brian Epstein (although it was the other three members that had made the decision) on August 15, 1962, his friend Neil Aspinall was waiting outside the office and was the first to see him as an ex-Beatle. Aspinall immediately said he would quit as well, but Best convinced him to remain with the band. That decision probably meant the difference between a middle-class life as an accountant, and a fairly rich and glamorous one as part of the Beatles' inner circle.
In 1963 Aspinall got much-needed help from a second road manager, Mal Evans. Together Aspinall and Evans road-managed the Beatles at the height of Beatlemania, Evans doing the more physical duties of setting up and hauling equipment (and acting as bodyguard), and Aspinall taking care of other matters which needed assistance. When the Beatles stopped touring in late 1966, Aspinall and Evans remained with the group as personal assistants. Aspinall, like Evans, also took on some miscellaneous parts on Beatles records when a simple task was needed that any extra hand could perform, no musical experience or ability necessary. In this capacity he played a tamboura on "Within You Without You," a harmonica on "Being for the Benefit of Mr. Kite!," and percussion on "Magical Mystery Tour," and sang on the chorus of "Yellow Submarine." He, like other people in the Beatles' employ, also threw out bits and pieces that were sometimes used to complete Beatles song lyrics.
In 1968, he got to put his accounting studies to use when he was appointed managing director of Apple Corps. That was not an easy job since the Beatles ran the company so chaotically in its first few years, and were in the process of breaking up as well. Aspinall even lost his job briefly when Allen Klein was brought in to clean house, although common sense prevailed and he (unlike many of the people Klein got rid of) was reinstalled.
The Apple record label petered out during the 1970s, but it was still very much an active company insofar as its involvement in administering many aspects of the ex-Beatles affairs, so Aspinall still had (and has) plenty to do. He was one of only three non-Beatles (the others being producer George Martin and publicist Derek Taylor) to be interviewed for the Beatles' Anthology documentary series, as he spent more time with the group than almost anyone else not in the band.—Richie Unterberger
Derek Taylor
A press officer for the Beatles throughout much of the '60s, Derek Taylor was also an author of sorts, ghostwriting Brian Epstein's autobiography, A Cellarful of Noise, and writing a book on the 1967 Summer of Love, It Was Twenty Years Ago Today. Taylor also worked as a publicist for several other important '60s groups, as well as in various capacities at several record labels. He achieved his greatest notoriety, however, as a long-time member of the Beatles' inner circle. In 1963, Taylor was a journalist, and was assigned to cover a Beatles concert at the Manchester Odeon on May 30. In his review of the show in the Daily Express, he was, for a mainstream journalist in his early 30s, unequivocally enthusiastic about the rising stars, writing in part, "The Liverpool Sound came to Manchester last night, and I thought it was magnificent...The spectacle of these fresh, cheeky, sharp, young entertainers in apposition to the shiny-eyed teenage idolaters is as good as a rejuvenating drug for the jaded adult." That glowing review helped him get access to the Beatles for a number of stories over the following year. This was a time in which the boundaries between maintaining an objective reporting stance and profiting by association were less of an issue among music journalists than they are today. So it was that Taylor ended up ghostwriting a weekly column by George Harrison for the Daily Express, and then ghosting Brian Epstein's autobiography. Indeed, Taylor impressed Epstein and the Beatles enough to be hired as Epstein's personal assistant, and the Beatles' press officer, in April 1964. Although Taylor worked in this capacity for a while, he quit after a row with Epstein, although he remained friends with the group and their manager. Taylor then moved to Hollywood and became, probably, the most famous rock publicist of the mid '60s, working with the Byrds, Beach Boys, Paul Revere and less commercial artists such as Captain Beefheart and Phil Ochs. He also helped bring Harry Nilsson to the attention of the Beatles, who became fans of his, with John Lennon becoming a close friend of Nilsson's through the mid '70s.
Reading Taylor's press releases, and hearing about his publicity campaigns today, his prose and efforts on his clients' behalf may seem gimmicky, naive, overly sunny or superficial. In the context of the times, however, he was an important liaison between the groups and the straight business world. He was not afraid to laud them as the greatest things going — which, in some cases, they were — and it was not common to find such uninhibited support for rock from over-30s in the music business in those days. And he was able to communicate with artists that were, in some cases, growing increasingly eccentric and anti-Establishment, and much more effectively than most publicists and record executives.
In 1968, Taylor rejoined the Beatles and held court at Apple as Press Officer, putting the best face on the financial chaos, tensions within the Beatles and general madness at the company to the public in the late '60s. It was he who was saddled with issuing a coy press release in April 1970, when the Beatles broke up, that did not exactly deny or confirm that the group had come to an end, writing, "Spring is here and Leeds play Cheshire tomorrow and Ringo and John and George and Paul are alive and well and living in hope. The world is still spinning and so are we and so are you. When the spinning stops, that'll be the time to worry. Not before." After the Beatles' split, Taylor worked for Warner Brothers, Elektra and Atlantic, becoming a vice-president of Warner Brothers. He produced a few albums, the most famous of these being Harry Nilsson's A Little Touch of Schmilsson in the Night. He left Warner Brothers in the late '70s and helped in the writing of the autobiographies of George Harrison and Michelle Phillips, as well as writing a few memoirs of his own. The best circulated, and best, of these was It Was Twenty Years Ago Today, which covers the Summer of Love via the Beatles' Sgt. Pepper album, and the California psychedelic youth counterculture. It interwove straight reporting with extensive quotes from musicians and other scenesters of the time, as well as his own memories. Like much of Taylor's writing, it was suffused with warm nostalgia, though this was not overbearing enough to make the text uncomfortable.
Taylor returned to Apple Corps in the mid '80s, and was involved in the archival Beatles projects generated by the company in the '90s, such as the Anthology compilations and video documentary. It is a measure of the respect that the surviving Beatles retained for Taylor that he was one of only three non-Beatles (the others were George Martin and road manager/accountant, Neil Aspinall) interviewed for the Anthology series, although frankly there were several other non-Beatles not interviewed who played a much greater role in their art and lives. He died in 1997, after a long illness.—Richie Unterberger
Geoff Emerick
Geoff Emerick was best known as the longtime engineer at Abbey Road Studios, where he worked on many of the Beatles' classic recordings. Born in 1946, he began his studio career as a disc-cutter, eventually becoming the assistant of longtime Abbey Road engineer Norman Smith; when Smith was promoted to the A&R department at EMI Records in early 1966, Emerick — then just 20 years old — was tapped to fill the vacated engineering position. His relative inexperience was viewed not as a handicap but as a major strength — without any preconceived notions of how records were "properly" made, he was ideally suited to work with the Beatles, whose musical vision had already outstripped the limits of accepted studio craft. Like producer George Martin, Emerick brought an adventurous and experimental attitude to his work with the group which forever changed the ways in which pop albums are created, greatly expanding the horizons of studio recording and fully exploiting the unlimited potential of contemporary technology.
Emerick's engineering career began with the Beatles' 1966 landmark Revolver, trailed a year later by the groundbreaking Sgt. Pepper's Lonely Hearts Club Band. Work on the group's so-called "White Album" and Abbey Road followed, as did the Zombies' 1968 masterpiece Odessey & Oracle. With Badfinger's 1970 album No Dice, Emerick began his career as a producer; he also helmed Paul McCartney and Wings' 1973 smash Band on the Run, but otherwise spent the majority of the decade's first half remaining in his engineering role, working on albums from artists ranging from Tim Hardin to America to Nazareth. He returned to production in 1976 with LPs from Robin Trower and Gino Vannelli, and a year later helmed Split Enz' Dizrhythmia. Arguably Emerick's greatest work outside of the Beatles' sphere was his production of the 1983 Elvis Costello classic Imperial Bedroom; he reunited with the singer/songwriter in 1996 for All This Useless Beauty, in the meantime working with Art Garfunkel and Tommy Keene.—Jason Ankeny
Brian Epstein
As the title of his biography suggests, Brian Epstein is widely regarded as "The man who made the Beatles." And, though he obviously had a well-spring of talent to work with, it is not unreasonable to credit Epstein with much of the group's early success. Raised in Liverpool, Epstein was the son of a jewish furniture store owner. Considerably restless, he attended several grammar schools and colleges as a young man, never really finding his niche. He was poor at sports and in the world of the British boys school was seen as somewhat of a dandy because of his impeccable clothes and neat appearance.
Before meeting the Beatles and reversing his fortunes, Epstein was also prone to whims. As a teenager he worked as a salesclerk at his father's store, becoming quite successful. Yet, at twenty-two he left his father's store, enrolling at an acting academy in London, in hope of becoming a star in the theatre. When the acting academy debacle ended, Epstein returned to his father's store and was appointed manager of the record department, NEMS (North East Music Store). The closest occupation to the entertainment industry he could find, Epstein excelled at the record shop, displaying an uncanny ability to recognize hits.
Soon several NEMS stores were sprinkled throughout Liverpool and record companies such as Decca and EMI were paying close attention to which singles the store manager ordered. Yet, at 27 Epstein was again growing restless with the provincial duties of being a store manager, regardless of how financially successful he was becoming. So, when copies of a local magazine, Mersey Beat, began to sell out at rapid pace Brian's interest in the growing Liverpool scene was piqued.
He was further intrigued when several young kids came into NEMS asking for a release by the Beatles, a group he had never heard. After heavy investigation he located the obscure German single and, when he found out the group played at a local club that was in walking distance of NEMS, The Cavern, he made plans to go see the group. When the upper-class, well-dressed Epstein entered the dingy Cavern Club in late 1961, he was floored by the energetic, raw performance of a group of ragged young men who called themselves the Beatles. He immediately offered his services as manager and pursued them with unprecedented zeal.
Now acting as their manager, Epstein cleaned up the Beatles look and stage presence, buying them expensive, matching mohair suits and securing them gigs at places other than the dingy Cavern Club. He also went on a tireless campaign to secure a recording contract for the group, getting rejected by Decca, EMI and others before conning his way through the back door of EMI by enlisting staff producer George Martin to support the Beatles.
After the Beatles released their first single, "Love Me Do," the enterprising Epstein sent friends and family all over town to ask for the record and create a buzz in the streets. Initially distrustful of Epstein, the Beatles had been won over by his devotion and, in turn, their respect and admiration for Epstein made him a major player among the Liverpool groups.
