The Beatles - Unsurpassed Masters Vol. 3

Label: Yellow Dog, YD 003
Country: Luxembourg
Year: 1989
Total time: 58:33

1 Paperback Writer - Takes 1 and 2 - 13 April 1966
2 Rain - Take unknown - 14 April 1966
3 Mark I (= Tomorrow Never Knows) - 6 April - 16 May 1966
4 Strawberry Fields Forever - Take 1 - 24 November 1966
5 Strawberry Fields Forever - Take 2, 3, & 4 - 28 November 1966
6 Strawberry Fields Forever - Take 5, 6, & 7 - 29 November 1966
7 Strawberry Fields Forever - Remix 25 (from takes 15 & 24) - 9 December 1966
8 Strawberry Fields Forever - Remix 26 (from take 25) - 15 December 1966
9 A Day in the Life - Reduction mix (take 4 into take 5,6, & 7) - 20 January 1967
10 All You Need is Love - Take 58 (Live TV Broadcast) - 25 June 1967
11 I Am the Walrus - Take 9 - 5 September 1967
12 Aerial Tour Instrumental (Flying) - Take unknown - 8 September 1967
13 Hello Hello (Hello Goodbye) - take 1, instrumental - 2 October 1967

'I Don't Like Anything Different or Unusual' Says John

"The Merseys could be very big if they produce more records like 'Sorrow' ", said John Lennon, as he reclined on the couch, reaching into his breast pocket for his cigarette pack.

The setting was not unfamiliar--a dressing-room like any other, but it seemed strangely empty with the absence of George, Paul and Ringo and everyone else, who is part of the Beatle entourage.

The unconquerable Lennon was in a surprisingly talkative mood that evening, and seemed somewhat unusually content.

I asked John what type of music he liked.

"I don't like anything different, or unusual, just nice records."

Although the controversy of their lack of personal appearances and pre-recorded T.V. inserts had died down, John did, however, have a few brief words to say on the subject. "I can't see any difference between filming inserts for T.V. or doing it live--the viewers see exactly the same thing. I don't know what all the fuss was about."

RED CARNATIONS

Looking around the dressing-room, it was not difficult to notice the empty cigarette packs, coke bottles, half-empty cups of tea and pushed-aside plates of uneaten food, and four black silk suits with a red carnation in each buttonhole--which made one think that the Beatles were part of a wedding party (most unlikely)!

"Every time we arrive at London Airport, or depart from it, and whenever we appear anywhere", said John, "this girl sends us red carnations. She's been doing it for a couple of years--actually she came to see us before you arrived tonight."

Knowing that the Beatles are television fanatics, I asked John to give his personal views on pop programmes and late-night shows.

"I liked 'Whole Scene Going', it was a good programme because they introduced new people like Barry Fantoni and Wendy Varnals. Another good thing about it was that their guests weren't only pop stars, but actors, writers and other personalities."

I then asked John what he thought the limit should be to a "hot" conversation on a late night show.

"I don't think there should be any limit at all, that is why they should put late-night shows on at two o'clock in the morning, that way people wouldn't have to watch it and say how disgusting so-and-so's behaviour was. The average viewer sits glued to the box right up to the epilogue no matter what's on, so if they put these shows on very late, it will only be those who really want to watch it, who will bother to stay up so late."

Just then Mal walked in with two teas in paper cups. "Is that all they've got", asked John. "Why can't we have a proper cup of tea out of the pot--I'm sure the directors don't have their tea in paper cups. See if you can get us two more cups."

I assured John that the canteen tea was very good, probably better than if it had been poured from a pot. He went on to mutter something about being as good as the directors!

Anyway, after a very enjoyable cup of tea I asked John if he found pirate D.J.'s embarrassing in the way that they talk, and "what would you personally like to wear, however outrageous it was?"

John replied:--"To the first question, no. I think they do a very good job. And to the latter one, I wouldn't know what clothes I liked till I saw them."

I asked John whether the Beatles expected to be knocked from the top pretty soon, and if so, how would they feel about it.

"I think that within the next couple of years there will be someone very big, perhaps even bigger than us--it might be another group, or it may be a solo artiste. I don't know about the others, but I wouldn't object to sitting back and having the limelight taken away from us."