Soon Epstein's operation was expanding with the likes of Gerry & the Pacemakers and Cilla Black. It was also Epstein who orchestrated the media-hype surrounding the phenomonally successful American debut of the Beatles on the Ed Sullivan Show, an event that virtually created the first "British Invasion" in America.
Through the mid-'60s Epstein was utterly devoted to the Beatles. He controlled their booking, publicity and launched their movie career with the influential A Hard Days Night and Help! movies. Yet, in 1966, after a harrowing tour of the far east where the Beatles were nearly killed, both the group and their manager decided to put an end to touring.
With a large portion of Epstein's duties now irrelevant, his focus and organization began to fade and he retreated into a private world of loneliness. The Beatles became essentially a studio band and their popularity was such that the group needed little promotion, leaving Epstein little to do.
Always a loner, and confused and ashamed of his homosexuality, Epstein began abusing drugs and alcohol throughout 1966-67. In September of 1967, just three months after his beloved Beatles changed the face of pop music with Sgt. Pepper, Brian Epstein was found dead in his home, the victim of a drug overdose. Such was the importance of his presence to the group that later John Lennon remarked that he knew the Beatles had had it once Brian died.—Steve Kurutz
Shazbot
05-20-2004, 04:24 PM
Revolver, but I love em all.:cool:
George Martin
George Martin is best known as the producer of most of the Beatles' recordings from 1962 through 1969. His actual credits are diverse, encompassing artists ranging from 1950s jazz bandleader Humphrey Lyttleton, the comic talents of Peter Sellers and Michael Bentine, legendary vocalists like Ella Fitzgerald, and rock acts as different as Billy J. Kramer & the Dakotas, America, Peter Gabriel, and Celine Dion.
The association with the Beatles alone made him the most well-known and successful record producer in the history of popular music. In the time of his own professional prime, that distinction might have rated him a mention in some trade magazines. But with over a billion copies sold of records and songs whose making he supervised (and they are still selling, with billions of pounds and dollars spent on them), he has earned a knighthood and been the subject of a 151-song, six-CD set devoted to his work as a music director. Few record producers — John Hammond Sr., Sam Phillips, Leonard Chess, and Willie Dixon — rate as his peer, in terms of influencing the shape and direction of music.
George Martin was born in 1926 in London. Although his family wasn't especially musically oriented, Martin became interested in the piano before the age of eight, and taught himself a good deal about the instrument. His education was disrupted by the economic depression that afflicted England during the 1930s, and then by the outbreak of war. In addition to music, Martin was drawn to architecture and design, and aeronautics, and at one point considered trying to become an aircraft designer. There were no opportunities available, however, and he was further thwarted when he was rejected in his bid to join the Royal Air Force, in hope of learning to fly. Instead, he joined the Fleet Air Arm, the aviation branch of the Royal Navy, where he was eventually trained and commissioned as a flying officer, but missed seeing any action by the abrupt end of the war in August of 1945. Martin was in uniform for another year, at the end of which, after passing through a clerk's job, he entered the Guildhall School of Music, studying composition, conducting, orchestration, and theory, and taking up the oboe as a second principal instrument.
In the fall of 1950, following a short stint cataloging music for the BBC, Martin received the offer of a job as assistant to Oscar Preuss, the head of Parlophone Records. The Parlophone label in those days was part of the EMI organization, but it was a poor relation to such labels as Columbia (the British imprint, no relation to the American company of that name) and HMV Records. During the austerity of the war years, the best of Parlophone's roster in popular and classical music had been parceled out to the other two companies, leaving Parlophone with secondary and regional artists. For the next six years, as Preuss' assistant, he learned about the recording process and how to manage it, and how to work effectively with artists ranging from solo pianists and dance bands to symphony orchestras.
Parlophone released records in every category from classical to "race" (i.e., R&B), but the label's top artists during the early '50s were Scottish dance music star Jimmy Shand, Roberto Inglez, a Scotsman (real name Bob Ingles) who specialized in Latin music, conductor Karl Haas, and the London Baroque Ensemble. None of these artists, worthy and popular as they were in their respective fields, were going to conquer the world. The label eked out a profit working around the edges of low production budgets and emaciated promotional budgets, when compared to its rivals HMV and Columbia U.K.; it only seemed to have a leg-up on Regal Zonophone, the EMI imprint that, by the mid-to late '50s, had been given over entirely to Salvation Army Band recordings.
Martin joined the record industry just as it was going through a vast technological transition, from 78s to LPs and 45s — a process that EMI, owing to a certain ossified quality in its management, was slow to join — and to magnetic tape as a means of recording. He was quicker than many of his colleagues to grasp the importance of these innovations, especially magnetic tape, and what they could mean to the recording process. As early as 1955, he had recorded Peter Ustinov in a series of overdubbed recordings of his own voice and instruments, in a satirical piece called Mock Mozart — that release could be considered the distant antecedent to such creations as the Revolver and Sgt. Pepper's Lonely Hearts Club Band albums.
In 1955, when Preuss retired, Martin was selected to succeed him as the head of Parlophone Records, at 29 the youngest label chief in the company's history. Within the constraints of his budgets, he was able to start putting his own mark on the label. Outbid for most of the top music talent in the country, he got only limited chances to work with anything resembling the top artists of the era — instead, he concentrated on non-musical performers and tapped into a small but profitable niche in comedy records. Ustinov was one of his successes, but his real star was Peter Sellers, then an up-and-coming comic performer and would-be actor. Sellers, who was then best known as a member of the Goons, a popular comedy team, became a mainstay of Parlophone's stable of acts during the second half of the 1950s. Martin also added to the company's roster the talents of the Temperence Seven, a trad-jazz/nostalgia outfit who ultimately gave the producer his first number one hit on the U.K. charts with "You're Driving Me Crazy" in 1961; future Broadway star Jim Dale; and Rolf Harris, the Australian singer.
During the early rock & roll boom of 1956-1958, Martin missed a chance to sign Tommy Steele, but did get the band that accompanied him, the Vipers Skiffle Group, led by Wally Whytton, who enjoyed a Top Ten hit with "Don't You Rock Me, Daddy-O" and cut numerous successful records (even getting a release of their work in the United States) between 1957 and 1961. He didn't see much in the way of youth-oriented acts, however, until the spring of 1962, when he chanced to interview Brian Epstein, a Liverpool-based manager, about a quartet that the latter was representing. His signing of the Beatles that summer, though hardly an auspicious-seeming moment at the time, ended up forever transforming Martin, Parlophone, EMI, and popular music.
He proved to be precisely the kind of producer that they needed, in that he chose to communicate with and understand his artists — those years of nurturing Parlophone's rather threadbare roster of performers served him in good stead, where other producers, even at EMI, retained much more formal and distant relations with their artists; he recognized their songwriting talent early, and only worked to polish the resulting records and move the abilities of John Lennon and Paul McCartney (and later George Harrison and Ringo Starr) in more commercial and productive directions. What's more, he never tried to make them sound like something they weren't. His colleague Walter J. Ridley, at HMV, would communicate with acts of his such as Johnny Kidd & the Pirates by memo, and hardly ever see them, and get the hard R&B-oriented group to record absurd pop songs such as "The Birds & the Bees"; or get singers like Alma Cogan to do material that wasn't suited to her taste or the direction she wanted to go in. Norrie Paramor, at Columbia U.K., started adding strings and full orchestra to Cliff Richard's music fairly early, Martin always had his performers sound like who they were, just optimizing the recording.
Thus, "Please Please Me," with his help, evolved from a slow, dramatic Roy Orbison-style lament (which was how John Lennon conceived it) into a roaring rocker that swept all the competition before it. And "Misery," a short ballad with a break that needed embellishment, got it from Martin on electric piano without changing its character. Paul McCartney had some liking for highly melodic pop and show tunes, but when the Beatles did "Till There Was You," they did it themselves, rather than disappearing in favor of an orchestra. Martin also let John Lennon's throat-tearing single take of "Twist and Shout" get out on their all-important first album, where other producers might have played it safe by opting for a softer song.
And he was sensitive to the band's concern that they play on their own records. It was common practice in those days, with studio time expensive and teenage audiences perceived as unconcerned who backed up the singer on a record, to bring in professional session players to play on recording sessions, and leave it to the band to handle concert work (Herman's Hermits was the extreme example of this). Martin only did this once, on the Beatles' earliest sessions, calling in drummer Andy White, and only because he was unsure at the time about the abilities of new member Ringo Starr.
Most importantly, by working with the group, and not simply working on their recordings, as was the custom of many producers, Martin educated them and started an evolutionary process in their thinking and writing that they never would have found working the Cavern Club or any of the other stages they were playing. The band as a whole, and Lennon, McCartney, and Harrison as composers, rose to the occasion, and soon they were writing more elaborate songs, and thinking in more sophisticated sounds, and writing music that allowed for more sophisticated embellishment. That led to the writing and recording of songs such as "Yesterday," "In My Life," "For No One," "Tomorrow Never Knows," "Penny Lane," and "Strawberry Fields Forever," even as the band also created hard-rocking songs like "Ticket to Ride" and "Paperback Writer." His role in the creation of some of their most inventive songs varied; as on "Misery," where his piano solo embellished the break, he devised the string quartet accompaniment for Paul McCartney's solo performance on "Yesterday," composed the harpsichord part used on the break of "In My Life," and devised the French horn part on "For No One," while on the group's purely psychedelic music — the Sgt. Pepper and Magical Mystery Tour projects (and related singles) — Martin's long experience in the recording studio made the use of backward tapes and layered musical effects second nature to him, and gave those albums their shape.
All of this music was important, not just as Beatles recordings but as recordings that literally stretched the envelope of what rock & roll and popular music were about, and expanded the range and type of sounds that defined the music — what the public would accept and what artists would conceive in trying to appeal to that public. In much the same way that Count Basie, Benny Goodman, Billie Holiday, and Bob Dylan (artists associated with producer John Hammond), and Howlin' Wolf and Elvis Presley (artists associated with producer Sam Phillips) ended up altering the musical landscape that they found, the Beatles with George Martin directing their recordings redefined popular music. Around them, artists such as the Rolling Stones, the Yardbirds, the Who, and the Kinks all moved in, extending the breach that they'd opened like an invading army moving inland from a beachhead. Indeed, Martin and the nature of his work with the Beatles opened the way for Bob Dylan, Simon & Garfunkel, and similar artists each to take a page from their book, both in the way they made music and in the way they recorded it — this was especially true of Simon & Garfunkel who, in conjunction with engineer/producer Roy Halee (who was, in effect, their George Martin), mastered the use of the recording studio as an instrument on their records in a way and on a scale that no popular artist in America ever had.
Martin's musical successes in the wake of the Beatles included Gerry & the Pacemakers, Billy J. Kramer & the Dakotas, and Cilla Black, of whom the latter ended up virtually a musical and entertainment institution in England. In 1963, records produced by Martin spent 37 weeks at the number one spot on the U.K. charts, an astonishing achievement for a producer who'd only enjoyed his first chart-topper two years earlier. Add to that the presence on Parlophone of the Hollies, who were produced by Martin's assistant Ron Richards, and the number of top acts, and the volume of sales associated with Martin's work was astounding by any standard — between them, the Beatles and the Hollies alone had transformed Parlophone into the biggest of the EMI labels. And by 1964, with the Beatles and their British compatriots breaking sales records in America as well as England, he had become the most successful record producer of the decade, and on his way to the top of his profession for all time. The Beatles' music was so successful that, for the first time, Martin began going into the studio himself to record instrumental versions of their songs — although those records were never hugely popular, they sold reasonably well, and their content also revealed little details behind the creation of the finished songs; on one of his LPs of Beatles covers, the tracks named "Scrambled Eggs" and "Auntie Gin's Theme" revealed to the public the working titles of "Yesterday" and "I've Just Seen a Face."
Most onlookers, who saw Martin's name attached to the Beatles' albums up through Abbey Road, were not aware, however, that Martin had disassociated himself from Parlophone and EMI Records after 1965. Amazingly, given his success over the previous two years, Martin had seen no increase in his ridiculously small salary of 3,000 pounds (about 7,000 dollars) a year, which had been established when Parlophone was a small, modestly profitable part of the EMI group. Worse still, the corporate management had contrived, through some arcane interpretation of its rules, to deny him a Christmas bonus; and when it was time to renegotiate his contract, and he had wanted a small producer's royalty (a standard industry practice), they'd come up with a formula that could easily have ended up reducing his compensation. With Ron Richards, another EMI producer named John Burgess, and a former EMI producer named Peter Sullivan, Martin co-founded AIR (Associated Independent Recording), their own production company.
AIR could have been a record label as well — the collective experience of its four founders was more than most record companies have started with — but for the fact that it was under-capitalized. None of its founders had earned huge amounts of money, and while they could probably have attracted well-heeled backers (today, the venture would have been considered the musical equivalent of Dreamworks as a film studio, and drawn would-be investors and stock underwriters by the thousands), the decision was made to build the business gradually from the ground up. Martin did discover and sign the Action, an absolutely first-rate white Liverpool soul-based band, but their work was licensed to and issued by EMI — listening to their work from 1966 (all available from Edsel Records), incidentally, is a reminder that while he was busy helping the Beatles to expand the boundaries and meaning of popular music, Martin could guide the creation of solid, unpretentious, beautifully crafted soul music as effectively as the best American producers. Even as he worked to establish AIR, as part of his agreement to leave the company, he continued to produce the Beatles' music through 1969 and the release of Abbey Road, though he found it impossible to work with them on the project that became known as Let It Be, which was ultimately produced by Phil Spector (and is usually regarded as one of the group's weakest creations).
The breakup of the Beatles freed Martin from the last vestige of his former relationship with EMI, and his career and the range of music that he worked with blossomed during the 1970s. He worked with acts ranging from America and Jimmy Webb to Jeff Beck and the Mahavishnu Orchestra. His relationship with the Beatles after their breakup was limited — John Lennon and George Harrison used other producers as soon as the group was defunct, but Ringo Starr chose Martin to work on his album of '30s pop standards, Sentimental Journey, and Paul McCartney reunited with Martin to work on the soundtrack Live and Let Die from the James Bond movie. When EMI began reissuing Beatles material, and releasing unissued tapes from the vaults in the mid- to late '70s, Martin was called in on the most important of these project, Live at the Hollywood Bowl and Rock & Roll Music. He also very reluctantly agreed to produce the music and soundtrack for Robert Stigwood's film Sgt. Pepper's Lonely Hearts Club Band; he loathed the idea of the movie and the way it was to be done, but knew that if anyone else did the job, the music would suffer even more harshly.
During the 1970s and 1980s, Martin finally saw the recognition as well as some of the financial rewards that his success merited. An AIR studio opened on the West Indies island of Montserrat was destroyed in a hurricane and an earthquake that followed, but the company survived and continued in business right into the next century. He opened the 1980s producing a pair of hit albums for Paul McCartney, Tug of War and Pipes of Peace, and by then was an elder statesman of music, engaged to give commencement speeches and sought after for consulting jobs. By then, only the top artists in the world, including José Carreras, were approaching him. The reissue of the Beatles' music on CD in the late '80s and the 20th anniversary of the release of the Sgt. Pepper's Lonely Heart's Club Band album, both brought Martin back before the public — the CDs engendered some controversy, however, over his decision to use only the mono masters on the group's first four albums, overlooking the stereo versions, which he regarded as aesthetically inferior. By the 1990s, the artists he was working with included Celine Dion and Kate Bush. In 1993, Martin enjoyed another platinum record to his credit with the cast album of the Broadway musical Tommy, for which he and composer Pete Townshend both made extensive public appearances. Martin received a knighthood in 1996, the first member of his profession ever so honored by the English crown, and in 1997 capped his career with "Candle in the Wind 1997," a British number one hit by Elton John that became the biggest-selling single in the history of popular music. He announced his retirement in 1998, following the release of his album In My Life, an all-star production featuring such artists as Celine Dion and Phil Collins, devoted to songs of his choosing. In July of 2001, EMI Records honored Martin with the release of the six-CD, 151-song box set Produced By George Martin, a career-spanning profile of his work, from Roberto Inglez to Celine Dion.—Bruce Eder
Mark Lewisohn
Mark Lewisohn is the Beatles' Boswell. There are few, if any, people alive who know more about the group than Lewisohn does. His The Beatles Recording Sessions, which documents all of the Beatles' official recording sessions from 1962 to 1970, is a model for such projects in that it not only provides mounds of details and clears up many mysteries, but is also written in an entertaining, engrossing fashion accessible to the general reader. Lewisohn has also documented the Beatles' other activities in similarly comprehensive books, along with contributing sleeve notes to Beatles and John Lennon CD releases. As he is a skilled writer and researcher, one wishes that he could apply his top-drawer abilities to books on acts other than the Beatles, but he has not chosen to write in book form about anyone besides the Beatles. Known by the time he was in his early twenties as the "Beatle Brain of Britain," Lewisohn set upon the path of making Beatle chronicling a career when, in 1979, he began to assemble a complete list of their live appearances. This took much longer than he envisioned — seven years, in fact — the results being published in book form, with the simple listings embellished by much explanation and commentary, as The Beatles Live! Soon after this, he was invited by EMI to listen to the Beatles' sessions, including most of their unreleased outtakes and alternate versions, as background research for The Complete Beatles Recording Sessions. This involved a great many hours of listening, and in fact, according to the jacket for the book, he "has listened to more of the Beatles' recorded music than anybody else outside the group itself except their producer, George Martin."
Lewisohn did not stop there, though. He also interviewed anybody who could find who was involved in the sessions: Martin, engineers, technicians, session musicians, tape operators. He did not have access to two of the surviving Beatles, but managed to land a long interview with Paul McCartney, printed verbatim in the book, that illuminated many recordings and topics. This wealth of background information, and Lewisohn's deft integration of interview material with description of the tracks, the technology used to achieve the sound, and the Beatles' creative process, set this leagues apart from the standard dry discography. Most unusually, it also found a wide audience with the general public, hitting the best-seller lists after publication in 1988. This in turn has probably made it more possible for similar books to appear documenting the recording sessions of Bob Dylan, Elvis Presley, Jimi Hendrix and others, though The Complete Beatles Recording Sessions remains the best of its type.
The best of Lewisohn's other volumes on the group is The Complete Beatles Chronicles, which essentially combines the grist of both The Beatles Live! and The Complete Beatles Recording Sessions. The large coffee table sized volume is a diary-like record of their professional activities, including every stage and radio appearance and recording session, as well as acting, miming, and interviewing work in film, TV, video, and radio. Although this inevitably rehashes some information from both The Complete Beatles Recording Sessions and The Beatles Live!, it does contain a good deal of material (primarily related to their extrastudio activities) not in those books, and is compiled so as to be enjoyable to read, rather than simply a detail-heavy reference tool. Lewisohn's name is apt to turn up in the credits of officially sanctioned Beatles archival projects, such as their Anthology video documentary and CD reissues; he is also sometimes quoted as an authority on the group in the press. In his foreword to The Complete Beatles Chronicles, George Martin declared, "Of all the chroniclers who have studied the lives of John, Paul, George and Ringo, Mark Lewisohn stands supreme. His dedication in getting all the true facts and cataloguing them, coupled with a style of writing that is most readable, leaves him with no rival. Time and again he has proven that he knows far more about what we did and when we did it than any of us."—Richie Unterberger
I hope that LAPD did not kill Mal Evans for no reason-I think police
officers ought to kill only in self-defense.
Originally posted by webwarrior762004
I hope that LAPD did not kill Mal Evans for no reason-I think police
officers ought to kill only in self-defense.
Well, here's what happened: Mal was depressed over the breakup of his marriage. He locked himself in his bedroom with an air pistol. The cops were called by Mal's girlfriend, and when they came, he refused to drop the gun. I guess he was waving it around and acting foolish, so the police shot him dead.
So apparently, it was in self-defense.
Cactus Jack
05-24-2004, 05:36 PM
Just wanted to say, Great thread about a great band!
Yesterday (May 25, 2004), Paul opened European tour in Gijon, Spain. He performed a lot of McCartney concert staples, but there were a lot of surprises, too (including some Flaming Pie tracks, a very early Beatles song, and another cover of George Harrison).
Possibly the biggest surprise, though, is that tracks from his lates album, Driving Rain, are M.I.A.
I hope one of these shows gets released on CD.