Somehow we brought the conversation round to the Stones and John said:--"I always call Bill Wyman--Charlie. He gets offended because he thinks I'm mistaking him for Charlie Watts. It's only because I think he looks like Charles II, that's why I call him Charlie."

John went on to talk about children. "I now take notice of other kids, and compare them to Julian. I think to myself 'that's clever, I don't think mine can do that' or vice versa. A lot of people like having children for their old age, I just want them because I like them."

I asked John if he had any plans for a third book or maybe an autobiography.

"Writing an autobiography has passed through my mind--but I've got a memory like a sieve. Anyway I certainly hope to be writing another book, if I can find the time."

John's reply to--'what is your most dreaded fear' was quite simply:--"Too much of certain things". And when I asked him if he'd ever been scared, he answered:--"I've never been paralysed with fear."

It has been said that when the Beatles play live together after a considerable gap, that John suffers from forgetfulness more than the others, and often can't remember chords or even the words.

To this John said:--"Yes it's true. I can't play any of 'Rubber Soul', it's been so un-rehearsed--the only time I played any of the numbers on it, was when we recorded it! I forget about songs, they're only valid for a certain time."

"What about sentimental values?", I enquired. "Do you have any?"

"I've never really thought about it. I'm as sentimental as anyone else--I'm not immuned to sentimentality."

OGRE

People (usually journalists) are always talking about "Lennon the ogre" or similar words to make him sound monstrous, so I asked John whether or not he was aware that people are frightened of him, and often clam up in front of him, in case he should make them feel small.

"Yes I am aware of the fact. But it's only because people believe what they read, and no-one has ever written the truth about me. I used to get very impatient with these type of people, and I know I used to make them feel uncomfortable by being rather off-hand, but I don't bother any more--I try and be nice!"

I then asked "nice Mr. Lennon" if he trusted anybody implicitly.

"Only the other three and my wife".

Just then the strangeness of the dressing-room wore off, because in walked Paul, George and Ringo, so I wound off our interview by asking John if he'd always been vague, or only since becoming a Beatle.

"I've always been vague--my characteristics haven't changed since becoming a Beatle."

And on that vague note I left the now familiar setting--John, Paul, George and Ringo in their dressing-room plus full entourage.

The Beatles - Unsurpassed Masters Vol. 2

Label: Yellow Dog, YD 002
Country: Luxembourg
Year: 1989
Total time: 56:13

1 A Hard Day's Night - Take 6 and 7 - 16 April 1964 - 4:35
2 Leave My Kitten Alone - Take 5 - 14 August 1964 - 2:54
3 She's A Woman - Take 7 - 8 October 1964 - 6:32
4 I Feel Fine - Takes 6 and 7 - 18 October 1964 - 5:36
5 Yes It Is - Take 1 and 2 - 16 February 1965 - 4:25
6 If You've Got Troubles - Take 1 - 18 February 1965 - 2:53
7 That Means A Lot - Take 2 - 20 February 1965 - 2:33
8 Help! - Take 1, 2 and 5 - 13 April 1965 - 3:59
9 Norwegian Wood - Take 1 - 12 October 1965 - 2:02
10 Day Tripper - Take 1, 2 and 3 - 16 October 1965 - 6:26
11 We Can Work It Out - Take 1 and 2 - 20 October 1965 - 4:33
12 Twelve Bar Original - Mono mix of take 2 - 4 November 1965 - 6:41
13 I'm Looking Through You - Take 1 - 6 November 1965 - 3:10

The Beatles...After The Break-Up In Their Own Words

by David Bennahum

The first book of Beatle quotes about their lives after the end of the group. What John, Paul, George and Ringo have to say about...
The Beatles' Break-up, Each Other, Family, Religion, Business, Solo Work, Re-union Rumours, Themselves, Drugs, Rock & Roll, Money, Live Work.