Here's the setlist from last night's show:
Jet (P. McCartney/L. McCartney)
Got To Get You Into My Life (Lennon/McCartney)
Flaming Pie (McCartney)
All My Loving (Lennon/McCartney)
Let Me Roll It (McCartney)
You Won't See Me (Lennon/McCartney)
She's A Woman (Lennon/McCartney)
Maybe I'm Amazed (McCartney)
The Long And Winding Road (Lennon/McCartney)
In Spite Of All The Danger (McCartney/Harrison)
Blackbird (Lennon/McCartney)
We Can Work It Out (Lennon/McCartney)
Here Today (McCartney)
All Things Must Pass (Harrison)
I'll Follow The Sun (Lennon/McCartney)
For No One (Lennon/McCartney)
Calico Skies (McCartney)
I've Just Seen A Face (Lennon/McCartney)
Eleanor Rigby (Lennon/McCartney)
Drive My Car (Lennon/McCartney)
Penny Lane (Lennon/McCartney)
Get Back (Lennon/McCartney)
Band On The Run (P. McCartney/L. McCartney)
Back In The U.S.S.R. (Lennon/McCartney)
Live And Let Die (P. McCartney/L. McCartney)
I've Got A Feeling (Lennon/McCartney)
Lady Madonna (Lennon/McCartney)
Hey Jude (Lennon/McCartney)
ENCORE 1:
Yesterday (Lennon/McCartney)
Let It Be (Lennon/McCartney)
I Saw Her Standing There (Lennon/McCartney)
ENCORE 2:
Helter Skelter (Lennon/McCartney)
Sgt. Pepper's Lonely Hearts Club Band (reprise)/The End (Lennon/McCartney)
Beatles LP Boycott: Outrageous Price
Compilation too costly for Berkeley buyers
Rolling Stone
Leopold's, a student-owned, non-profit co-op record store is refusing to sell the new Hey Jude (nee Beatles Again) album in protest against its "outrageous" $6.98 list price.
"We're trying to make it clear that the boycott is not against the Beatles themselves but against Capitol records in specific and other labels in general for their outrageous record prices," asserted store manager Jason Gervich.
According to Gervich, Abbey Road was the first rock album to ever list at $6.98, even though the British version sold at the same price as any other Beatles album. He believes that the reason for the disparity in prices rests with American business, and possibly that record companies will try to jack up prices on all their albums if there is no backlash over the expensive Beatles albums. Hence, the boycott.
"We're the only store I know of willing to boycott it, so it probably won't make much difference. It should sell well despite us, but it would be nice if it didn't. Not because of the Beatles, because they probably don't even know their albums are the highest priced rock albums ever put out. It's not a question of the Beatles charging more because they need more bread; it's a question of businessmen charging more for the Beatles because they want more bread."
Leopold's is explaining to their customers via leafletting why they are refusing to sell this album. They expect some feedback, because not being able to purchase the album at Leopold's means people in Berkeley will have to go to one of the higher-priced commercial stores to get the album -- a highly-prized collection of such old singles as "Hey Jude," "Rain," and "Ballad of John and Yoko" not available on other albums. Chances are good, though, that in the political climate of Berkeley, the store will make as many friends as it will lose by refusing to sell it.
"I don't think we'll get anything out of doing this, but we're going to do it because it's the right thing to do. This is just a greatest hits album - there's no production on it at all except to put some already-existing songs on it in a different order. It should be cheaper than most records. Abbey Road was the same; there was no packaging with it at all, yet it's super-expensive. I really hope we get the ball rolling, so sales of the album are lower. It may be the only way to keep prices from getting completely out of control," Gervich said. "This is just complete bulls--t. There's no reason at all for that high-priced an album. Capitol's getting as bad as Chevrolet."
"And the quality of them records is getting worse. We ended up taking boxes of The Band album back to our distributor because they were returned to us with excessive surface noise, or because they skipped or are so thin you couldn't put two records on your record player," he added.
Leopold's is a small enough enterprise that they have little fear of the record companies trying to shut them down because of their action.
"We thought about it, but we're just not worried. They couldn't do it. They'd have to get every distributor in the Bay Area to refuse to serve us, and it would hardly be worth it to them because once they've sold their album to the distributor they've pretty much made their money. Even if they did try to close us down, we'd just get a court case going," Gervich said.
Which attitude is very much in keeping with the image of Leopold's in the Berkeley community. Since they went into business less than a year ago, they have become synonymous with student power. They sell more albums for just a slight bit more than they pay for them at the distributor, serving more as a middleman than a salesman.
Students of Berkeley (S.O.B.), the non-profit corporation which run the store, makes sure that Leopold's charge no more than is necessary to pay rent and provide salaries for the employees. The result is a crowded, funky little store over a restaurant where customers rap rock and roll with the personnel and buy their albums at regular prices cheaper than anywhere else in the Bay Area.
"Hopefully, some other record stores will follow in this us in this boycott; if not, good luck and good night," Gervich laughed.
(RS 53 - March 7, 1970)
Steve M.
06-06-2004, 09:35 PM
Record Labels Associated With the Beatles
Apple (their own label! :) )
Capitol (their U.S. label; also their label in Canada and Mexico)
Decca (turned the Beatles down, but the audition tapes have been released over and over)
Melodia (official state label of the Soviet Union; issued first official U.S.S.R. Beatles release after group broke up)
Odeon (their label in West Germany, France, and Japan)
Parlophone (their U.K. label)
Polydor (issued their cover of "My Bonnie" with Tony Sheridan, released last John Lennon solo album in 1984 - Lennon had gone full circle!)
Starline (budget Capitol label, issued some Beatles singles)
Swan (Philadelphia label; first issued "She Loves You" in the U.S.)
Tollie (issued "Love Me Do" in the U.S.)
Vee Jay (Chicago record company, Beatles's original U.S. label from June 1963 to January 1964; released Please Please Me LP as Introducing the Beatles)
Displayed below is the final picture taken of John Lennon and Paul McCartney together. Here they are, with Who drummer Keith Moon (center), in 1974. The photo was taken during John's year-long "lost weekend" period, when he had broken up with Yoko and moved to Los Angeles.
Steve M.
06-12-2004, 11:00 PM
Cool pic! :)
Here are John and George at John's home in Ascot, England; 1971.
George is there to help out with the Imagine album.
George in his garden, c. 2000 (DVD cap from Brainwashed EPK).
Paul at "The Concert For New York City," which he organized after the events of September 11, 2001.
Madison Square Garden; October 20, 2001
Crapple
06-17-2004, 03:56 PM
Originally posted by AKA
After the breakup was official, the fan club's final offering to its members was a 1970 compilation featuring all seven Christmas messages on one LP. It was issued under the title From Then To You: The Beatles Christmas Record, 1970.
Only one of these messages has made it onto CD. In 1995, an edited and "Christmas Time (Is Here Again)" was featured on the "Free As A Bird" maxi-single.
I've got all the Xmas messages on CD. Yellow Dog put out a boot with all of them. The sound quality is pristine.
Originally posted by Crapple
I've got all the Xmas messages on CD. Yellow Dog put out a boot with all of them. The sound quality is pristine.
I have that. I think it's Yellow Dog, anyway (though it might be Vigotone). Is that the one with outtakes and solo Christmas tunes?
Crapple
06-17-2004, 07:06 PM
Originally posted by AKA
I have that. I think it's Yellow Dog, anyway (though it might be Vigotone). Is that the one with outtakes and solo Christmas tunes?
Mine has all the flexis, plus the six minute version of "Christmastime (Is Here Again)" and a bonus outtake from 1963.
Here's Sean Lennon with girlfriend Jade Jagger at June 14, 2004 a screening of Fahrenheit 9/11.
Sean looks like a dead ringer for his dad, c. 1969.
Here's a very cool composite someone made a few years back:
Crapple
06-29-2004, 09:23 PM
Reminds me of this one...
Cactus Jack
06-29-2004, 09:25 PM
Originally posted by Crapple
Reminds me of this one... :rotflmao: Micheal Jackson
Originally posted by Crapple
Reminds me of this one...
Yeah, that one's a classic.
McCartney Concert Special Nets 5 Emmy Nods
By Barry A. Jeckell
Billboard
"A&E In Concert: Paul McCartney (news) In Red Square" pulled in five nominations for the 56th annual Primetime Emmy Awards Thursday, including one for outstanding variety, music or comedy special.
A similar A&E special starring Sting netted four nods; the cable network earned a total of 24 nominations.
Filmed in May 2003, the two-hour McCartney special captured the artist's first visit to Russia. In addition to his performance in Moscow's Red Square in front of nearly 100,000 fans, the program featured footage of his three-day tour of the country. The special also earned nominations for sound mixing, editing, lighting direction and technical direction, camerawork/video.
In a move I give two thumbs down, Capitol will begin releasing the American albums later this year. First up is a box set featuring their 1964 U.S. output.
Crapple
07-29-2004, 06:07 AM
Originally posted by AKA
In a move I give two thumbs down, Capitol will begin releasing the American albums later this year. First up is a box set featuring their 1964 U.S. output.
As far as I know, those are the only U.S. albums being released. Have you heard of more?
Originally posted by Crapple
As far as I know, those are the only U.S. albums being released. Have you heard of more?
I've heard that in a three-year-span, they plan on releasing additional boxes; everything up through the U.S. Revolver.
Crapple
07-29-2004, 05:22 PM
Originally posted by AKA
I've heard that in a three-year-span, they plan on releasing additional boxes; everything up through the U.S. Revolver.
Hmmm. I go to Abbeyrd's Beatles Page (updated daily) for all my news and I haven't seen any word about that.
Originally posted by Crapple
Hmmm. I go to Abbeyrd's Beatles Page (updated daily) for all my news and I haven't seen any word about that.
Yeah, I didn't read it on Abbeyrd; I heard it on the radio. Probably just a rumor.
Steve M.
08-04-2004, 09:21 PM
Before "The Simpsons," there was "The Flintstones," an animated series from the sixties that was set in a period of the Stone Age where Fred Flintstone, his family, and friends lived with dinosaurs and prehistoric technology but developed a modern civilization that looked suspiciously like. . .the 1960's.
"The Flintstones" was really a satire of the times, featuring pop music parodies that poked fun at rock stardom (remember Fred as Hi-Fye? :lol: ), music presenters like Jimmy O'Neil, and groups like. . .the Beatles.