"Big bastards, that's what The Beatles were. You have to be a bastard to make it. And The Beatles were the biggest bastards on earth." John Lennon

"I refuse to be a leader and I'll always show my genitals or do something which prevents me from being Martin Luther King or Gandhi and getting killed." John Lennon

"Yes, I was in The Beatles. Yes, we made some great records together. Yes, I love those boys. But that's the end of the story." Ringo Starr

"The biggest break in my career was getting in The Beatles in 1963. The second biggest break since then is getting out of them." George Harrison

"Don't ever call me ex-Beatle McCartney again. That was a band I was with. Now I'm not with them." Paul McCartney

"I'd like to play with the other guys... You never know, The Beatles might feel like getting back together again." Paul McCartney

Includes quotes from before and after John died, and many previously unpublished pictures. This book, compiled by David Bennahum, completes The Beatles' story.

Born in New York in 1968, David Bannahum graduated in Literature from Harvard University in 1990. He is single and still lives in New York. This is his first book.

Excerpt

After Brian (Epstein) died we collapsed. Paul took over and supposedly led us. But what is leading us when we went round in circles? We broke up then. That was the disintegration. John, 1970

No matter how much we split, we're still very linked. We're the only four people who've seen the whole Beatlemania bit from the inside out, so we're tied forever, whatever happens. Paul, April 1970

I didn't leave The Beatles. The Beatles have left The Beatles but no one wants to be the one to say the party's over. Paul, 1970

'Wedding Bells' is what it was: "Wedding bells are breaking up that old gang of mine". We used to sing that song...It was like an army song and for us The Beatles became the army. We always knew that one day 'Wedding Bells' would come true, and that was when it did. Paul, October 1986

The actual story in my mind is that it was all getting a bit sticky during the 'White Album'. And 'Let It Be' was very sticky -- George left the group then, and so did Ringo, but we managed to patch that back up. The dates are all purple haze to me, but at some point -- after 'Let It Be' was finished, and about the time I was wanting to put the 'McCartney' album out -- we had a meeting at the Apple office, and it was like, "Look, something's wrong and we've got to sort it out." I had my suggestion: I said, "What I think we ought to do is get back as a band -- get back as the little unit we always were. I think we ought to hit small clubs and do a little tour." I just wanted to learn to be a band together again, 'cause we'd become a business group. We'd become businessmen. So that was my big suggestion. And John looked me in the eye and he said, "I think you're daft. In fact, I wasn't gonna tell you...but I'm leavin' the group." To my recollection, those were his exact words. And our jaws dropped. And then he went on to explain that it was rather a good feelin' to get it off his chest -- a bit like when he told his wife (Cynthia) about a divorce, that he'd had a sort of feeling of relief. Which was very nice for him, but we didn't get much of a good feeling.

At first we agreed not to announce it. But after three or four months, I got more and more guilty about people saying, "How's the group going?" when we sort of knew it was probably split up. So I did a kind of dumb move in the end, and when I look back on it, it was really...it looks very hard and cold. But I was releasing the 'McCartney' album, and I didn't really want to do much press for it; so I told a guy from the office to do me a list of questions and I'll write the answers and we'll print it up as a pamphlet and just stick it in with the press copies of the album. The questions were quite pointed, and it ended up being like me announcing that The Beatles had broken up. John got quite mad about that, apparently -- this is one of the things he said really hurt him and cut him to the quick. Personally, I don't think it was such a bad thing to announce to the world after four months that we'd broken up. It had to come out sometime. I think maybe the manner of doing it I regret now -- I wish it had been a little kinder, or with the others' approval. But I felt it was time. Paul, January 1986

We didn't accept Yoko totally, but how many groups do you know who would? It's a joke, like Spinal Tap. You know, I loved John, I was his best mate for a long time. Then the group started to break up. It was very sad. I got the rap as the guy who broke the group up. It wasn't actually true. Paul, October 1986

When I was in The Beatles I could never understand when they said: "What are you going to do when the bubble bursts?" It was a joke question. We always used to say, "We'll burst with it -- ha, ha."