THe Beatles were parodied as "The 4 Insects," a group with lots of hair that played "bug music." They were also parodied as "the Beasties," an English rock and roll band with a lot of hair and had one hit single, "My Broken Heart Will Never Mend." After a week of stardom, they were dropped by the Flippo record label in favor of. . .the Way-Outs!
http://www.vegalleries.com/hbltd/Wayouts.jpg
The Way-Outs were also English and had a lot of hair. :)
John and Sean Lennon on their birthday (John's 40th, Sean's 5th); October, 1980.
musicradio77
08-14-2004, 11:48 PM
AKA, if you are a Beatles fan, here is a website for the Beatles on WABC (http://www.musicradio77.com/beatles.html) from musicradio77.com.:) Here are some more Beatles airchecks from the Musicradio WABC site:
A WABC news bulletin on the shooting of John Lennon (http://musicradio.computer.net/images/lennonshot12-8-80.ram)
Dan Ingram comments on John Lennon (http://musicradio.computer.net/images/ingramlennon12-9-80.ram) (complete with some vintage commercials)
John Lennon tribute on WABC, WNBC and WPLJ (http://musicradio.computer.net/images/lennontrib12-14-80.ram)
Paul, Heather and their daugther Beatrice (b. October 28, 2003) just days after her birth.
Paul will be releasing the single "Tropic Island Hum"/"We All Stand Together" in the UK on September 20. The two tracks come from the animated films seen in Paul McCartney: The Music & Animation Collection.
George Harrison's upcoming DVD The Dark Horse Years 1976-1992 is set to street on September 28. If you have the Dark Horse box set already, don't bother. This is merely an individual release of the DVD found in the box set.
DVD contents:
1. Dark Horse Feature
Videos
2. This Song
3. Crackerbox Palace
4. Faster
5. Got My Mind Set On You (version 1)
6. Got My Mind Set On You (version 2)
7. When We Was Fab
8. This Is Love
Selections from Live In Japan
9. Taxman
10. Cloud 9
11. Devil's Radio
12. Cheer Down
Selections from the movie Shanghai Surprise
13. Shanghai Surprise
14. Someplace Else
15. Hottest Gong In Town
A still from George's "This Is Love" music video; 1988.
George Harrison playing a concert in Japan; 1991.
Paul, George and Ringo talk shop at George's house (June, 1994).
More of the Threetles in George's kitchen.
"Free As A Bird" sessions; February, 1994.
Paul, Ringo, producer Jeff Lynne and George.
"Free As A Bird" sessions; February, 1994.
Ringo working on the drum track for "Real Love" (1995).
Paul adding vocals to "Real Love" (1995).
George recording the guitar solo for "Real Love" (1995).
"Real Love" sessions; 1995.
Paul, George, Ringo and George Martin at Abbey Road (May, 1995).
Paul, George and Ringo at Abbey Road (May, 1995).
Two new John Lennon album releases on November 2: John Lennon Acoustic (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=119130) and a remixed and remastered version of John's 1975 album, Rock 'N' Roll (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=118811).
http://www.sitcomsonline.com/boards/attachment.php?s=&postid=2033037
Crapple
09-17-2004, 07:37 AM
I'm not sure what to think of that acoustic disc yet.
Originally posted by Crapple
I'm not sure what to think of that acoustic disc yet. My biggest beef about the Acoustic set is that most of the tracks apparently come from the Anthology. I think the Anthology should be kept as its own separate entity in the John Lennon catalogue.
The Beatles during their first appearance on The Ed Sullivan Show (February 9, 1964).
John during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
Ringo during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
Paul and George during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
Paul during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
George during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
John reacts to the now-infamous "SORRY GIRLS, HE'S MARRIED:" text (The Ed Sullivan Show; February 9, 1964).
John, Paul and George during the Beatles' first appearance on The Ed Sullivan Show (February 9, 1964).
The Beatles during their first appearance on The Ed Sullivan Show (February 9, 1964).
The Beatles with Ed Sullivan (The Ed Sullivan Show; February 9, 1964).
The Beatles' final appearance on The Ed Sullivan Show (September 12, 1965). Incidentally, this was also the final black-and-white Sullivan broadcast.
John, Paul and George during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
Ringo during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
Paul performs "Yesterday" on The Ed Sullivan Show (September 12, 1965).
George during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
John and Ringo during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
George and Paul during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
John during the Beatles' final appearance on The Ed Sullivan Show (September 12, 1965).
The Beatles during their final appearance on The Ed Sullivan Show (September 12, 1965).
John demos "How Do You Sleep," a nasty dedication to Paul, for George (Imagine sessions; 1971).
John with Miles Davis (1971).
Jchapman74
09-23-2004, 03:45 AM
Originally posted by AKA
John demos "How Do You Sleep," a nasty dedication to Paul, for George (Imagine sessions; 1971).
What is that all about? Did they not get along at the end before John died?
John performing live at Madison Square Garden (1972).
Originally posted by Jchapman74
What is that all about? Did they not get along at the end before John died? They got along okay at the end, but in the first few years after the breakup of the Beatles, there was a lot of bitterness between the two, especially on John's part.
John performs "Instant Karma!" (1970).
A still from John's "Imagine" promo film (1971).
John and George during the Imagine sessions (1971).
John and Yoko walking through Central Park (1980).
John during the Imagine sessions (1971).
Paul during the making of Flaming Pie (1997).
Paul and Linda during the making of Flaming Pie (1997).
Paul during the making of Flaming Pie (1997).
Paul during the making of Flaming Pie (1997).
Paul performing live during the "Driving U.S.A." tour (2002).
The Beatles hold their first U.S. press conference after arriving at New York's Kennedy Airport (February 7, 1964).
Shine
09-23-2004, 08:43 PM
Great Beatles pictures, Brad!:)
Originally posted by dukey
Great Beatles pictures, Brad!:) Thanks, Dukey!
Crapple
09-24-2004, 04:45 AM
Originally posted by AKA
Paul and Linda during the making of Flaming Pie (1997).
Aww.
I'm iffy on a lot of Paul's stuff, but I think "Flaming Pie" is one of his best records. It's even more meaningful when I stop to consider that Paul knew Linda had cancer at that time. There's a really nice vibe on that album, and the love songs seem more...sincere than usual.
Shine
09-24-2004, 05:58 PM
Originally posted by AKA
Thanks, Dukey!
Brad, if you ever want to read a great book about The Beatles read The Love You Make by Peter Brown and Steven Gaines. It has just been recently put back in print.
Originally posted by dukey
Brad, if you ever want to read a great book about The Beatles read The Love You Make by Peter Brown and Steven Gaines. It has just been recently put back in print. I read it when I was about 15. I remember I thought it was cool that Peter Brown as the same Peter Brown from "The Ballad Of John And Yoko."
Crapple
09-24-2004, 06:44 PM
Originally posted by dukey
Brad, if you ever want to read a great book about The Beatles read The Love You Make by Peter Brown and Steven Gaines. It has just been recently put back in print.
I've read most of that book and am skeptical about it.
Shine
09-24-2004, 09:35 PM
Originally posted by Crapple
I've read most of that book and am skeptical about it.
Why?
Crapple
09-25-2004, 06:45 AM
Originally posted by dukey
Why?
It seems a little "yellow" for my tastes. I don't doubt that much of what Brown talks about is true, but it's hard to suss out what's true and what is just hyperbole.
The Modfather
09-25-2004, 07:41 AM
Love the pics, AKA, thanks!
Penny Lane
09-25-2004, 01:14 PM
Originally posted by AKA
John and Yoko (1980).
John looks absolutely anorexic in that photo!:eek:
Crapple
09-25-2004, 04:42 PM
Originally posted by Penny Lane
John looks absolutely anorexic in that photo!:eek:
Rumors abound that Lennon was dipping into the nose candy again right before his death. Yoko also allegedly forced him to go on a diet. During the "Double Fantasy" sessions, he and his backing band would binge on cheeseburgers when she wasn't around.
Originally posted by The Modfather
Love the pics, AKA, thanks! Thanks! Really glad you like 'em. Originally posted by Crapple
Rumors abound that Lennon was dipping into the nose candy again right before his death. Yoko also allegedly forced him to go on a diet. During the "Double Fantasy" sessions, he and his backing band would binge on cheeseburgers when she wasn't around. Wasn't it a macrobiotic diet? Or is that all hooey?
Shine
09-25-2004, 07:27 PM
I think the rumor that John had returned to drugs was started with the infamous 1988 biography John Lennon by Albert Goldman. I read this book a couple of years ago and it is nothing more then rumors and gossip, much of which has been proven untrue.
Crapple
09-25-2004, 08:47 PM
Originally posted by dukey
I think the rumor that John had returned to drugs was started with the infamous 1988 biography John Lennon by Albert Goldman. I read this book a couple of years ago and it is nothing more then rumors and gossip, much of which has been proven untrue.
I agree that it's a tawdry book, but I believe the allegations of resumed coke use. I mean...look at him.
Here's the artwork for the upcoming box set:
Crapple
10-11-2004, 07:35 PM
It's a longbox?
Steve M.
10-11-2004, 11:07 PM
Capitol albums reissues? Stupid, stupid, stupid! The original CD issues were supposed to correct the Beatles's discography by going by the U.K. catalog! :mad:
cablejockey
10-12-2004, 10:48 AM
This is a great thread, and coincidently, I'm reading an excellent book about the Beatles called Shout! by Philip Norman. It goes into great detail about every individual Beatle, the group as a whole and everyone who worked or married them. I learned some new things about them when I thought there was really nothing new to hear.John Lennon has half brothers and sisters from his mother that I've never heard mentioned. Stu Sutcliffe's girlfriend Astrid, gave the group its hairstyle, trying to get them to look different from the greasy 50s rockers they were emulating. Stu's cebreal hemmoraege may have started after being kicked in the head a few times after a show in Liverpool where some gang members took a dislike to them.
I haven't finsihed the book yet, but recommend it to anyone who is interested in this group and its era.
Steve M.
10-12-2004, 11:12 AM
Originally posted by cablejockey
I'm reading an excellent book about the Beatles called Shout! by Philip Norman. It goes into great detail about every individual Beatle, the group as a whole and everyone who worked or married them. I learned some new things about them when I thought there was really nothing new to hear. John Lennon has half brothers and sisters from his mother that I've never heard mentioned.