It was the only thing we could think of, just to answer the thing. But I never took it in. I never understood what they meant. What does it mean, "when the bubble bursts, I'll be dead?" When it bursts, I'll be dead. Never understood the question really. I never took it in until The Beatles broke up. And they were always going on about "the pressures." I could see there were pressures. I couldn't feel them! I was just a rocker...I didn't begin to feel any until the big, dramatic breakup of The Beatles. Paul, 1984

It's just like divorce. It's that you were so close and so in love that if anyone decides to start talking dirty -- great, then Pandora's box is open. That's what happened with us. Paul, November 1987

Immediately after the breakup of The Beatles I felt, "What am I gonna do?" I then went into a period when everybody started to call me a hermit in isolation...I was trying to get normal again, and giving myself time to think, what do I want to do? Paul, 1984

When The Beatles split up, I fell on the rocks. I've been accused of walking out on them but I never did. It's something I'd never do. One day John left and that was the last straw. It was the signal for the others to leave. The Beatles were a blanket of security. When the job folded beneath me, suddenly I didn't have a career any more. I wasn't earning anything. All my money was in Apple. I couldn't get it because I'd signed it all away. I stayed up all night drinking and smoking and watching TV. I lost all my security. I had no idea what to do, there seemed no point in me joining another group. Paul, 1984

There was a certain amount of relief after that Candlestick Park concert. Before one of the last numbers, we actually set up this camera -- I think it had a fisheye, a very wide-angle lens. We set it up on the amplifier and Ringo came off the drums, and we stood with our backs to the audience and posed for a photograph, because we knew that was the last show.

There was a sense of relief after that, getting home. Then we spent what seemed like fifty years going in and out of each other's houses, writing tunes and going into the studio for 'Sgt. Pepper' and the 'White Album'. But for me, I think for all of us, it was just too much. The novelty had worn off. Everybody was growing up. Everybody was getting married and leaving home, in effect, I think it was inevitable really. George, November 1987

I realise The Beatles did fill a space in the '60s and all the people The Beatles meant something to have grown up. It's like with anything. You grow up with it and you get attached to things. That's one of the problems in our lives, becoming attached to things, and it's appreciated that people still like them. But the problem comes when they want to live in the past and they want to hold on to something and are afraid to change. George, 1974

All this stuff about The Beatles being able to save the world was rubbish. I can't even save myself. It was just people trying to put the responsibility on our shoulders. The thing about The Beatles is that they saved the world from boredom...But we didn't really create any great change, we just heralded that change of consciousness that happened in the sixties. We went along with it, that's all. The whole Beatles thing is a nightmare. I don't even like to talk about it. I just hate it. George, 1983

Beatle producer, George Martin, said recently how he always felt sorry because he concentrated more on them and he should have paid more attention to me. He said, "I hope you'll forgive me." But I'm quite happy with my role in The Beatles. You know, it split up because of all those problems, there were too many songs. Because we got too close to each other, but I'm quite happy about the way things went. I feel that whatever I am now, I always have been that, you know. Maybe different things have taken longer to reach the surface or whatever, but I'm who I am and I am not really that much different to how I was then. Maybe I'm more able to express it or maybe people are more interested now in what I have to say. Because in the sixties and the early seventies they thought I was a loony. George, 1988

I think being (a Beatle) was much more difficult. I mean, it was fun for a long time, but there was so much pressure on us. It became really tiresome and it was good, in a way, to dissipate that energy that there was with the four of us together. You know, let it go away so that we could have some semblance of a life. Otherwise it would have just been madness continually. George, 1988

Even now I look back and I can see, relative to a lot of other groups or pop music in general, The Beatles did have something. But that's relative to that. Relative to something else...I can accept whatever The Beatles were on those terms. But it's a bit too much to accept that we're supposedly the designers of this incredible change that occurred (in the '60s). In many ways we were just swept along with everybody else. George, November 1987

Yes, I was in The Beatles. Yes, we made some great records together. Yes, I love those boys. But that's the end of the story. Ringo, 1978

Things were getting a bit rough, and I'd left The Beatles for a couple of weeks because I couldn't take it any more. So I went on holiday with my family to Sardinia. A friend lent us a boat, and one day the captain served us some octopus for lunch. Naturally we all went, "Urrgghh-ah! No thanks. Have you got any egg and chips?" But I started talking to the captain, and he told me all about octopuses, how they go 'round the sea-bed and pick up stones and shiny objects and build gardens. I thought, "How fabulous!" 'cause at the time, I just wanted to get out of (The Beatles) for a while. Of course, I ended up going back to the group because I couldn't play with anyone better. But that's how 'Octopus' Garden' came about. Ringo, April 1981