Correct me if I'm wrong, but doesn't John Lennon have a half-brother named Henry, by his father? It seems that during John's brief reapproachment with his father Alfred "Fred" Lennon, the elder Lennon met a young woman and married her - defying a court order against seeing her brought by her parents. They had a son about the same time John began seeing Yoko and decided once again to have nothing to do with his father. Henry Lennon would be about 35 or 36 years old today.
Anyone know about that? I know I saw that story somewhere.
cablejockey
10-12-2004, 11:51 AM
You are probably correct abput Henry Lennon. in the book I read he wasn't mentioned--but then again, I am only at Feb 1964 in the book. Julia, John's mother was living with somebody and had children with him, and that was news to me.
Capitol Boxes Up Early Beatles Albums
By Jonathan Cohen
Billboard
The Beatles' first four U.S. albums – Meet the Beatles, The Beatles Second Album, Something New and Beatles '65 – will be bundled together in the boxed set The Capitol Albums Volume 1, due Nov. 16. All were originally released in 1964 as Beatlemania swept the United States.
"In the '60s, American record labels often chose to reformat British records to suit the needs of the U.S. market," says Capitol president Andy Slater. "In America, singles were generally included on current albums, where in the U.K. albums and singles were most often separate releases. Higher music publishing costs in the U.S. also made it impractical to include as many songs on American albums. In addition, in the case of the Beatles, some of the recordings on the American albums were given more echo than the British versions, to 'Americanize' their sound."
The albums, which have been remastered from the original tapes, include stereo and mono versions of each song. Each album is housed in a miniature replica of its original album cover, while the box will feature a 48-page booklet chronicling the Beatles' unprecedented 1964.
Meet the Beatles (originally issued Jan. 20, 1964, in the United States) begins with what was at the time the group's latest single, "I Want To Hold Your Hand," and its U.S. and U.K. B-sides, "I Saw Her Standing There" and "This Boy." The bulk of the remaining tracks were taken from the U.K. version of the album With the Beatles (http://www.sitcomsonline.com/boards/showthread.php?threadid=101481).
The Beatles Second Album (April 10, 1964) is a grabbag of such tracks as the "She Loves You" single and its B-side "I'll Get You," additional songs from "With the Beatles," cuts from the "Long Tall Sally" EP and a German version of "I Want To Hold Your Hand."
Something New (July 20, 1964) includes eight songs from the soundtrack to the Beatles' first film, A Hard Day's Night, although not the title track or "Can't Buy Me Love." The album was denied the No. 1 spot on Billboard's Top LPs chart by the movie's proper soundtrack, issued by United Artists.
Beatles '65 (Dec. 15, 1964) boasts the "I Feel Fine"/"She's a Woman" single, the A Hard Day's Night leftover "I'll Be Back" and eight songs from the U.K. album Beatles for Sale (http://www.sitcomsonline.com/boards/showthread.php?s=&threadid=102919), including three particularly dark John Lennon tunes, "No Reply," "I'm a Loser" and "Baby's in Black."
It is unknown if Capitol plans to re-release additional titles such as Beatles VI or Yesterday ... and Today.
Here is the track list for The Capitol Albums Vol. 1:
Meet the Beatles:
1. I Want To Hold Your Hand
2. I Saw Her Standing There
3. This Boy
4. It Won't Be Long
5. All I've Got To Do
6. All My Loving
7. Don't Bother Me
8. Little Child
9. Till There Was You
10. Hold Me Tight
11. I Wanna Be Your Man
12. Not a Second Time
The Beatles Second Album
1. Roll Over Beethoven
2. Thank You Girl
3. You Really Got a Hold on Me
4. Devil in Her Heart
5. Money
6. You Can't Do That
7. Long Tall Sally
8. I Call Your Name
9. Please Mr. Postman
10. I'll Get You
11. She Loves You
Something New:
1. I'll Cry Instead
2 Things We Said Today
3. Any Time At All
4. When I Get Home
5. Slow Down
6. Matchbox
7. Tell Me Why
8. And I Love Her
9. I'm Happy Just To Dance With You
10. If I Fell
11. Komm, Gib Mir Deine Hand
Beatles '65:
1. No Reply
2. I'm a Loser
3. Baby's in Black
4. Rock and Roll Music
5. I'll Follow the Sun
6. Mr. Moonlight
7. Honey Don't
8. I'll Be Back
9. She's a Woman
10. I Feel Fine
11. Everybody's Trying To Be My Baby
Steve M.
10-12-2004, 11:14 PM
Originally posted by cablejockey
You are probably correct abput Henry Lennon. in the book I read he wasn't mentioned--but then again, I am only at Feb 1964 in the book. Julia, John's mother was living with somebody and had children with him, and that was news to me.
Doing a little Google research, I found that John Lennon has two half-brothers by his father - Henry, whose full name is David Henry Lennon (born February 1969). whom John met once, and Robin Francis Lennon (born 1973), whom John never met at all. :(
John also has a half-sister named Julia Baird.
Julian has put together a really neat Lennon family tree at http://www.lennon.net (although he bitterly left Sean and Yoko out).
cablejockey
10-13-2004, 08:31 AM
Aka---that site looks very interesting, thanks. Something else i read in Shout, that I never knew was that 2 Beatle songs were released in America in August 1963, She Loves You which went nowhere on the charts, and From Me To You, which went to 116 on Billboard. It makes you wonder what changed in the music world between Aug and January when the Beatles just rocketed up every chart.
Steve M.
10-13-2004, 10:55 AM
Originally posted by cablejockey
Aka---that site looks very interesting, thanks. Something else i read in Shout, that I never knew was that 2 Beatle songs were released in America in August 1963, She Loves You which went nowhere on the charts, and From Me To You, which went to 116 on Billboard. It makes you wonder what changed in the music world between Aug and January when the Beatles just rocketed up every chart.
It was a slow build-up. "From Me To You" and "She Loves You" got heavy airplay in ciities like Los Angeles in Philadelphia in 1963, and there was a small but growing interest in these two records as a result. On the morning of the November 22, 1963, while President Kennedy was still at a breakfast meeting in Fort Worth before continuing to Dallas, the Beatles were profiled on the CBS morning newscast. At that time Brian Epstein had successfully gotten Capitol to release the group's next single after the holidays, and they were already scheduled to appear on "The Ed Sullivan Show" in February.
Then a stewardess dating a Washington, D.C. deejay brought over a copy of "I Want To Hold Your Hand" (released in the U.K. by Parlophone on November 29) from London and gave it to her boyfriend. The deejay played it, and the song was repeatedly requested by listeners. A girl from Silver Spring, Maryland, wrote him and asked why Americans couldn't have this music.
Captiol moved up the release date of "I Want To Hold Your Hand" to December 26, 1963. With so many kids out of school for Christmas, they had some spending money in their free time, and they spent it on this single. The girl from suburban Maryland introduced the song on the radio in Washington. It sold first in the D.C. area, then in in ther cities, then it knocked Bobby Vinton's "There! I've Said It Again" off the top of the Billboard singles charts.
The rest is history. :D
cablejockey
10-13-2004, 11:27 AM
Wow! Thanks for that info. I never knew the Beatles were on a CBS morning show the day President Kennedy died! I did hear about the stewardess bring a copy of IWTHYH over from England though.
Its amazing the things the average fan just never heard about.
Steve M.
10-13-2004, 12:02 PM
Cable Jockey - You're welcome! :) I hadn't known about that TV appaearance either. And remember, Jack Paar profiled the Beatles on his show a month before Ed Sullivan got the Fabs on his! (Paar showed a film clip of the Beatles performing "She Loves You.")
cablejockey
10-13-2004, 12:15 PM
Yes I do remember their Jack Paar appearance on tape in Dec 63--I watched it and that's when I first got interested in the Beatles. Just seeing them that one time I was hooked.
Re-MEAT The Beatles!
(A Tale Of Four Not-So-Fab Butchered Albums)
By Martin Lewis
Beatles Historian
Capitol Records has just announced that it will release a 4-CD box-set of the first four Beatles albums released by Capitol in the USA in 1964. Albums that the Beatles had no part in compiling. Featuring recordings that were horrifically remixed in Hollywood with artificially-added echo (“to suit the American market”) and a fake stereo process proudly named “Duophonic” (which was every bit as bad as its cheesy name suggests.) The decision to release these albums on CD in 2004 is a dreadful lapse of taste—fueled by greed—under the guise of giving American baby-boomer fans “what they want.”
The primary reason that the Beatles' American album releases in the 1960s were at variance with the original British releases were financial and circumstantial. UK releases were governed by British copyright law—the rules of which did not penalize the record company for placing a greater number of tracks on an album. Therefore UK albums routinely provided 13 or 14 tracks per album. Value for money. Value for Beatles fans. Capitol made more money on each album by providing less tracks. So they were constantly taking songs OFF British albums—and stockpiling them to use on additional albums cobbled together from other “leftover” tracks. And then they made even more money by releasing an average of four albums a year rather than the two albums per year that the Beatles actually made.
Furthermore the running orders for most of these albums were constructed by a hack Capitol Records executive—Dave Dexter—the very person who had turned the Beatles down four times in 1963! He then had the temerity to artificially re-mix and re-balance the masterwork of George Martin—and then had even more cheek in putting his name on the albums as US producer! A travesty and a gross insult to George Martin.
The Beatles and Brian Epstein went along with the Capitol 1960s releases. They had no choice. When they started out they had no clout to insist otherwise. Even their growing success did not buy them sufficient muscle to constantly win the battle with Capitol. Fortunately they prevailed with Sgt. Pepper, the “White Album,” Abbey Road and Let It Be. Imagine if Capitol had had the chance to mangle Sgt Pepper. Which of the three 'superfluous' tracks would they have taken off to have something 'in the pot' for the next album? Maybe they would have taken off “A Day In the Life” (“Hey let's save that weird long song for the next album...”) Maybe they would have added in a couple of the tracks they slashed off Revolver. Yuh—that would have been true to the Beatles' vision...
And if Capitol HAD butchered Sgt. Pepper—fans would of course have fallen in love with THAT album—because the music itself was great. But they would have missed a BETTER album. And they would have missed the album that the Beatles wanted to give us. And of course aging American baby-boomers would still be clamoring for the butchered version because it's what they remember.