Yoko's taken a lot of shit, her and Linda (McCartney); but The Beatles break-up wasn't their fault. It was just that suddenly we were all thirty and married and changed. We couldn't carry on that life any more. Ringo, 1981

I'm not sorry I went through it (Beatlemania), but that was then, and we had a lot of good times, but I don't really ever want to do it again. I don't want to go on the road again; I enjoy the studios more now. Ringo, January 1974

The '60s was totally different. I mean, that was the fabs up there, this was just the greats (Ringo's All-Starr Band tour of 1989). It was a zoo attitude. They just came to see you, no one could hear anything. By 1965 we were turning into such bad musicians 'cos we were just playing chords on the beat. There was no groove to it, and that's why we stopped (touring). Ringo, January 1991

The Beatles - Unsurpassed Masters Vol. 1

Label: Yellow Dog, YD 001
Country: Luxembourg
Year: 1989
Total time: 53:38

Wednesday 6 June 1962 (artist test)
1 Besame Mucho

Tuesday 4 September 1962
2 How Do You Do It? Take 1

Monday 11 February 1963
3 There's A Place Take 5, 6
4 I Saw Her Standing There Take 6, 7, 8, 9
5 Do You Want To Know A Secret? Take 8 (track 2)
6 A Taste Of Honey Take 6 (track 2)
7 There's A Place Take 12, 13 (track 2)
8 I Saw Her Standing There Take 11, 12 (track 2)
9 Misery Take 2, 3, 4, 5, 6

Tuesday 5 March 1963
10 From Me To You Take 1 and 2
11 From Me To You Take 8, take 9-13 (edit pieces)
12 Thank You Girl Take 2, 3, 4
13 Thank You Girl Take 7-13 (edit pieces)
14 One After 909 Take 1, 2

Thursday 12 September 1963
15 Hold Me Tight [re-make] Take 22, 23, 24
16 Don't Bother Me [re-make] Take 11, 12, 13

Shout! The Beatles in Their Generation

by Philip Norman

The classic chronicle of the Beatles--their music, their lives, their times

From their primitive first chords to the huge success of the Beatles Anthology, the Beatles have been an integral part of our culture and our consciousness for over thirty-five years. Shout! The Beatles in Their Generation tells the extraordinary story of the rise of four scruffy boys from Liverpool to beings more adored, more influential--and in many ways more troubled--than any in the history of popular entertainment. It is also a penetrating social history of our time, based on an incredible wealth of material--eyewitness accounts, interviews, stories withheld from the press and public--that was available exclusively to the author.

Rich in detail, anecdotes, and background, with 100 stunning photographs, Shout! takes us from the wild, often comical days at the beginning in Liverpool to the life and death of Stu Sutcliffe, the brilliant boy known as the "fifth Beatle"; from the psychedelic triumph of Sergeant Pepper's Lonely Hearts Club Band to the band's embrace of Indian music and spirituality; from the brilliantly unified sounds of Abbey Road to Paul's desperate attempts to form a final comeback concert.

Riveting, enlightening, heartbreaking, Shout! is a true epic.

"The definitive biography." --The New York Times Book Review

Philip Norman is a journalist and a novelist who in 1968 was assigned to cover the Beatles' own business utopia, Apple Corps, from the inside. He is the author of Rave On: The Biography of Buddy Holly and many other books.

The Beatles and Philosophy: Nothing You Can Think That Can't Be Thunk

Edited by Michael Baur and Steven Baur

The Beatles rapidly evolved from producing innocent teenage love lyrics to posing profound and disturbing questions about reality. They revolutionized popular songs intellectually as well as musically. Their work and their influence distilled all the enthusiasms and disquiets of the Sixties: the longing for more authentic relationships, the skepticism about radical leaders both spiritual and political, the eager yet critical embrace of consumer culture, the chemically assisted lift-off into inner space.

In The Beatles and Philosophy, twenty professional philosophers and ardent Beatles fans take a close look at the thought of the Beatles, and explore the implications of their ideas for life, love, society, politics, and spirituality.