It is totally understandable that American fans who heard those US albums back when they were released have huge affection for the way they first heard the Beatles. Bad running orders, shoddy audio mixes and all. The brilliance of the Beatles music far outshone any damage that Dave Dexter and Capitol Records could inflict on their albums. But just because people became accustomed to those running orders—and have a natural affection for the album sequences they remember from the past—doesn't make them right.
When the Beatles resolved their long-standing financial disputes with EMI-Capitol Records in the mid-1980s—it cleared the path for the release of the Beatles catalogue on CD. And the decision was taken then to standardize the Beatles catalogue worldwide. They would honor the eminently good taste, choices and original decisions of the original artists! The Beatles and their producer George Martin. (And—let it be remembered—Apple stated categorically that it would never deviate from this 'core' catalogue and reissue long discredited foreign compilations that had no place in the original intentions of the Beatles.)
The sole exception in respect of albums was the 1967 US construction of the Magical Mystery Tour album—but only because there was no easy way to convert the two 7” vinyl singles of the original British double EP (extended player) release into the CD format. With that one exception—and the decision to tidy up all the other singles and EP tracks that had not been on UK albums into the two Past Masters volumes (dumb title—but logical configuration)—the catalogue was restored to be as the Beatles and George Martin had originally intended!
As a Beatles fan I have the utmost respect for the mixes made by George Martin and the Beatles. And the utmost respect for the running orders that George Martin and the Beatles carefully devised for each release. Those are the only ways I personally wish to hear their albums.
If, for quite understandable reasons of nostalgia, American baby-boomer fans want to hear those records in the bizarre sequences that were actually devised by a Beatles-disdaining American record executive (who was perennially embarrassed that he'd passed on the Beatles four times) then that's why they invented the iPod! And CD changers that you can program. And CDs you can burn at home.
And if you REALLY want to hear those dreadful, dire, echo-laden, artificial stereo and duophonic mixes—just buy a really crappy set of speakers—put them in a trash can in the next room and stuff some Krispy Kreme donuts in your ears. Then play the proper Beatles CDs released in 1987—and George Martin's original mixes will sound exactly as you remember them on American vinyl circa 1964!
This new release is a cynical endeavor that has less to do with musical balance than bank balance. The Beatles under Brian Epstein's management always took an honorable course. This is a dreadful error of taste. It is crass commercialism that is far below the dignity of the classy way that Brian Epstein insisted the Beatles should always be presented.
A collection of fabulous Beatles songs that were butchered and went through the meat-grinder once in 1964 have been reprocessed. They should just call the box-set—Re-MEAT The Beatles...
Running parallel to his primary work as a political commentator—Martin Lewis is also considered among the world's leading Beatles scholars. He has produced many Beatles-related projects including the DVD Edition of A Hard Day's Night—and he was Associate Producer of the DVD The Ed Sullivan Shows Featuring The Beatles. He was US marketing strategist for the Beatles' Anthology and Live At The BBC projects—campaigns which reunited him with his mentor – original Beatles publicist Derek Taylor. (Lewis started his career as a protege of Taylor in 1971-73)
Steve M.
10-18-2004, 09:28 AM
Regarding what Martin Lewis said: AMEN, BROTHER!
Crapple
10-18-2004, 06:29 PM
Maybe when this box comes out, baby boomers will finally realize how crappy those U.S. albums were and will stop whining about how long they weren't available on CD. Maybe they'll have such a fit that Capitol won't release any further volumes.
Penny Lane
10-18-2004, 07:58 PM
Originally posted by AKA
Oh my gosh! I wore that album out! (Meet The Beatles) :happyface
Originally posted by BuffySlayer79
I am surprised as a "quicky" way to make some cash, they haven't come up with a box set of the "American Beatles albums 1963-1966", just as a way to cash in for those who would love to have the artwork for albums like Beatles 65, Yesterday And Today, etc.... Knowing how rabid Beatles fans are, I'm surprised they haven't comissioned a box set release like that Just want to remind everyone that on May 2, my man John totally called it. Take a bow, John.
musicradio77
10-20-2004, 07:07 PM
For all you Beatle fans, today marks the 35th anniversary of the aircheck of Roby Yonge's last show on WABC featuring lots of rumors about Paul McCartney is dead.ohno: In addition to that, Roby was talking about the album covers used for other Beatles' albums like "Sgt. Pepper's Lonely Hearts Club Band", "Magical Mystery Tour" and "Abbey Road" and finally the song that was used on the "The Beatles (aka White Album)" album about the reverse "Revolution 9". As you probably know, the normal one used the words "#9, #9, #9..." and played in reverse for example "Turn me on, dead man!".:eek: All this and more is on this clip from musicradio77.com.
Roby's Last Show with All the Rumors (http://musicradio.computer.net/images/robylast.ram)
Capitol Records Set to Reissue First Four Beatles Albums Sounding as Bad as You Remember Them!
By Michael Fremer
musicangle.com
Capitol Records announced the other day that it will soon issue the first four American Beatles albums in both mono and stereo mixes for the first time, in a new $69.98 box set edition.
Capitol Records president Andy Slater is quoted on CNN.com as saying: "It's been a personal quest for me over the last three years to get these records released because this is the way I remember them, the way I first heard them." Do you care what Andy Slater heard growing up? Not me! Guess what? I heard them this way too first—until I heard them the right way. What kind of narcissistic, irrational reason is "it's what I grew up with" to justify a reissue series from one of the most important groups in pop music?
How is it possible that reissues of the lousy sounding American originals, with their added echo, compression, haziness and sometimes "reprocessed for stereo" mixes (when actual stereo mixes existed ie: "She's a Woman"), will be released using state of the art digital converters and other modern gear before the good sounding UK originals—the genuine documents— get that treatment? This is crazy!
This set isn't what The Beatles or George Martin wanted. It's the creation of an executive team that didn't want to release or appreciate the group in the first place! They chopped up the track order mostly for financial reasons that can be understood, but they "improved" the original sound only because they could. And now we're going to get to hear their revisionist history yet again. I'm so thrilled!
The way the album track lineups worked out, with singles added that were left off the UK originals, and various other tracks substituted, can be interesting, with some listeners preferring the American Rubber Soul song lineup, for instance, but why should this mangled history come first?
Beatles fans want, first and foremost, from everything I can read and hear, the original UK LPs faithfully reproduced and packaged using the appropriate playback gear, on hybrid SACD, or DVD-A if you must, plus AAA LPs. Then, perhaps it would make sense to produce the American history.
But I guess this is Andy Slater's "personal quest," and he's the president of Capitol. It's good to be president of Capitol Records—at least for Andy Slater. For Beatles fans? Not so good.
Ringo Talks Beatles CDs
U.S. versions of early albums on CD for the first time -- should you care?
By Steve Knopper
Rolling Stone
In the tradition of last year's Let It Be . . . Naked and 2000's Beatles 1, Capitol Records is repackaging the Beatles' back catalog just in time for Christmas. This year's project is a box-set reissue of the first four U.S. albums -- Meet the Beatles, The Beatles' Second Album, Something New and Beatles '65 -- which many consider inferior to the original British versions.
When the Beatles invaded America in 1964, Capitol split the first three Beatles albums across four U.S. discs. "America had that crazy way of only putting ten tracks [on a record] and they always ended up with extras," Ringo Starr says. "And then suddenly we'd have some new album in America." The Beatles made the British versions definitive in 1987 when they were reissued on CD.
Capitol says there is a market for these discs among Americans who want to hear the music as they first encountered it. "I distinctly remember sitting in my cousin's basement listening to [i]Beatles '65[i], hearing 'No Reply,' 'Baby's in Black' and 'I'm a Loser' -- in that order," says Andrew Slater, Capitol's president. But Martin Lewis, British producer of the Hard Day's Night DVD, calls it a "regrettable flip-flop on a declared policy," adding, "Ultimately it indulges American baby-boomers, who are in effect saying, 'I remember first seeing the Mona Lisa with five inches of grime on it -- so I'd like to see it that way again.'"
In other Beatles news, in 2006 a Cirque du Soleil show using Beatles music will premiere at the Mirage casino in Las Vegas. The as-yet-untitled show, which will be supervised by Beatles producer George Martin, grew out of a friendship between the late George Harrison and Cirque founder-president Guy Laliberte. Later, the two met again at Harrison's home near London. "That basically planted the seeds of a dream," Laliberte explains.
And will the band finally release its catalog online, via music-download services? "It does appeal to me to have the Beatles' music available online somehow," Starr says, adding that the move may depend on the outcome of a pending copyright lawsuit between Apple Computer and the Beatles' Apple Corps record company. "We have to move with the day. It's part of life. It's like when people were saying, 'Stereo will never make it' or 'Vinyl is the only way to go.' I love to listen to vinyl, but I'm afraid we've moved on since then."
laceyinthesky
11-14-2004, 01:25 AM
I chose The White Album.
laceyinthesky
11-14-2004, 01:35 AM
double post.
MaryElizabeth
11-14-2004, 01:41 AM
I really cannot choose.
Steve M.
11-15-2004, 12:42 AM
I'm beginning to think MaryElizabeth and lacey are the same person! :eek:
Box set sparks war among Beatles fans
By Edna Gundersen
USA Todahy
When Meet The Beatles! arrived in 1964, Fab Four harmonies swept America. Today, disharmony greets the return of the stateside debut, included in The Beatles: The Capitol Albums Vol. 1, a box set of the band's four earliest U.S. albums, on CD for the first time.
When the British band hopped the pond, Capitol handled its U.S. marketing and stretched three U.K. albums into four: Meet The Beatles!, The Beatles' Second Album, Something New and Beatles '65. The running order was shifted and the sonics altered by Dave Dexter Jr., the Capitol executive who dropped producer George Martin's credit on the first two discs and added his own to the next two.
In the mid-'80s, The Beatles anointed the U.K. templates as definitive by not reissuing the U.S. configurations on CD. Brits cheered, and American fans felt cheated.
Pete Howard and Martin Lewis, who concur that everyone should meet The Beatles but violently disagree whether Meet The Beatles! is an appropriate introduction, square off on the box set's blessings and blemishes. (Fans can jump in the fray at www.AbbeyRd.net.)