"The Beatles and Philosophy shows how the Beatles transcend the Sixties and connect to the world's big ideas--from Vedanta to Aristotle, from Hegel to Derrida. This band--and this book--touch both heart and mind."
--Richard Polt
Author of Heidegger: An Introduction

"Peer through the looking glass of philosophy at the world of the Beatles, and behold the many meanings of life all over again! The Doctors Baur take us on a long and winding road through the Beatles' music, and help us make the most of the lessons they left behind."
--Bruce "Doctor" Lev
Author of Billy Shears: The Secret History of the Beatles

"The Beatles' engagement with Eastern philosophies and political philosophies (Marxism especially) is well known. Besides exploring these links with nuance and clarity, this book invites us to consider other, less immediately obvious philosophical implications of the Beatles' output. The Beatles and Philosophy re-affirms the Beatles' crucial importance as reflectors and influencers of 1960s intellectual culture and invites us to consider afresh the meanings of lyrics we thought we knew well."
--Edward Macan
Author of Endless Enigma: A Musical Biography of Emerson, Lake and Palmer

"For everyone who has played the Beatles forwards, backwards, and upside down and wondered what it all meant, this compilation deconstructs those often-enigmatic lyrics in a fascinating and engaging way. You will not need academic credit to feel satisfied after reading these insightful essays, which are so intense that you're not left feeling guilty for thinking deeply about popular culture and having fun doing it."
--Rob Friedman
Former Editor-in-Chief, Harvard Law Record

Michael Baur is Associate Professor of Philosophy at Fordham University. Yesterday, he played a Rickenbacker 4001 bass guitar in various cover bands. Now his life has changed in oh so many ways: he writes articles on Kant, Aquinas, Heidegger, and Rawls. Steven Baur is Assistant Professor of Music at Dalhousie University. He used to twist and shout as a rock'n'roll drummer, and now furiously writes musicological studies of Mendelssohn and Ravel. He's still got blisters on his fingers.

The Beatles - Hard Days and Nights

Label: Silent Sea Productions, SS060-61

DISC ONE (70:29)

"A Hard Day's Night" era sessions
1. Sie Liebt Dich -take 10, RS'95 0'14''
2. Can't Buy Me Love -take 2, RS'82 2'17''
3. Can't Buy Me Love -take 3, RS'82 0'42''
4. Can't Buy Me Love -edit of take 1 & 3, RM'95 2'10''
5. You Can't Do That -take 6, RM'95 2'41''
6. And I Love Her -take 2, RM'95 1'52''
7. I Should Have Known Better -take 8, RM'95 0'14''
8. I Should Have Known Better -take 11, RM'95 (partial) 0'16''
9. And I Love Her -take 11, RS'95 (partial) 0'15''
10. Tell Me Why -take 4, RM'95 0'17''
11. A Hard Day's Night -take 1, RM'95 2'41''
12. A Hard Day's Night -take 2, RM'82 (partial) 2'32''
13. A Hard Day's Night -take 3, RM'82 0'10''
14. A Hard Day's Night -take 4, RM'82 2'46''
15. A Hard Day's Night -take 5, RM'82 2'41''
16. A Hard Day's Night -take 6, RM'82 1'31''
17. A Hard Day's Night -take 7, RM'82 3'04''
18. A Hard Day's Night -take 8, RM'82 0'13''
19. A Hard Day's Night -take 9, RM'82 (partial) 2'20''
20. I'll Be Back -take 2, RM'95 1'11''
21. I'll Be Back -take 3, RM'95 1'58''
22. I'll Be Back -take 12, RM'95 0'11''
23. I'll Be Back -take 13, RM'95 0'12''
24. I'll Be Back -take 14, RM'95 0'04''
25. I'll Be Back -take 15, RM'95 0'09''
26. You Know What To Do -studio demo 1'59''
27. No Reply -studio demo, take 1 1'47''

"A Hard Day's Night" film production acetates
28. A Hard Day's Night -take 9 2'28''
29. And I Love Her -take 21 2'27''
30. If I Fell -take 15 2'17''

"Top Gear" BBC Radio
31. Long Tall Sally 2'04''
32. Things We Said Today 2'26''
33. A Hard Day's Night 4'03''
34. And I Love Her 4'11''
35. I Should Have Known Better 3'01''
36. If I Fell 2'08''
37. You Can't Do That 2'31''
38. outro and theme song 0'28''