Lewis: After The Beatles standardized their catalog worldwide, they made it clear they'd never go back to the U.S. record versions. Apple acquiesced to make this "botched set." It's a regrettable flip-flop. On balance, Apple has been good with The Beatles' heritage, but this is a cynical exercise in nostalgia. And gee, it's here six weeks before Christmas. Is it a lovingly crafted homage to 1964 or this year's baby-boomer product?
Howard: In 1964, I bought, owned and played to death all four American Beatles albums. They're not only indelibly etched in my consciousness, they are part of my DNA; they are my youth, they are the soundtrack to my life. And nothing that you or anybody could say will ever change that. If I could go back in time, sure, I'd change Capitol's policy and we all would have gotten the same records. But that's not reality.
Lewis: The American releases were an accident of commerce. Each album's tracks were capped at a number profitable for Capitol, which siphoned off songs to create a kitty so a third album could be created for every two in Britain, (where) the records were put together with incredible care. At Capitol, they were treated with disdain.
Howard: People incorrectly assume that the early British albums were entirely the Fab Four's vision. We should explode the myth that The Beatles huddled around making graphic-arts decisions. Parlophone (in England) ran the show and was just as naïve as Capitol.
Lewis: Dave Dexter, the person responsible for this bastardized process, turned down signing The Beatles four times in 1963. He then had the temerity to resequence the tracks and add fake stereo, which is patronizing. George Martin made it clear the first four albums were to be heard in mono only.
Howard: People cite "She's A Woman" and "I Feel Fine" as the most Dexterized tracks. I prefer them. I love the echo-drenched "duophonic" sound, because that's what changed my life. Those engineering methods were part of the art.
Lewis: Dave Dexter, who arrogantly said The Beatles were rather hopeless, decided George Martin didn't know how to produce. He slapped echo on and merrily picked songs in a haphazard fashion. "Duophonic" meant using two mono versions out of sync. The Beatles managed to beguile the American public with "I Want To Hold Hold Your Hand" on radio because it was the George Martin mix.
Howard: It doesn't matter that Dave Dexter was a hack. It doesn't matter that songs were stripped off the American LPs for financial reasons or that The Beatles didn't approve the sequencing or that Capitol remixed and added echo. What matters to Americans is the deep, profound, untouchable, emotional bond that we have to these albums. All the scholarly insights in the world can't alter that in 2004.
Lewis: The Beatles are the holy grail of contemporary music, and they deserve better. It's imperative that their catalog be handled tastefully and treated as the heritage of our generation. To have these officially rereleased blurs the picture.
Howard: Only an American can appreciate the pop-culture nuclear bomb that went off in 1964 with The Ed Sullivan Show and Meet The Beatles! It was a seismic shock that still affects our daily lives. You want to force us to buy the life-changing Meet The Beatles! in a different form just to satisfy historical hindsight? When I listen to MTB to this day, I hear innocence, naiveté, an LP that cost, what, $2.98, when big business, international music conglomerates and scholarly intellect hadn't taken over yet. That's the feeling I want to capture in a bottle.
Lewis: If you want to hear those awful mixes, buy cheap speakers, put them in a trash can, stuff some Krispy Kreme doughnuts in your ears and play the proper Beatles CDs that were released in 1987. They will then sound like the old American vinyl records you had in 1964. The bare minimum we owe artists is to respect their vision.
Howard: I'm deducing that The Beatles didn't really care about what LPs came out in America in 1964, or they would have put their foot down like they did on everything else they cared about. In 1964, teenage pop music was a song-driven market. I can just imagine John Lennon holding the Beatles '65 LP and muttering, "This is weird, but what the hell, they're getting all the music."
Lewis: By the time Sgt. Pepper's Lonely Hearts Club Band came out, they absolutely insisted, "No, we will not have our work tampered with," and that record was left intact. But if Capitol had somehow butchered Sgt. Pepper, fans here still would have loved it, because the music was undeniably great. But they would have missed a much better album.
Howard: The reason the world aligned in 1967 with Sgt. Pepper is that it was a "concept album," plain and simple, which history has shown wasn't even that much of a concept. But that was the trigger to get the countries aligned. Plus (there was) the emergence in status of the rock LP (led by Bob Dylan's Blonde on Blonde)
Lewis: Am I unsympathetic to American baby-boomer fans? Absolutely not. It's natural to like what you grew up with, and it's a testament to The Beatles that you liked them so much in spite of the records' aberrations. But if a distributor in England had taken Casablanca, swapped scenes around, changed it to sepia tone and titled it Meet the Casablancans!, do you think there should be an official DVD release of it 40 years later? I'm not saying you can't listen to your old vinyl or cassette or make your own with an iPod, but please don't have an official release.
Howard: This would be another argument if these were replacing the British versions. Then you'd need the House of Commons meeting with Congress. There's room in this world for both, just as there are lots of versions of the Bible. Which is why, ultimately, Capitol is to be supported in releasing this box set. Some cry "greedy, money-grubbing." I cry, "What the hell took you so long? You finally, begrudgingly, caved in to what American fans have pleaded for."
Martin Lewis
A British-born, U.S.-based Beatles scholar who has been involved in Beatles-related projects for 37 years. He was a consultant on the band's Anthology and Live at the BBC projects, producer of the DVD edition of A Hard Day's Night and associate producer of The Beatles on the Ed Sullivan Show DVD. (He runs the official Web site for The Beatles' late manager at BrianEpstein.com.)
Pete Howard
The publisher and editor of ICE magazine, an 18-year-old consumer guide to CD releases. He was a contributing editor for Rolling Stone from 1988-1995 and is a leader in the field of collecting vintage concert posters. His three Beatles posters from Liverpool circa 1961-62 anchor The Beatles display at Cleveland's Rock and Roll Hall of Fame & Museum. (Visit his Web site at postercentral.com.)
laceyinthesky
11-26-2004, 06:57 PM
Originally posted by Steve M.
I'm beginning to think MaryElizabeth and lacey are the same person! :eek:
We're not, so think again.
Steve M.
11-26-2004, 07:17 PM
Originally posted by laceyinthesky
We're not, so think again.
:p
Paul and Ringo discographies updated July 24, 2005.
September 18, 2005: Updated John's discography.
Crapple
09-18-2005, 06:45 PM
Hey AKA, you forgot "Paul McCartney's Get Back" in the Paul DVD section.
08/15/2006:
Updated:
-Beatles discography
-John Lennon discography; added official website URL
-Paul McCartney bio and discography
-George Harrison discography.
Created thread preface.
Also, all links in discographies should once again be current.
jacktripper1
08-15-2006, 10:16 PM
I am a HUGE life-long BEATLES fan!! I like The Beatles entire catalog of work & all solo & side projects & Wings, TOO!!! Just everything they do/did is totally awesome!!! That's why they're the single greatest rock band on the planet!!
10/16/2006:
Updated:
-Beatles discography [added Love]
-John Lennon discography [added The U.S. Vs. John Lennon soundtrack]
-Paul McCartney discography [added The Space Within US DVD and link for Ecce Cor Meum]
-George Harrison discography [updated link for Living In The Material World to reflect 2006 reissue]
05/28/2007
Updated:
-Paul discography [added Memory Almost Full; "Ever Present Past" and "Dance Tonight" singles]
-George discography [added Traveling Wilburys box set and removed "out-of-print" status from both Traveling Wilburys albums]
-Ringo discography [added Liverpool 8]
06/28/2007
Updated:
-Ringo discography [corrected Liverpool 8 release date, record label; added Photograph: The Very Best Of Ringo Starr]
Classicshowsgurl15
06-30-2007, 11:58 PM
The Album I picked was 1962-1966 because that has most of my favorites on it.
dlemond
07-01-2007, 12:59 AM
AKA, when you get a chance, and I know this might be next to impossible, rank your favorite Beatle albums in order.
This is an at the moment list.
A Hard Days Night - My favorite for many inexplicable reasons. And if you listen, for many concrete ones. "I'll Be Back" is the best last track ever.
Rubber Soul - A beautiful and wonderful album, should be number 1.
With The Beatles - Originally blown away by how many effortlessly great tunes are here, any band would kill to write one of these songs.
Revolver- When J&P let the album start off with a (great) George song, you know that this going to be a fantastic album. No doubt possibly their best, not necessarily my favorite (but has been)
Please Please Me - This one and "With the Beatles" had me nuts in college, and made all alternative rock seem less worthy of my attention.
Sgt. Peppers - A masterpiece that took me a while to appreciate due to its labelling as such. When I really took the time I was in awe, though it never became a favorite.
Abbey Road - I could rank this one above the last 2, the "You Never Give Me Your Money" medley always made some sort of earnest impression in my mind. And I will sing a lullaby...
Let It Be - "Two of Us" is one of the best Beatles songs, I don't care what anyone says. The whole album speaks of what could have been- and that is good, good stuff prematurely snuffed.
The White Album - Never a favorite, though I recognize it's flawed (yes I said flawed) brilliance. It's almost like each Beatles best solo album at once.
Beatles For Sale - Too many cover tunes but "What You're Doing" is one of my favorites.
Help - I don't know how to explain how I feel about this album- at times it feels too slick- or overproduced- it might be me. "The Night Before" and "You're Gonna Lost that Girl" are great, and I do like most of it. Why do I hate the production? (yeah, yeah, "Yesterday")
Magical Mystery Tour - Never ever did it for me. All the biggies were never favorites - Strawberry, Penny, Fool, the whole lot (and Walrus was is in my opinion a joke).
Yellow Submarine - Well, half instrumentals, can't rank this. And the others aren't that great. Still, I hear "Hey Bulldog" all the time in other songs.
as for:
Past Masters- I take #1 over 2. "Yes It Is" "I'll Get You" and "This Boy"- not to mention "I Feel Fine" and "Thank You Girl" rank over "Paperback Writer" and "Day Tripper." "Hey Jude" "We Can Work it Out" and "Don't Let Me Down" are favorites though.
Well, maybe not "Hey Jude"
Classicshowsgurl15
07-01-2007, 01:43 AM
I haven't heard alot of their songs because they did alot of albums, but some of my favorite songs are: Twist and Shout, Hey Jude, Yesterday, The Long and Winding Road, Something, In My Life, Here Comes the Sun, And I Love Her, A Hard Day's Night, Can't Buy Me Love, All You Need is Love, Lady Madonna, Penny Lane, Paperback Writer, Day Tripper, We Can Work It Out, Oh Darling!
Ones I don't like are: I Am The Walrus and Yellow Submarine
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