"A Hard Day's Night" era home recordings
39. One And One Is Two 1'55''
40. If I Fell 0'17''
41. If I Fell 2'29''
42. If I Fell 0'24''
43. If I Fell 0'37''
44. If I Fell 0'16''

DISC TWO (69:13)

The stereo "A Hard Day's Night" LP
1. A Hard Day's Night -take 9, RS1 2'34''
2. I Should Have Known Better -take 22, RS1 2'44''
3. If I Fell -take 15, RS1 2'19''
4. I'm Happy Just To Dance With You -take 4, RS1 1'56''
5. And I Love Her -take 21, RS1 2'30''
6. Tell Me Why -take 8, RS1 2'09''
7. Can't Buy Me Love -take4, RS1 2'12''
8. Any Time At All -take11, RS1 2'12''
9. I'll Cry Instead -edit takes 6 & 8, RS1 1'46''
10. Things We Said Today -take 3, RS1 2'36''
11. When I Get Home -take11, RS1 2'17''
12. You Can't Do That - take 9, RS1 2'34''
13. I'll Be Back -take 16, RS1 2'24''

The mono "Long Tall Sally" EP
14. Slow Down -take 6, RM1 2'56''
15. I Call Your Name - edit of RM1 of take 5 and RM2 of take 7 2'08''
16. Long Tall Sally -take 1, RM2 2'02''
17. Matchbox -take 5, RM1 1'57''

Other "A Hard Day's Night" era mono remixes
18. And I Love Her -take 21, RM1 2'31''
19. Any Time At All -take 11, RM3 2'14''
20. I'll Cry Instead -edit of takes6 & 8, RM1 2'07''
21. When I Get Home -take 11, RM3 2'16''
22. I'll Be Back -take 16, RM3 2'21''
23. Long Tall Sally -take 1, RM1 2'10''

The German single in stereo
24. Komm, Gib Mir Deine Hand -edit of takes 5 & 7 , RS2 2'24''
25. Sie Liebt Dich -take 14, RS1 2'19''

Other "A Hard Day's Night" era stereo remixes
26. And I Love Her -take 21, RS1, German edit 2'38''
27. I Call Your Name -edit of RS1 of take 5 and RS2 of take 7, US. vers. 2'06''
28. Komm, Gib Mir Deine Hand -edit of takes 5 & 7 , RS1 2'25''

"A Hard Day's Night" original film soundtrack
29. Tell Me Why -take 8, mono film mix 2'31''
30. A Hard Day's Night -take 9, mono film mix 1'55''

The Beatles Solo on Apple Records

The stories behind the entire Beatles solo catalog on Apple Records including Imagine, Band On The Run, All Things Must Pass, and Ringo

Compiled by Bruce Spizer
Foreword by Allan Steckler

"If people need the Beatles so much, all they have to do is buy each [solo] album...and put it on tape, track by track. One of me, one of Paul, one of George and one of Ringo." --John Lennon

Even before the Beatles officially broke up in early 1970, band members were working on solo projects. In America, Apple released George Harrison's Wonderwall Music in late 1968. John & Yoko's Unfinished Music No. 1. Two Virgins followed in early 1969. During the year, Apple released three more albums and two singles by John & Yoko, plus George's Electronic Sound. Paul coupled the release of his McCartney album in April, 1970, with his announcement that he was quitting the Beatles. A few days later, Apple released Ringo's album of big band standards, Sentimental Journey. Later that year, Ringo struck again with Beaucoups Of Blues. At year's end, Beatles fans were treated to George's classic triple set All Things Must Pass and John's harrowing Plastic Ono Band LP. It was quite a mixed bag.

This book covers all of those records, plus all of the solo albums and singles released by former members of the Beatles on Apple during the first half of the seventies. While not every song matched the high standards set by the Beatles, there were some great moments and surprises.

The Beatles Solo on Apple Records is the fifth installment of Bruce Spizer's critically acclaimed series on the Beatles American records and the companion piece to The Beatles on Apple Records.

"Bruce Spizer if the ultimate presenter of the historical phenomenon known as the Beatles."
Ken Mansfield, Apple's first U.S. manager

Encyclo(beatle)pedia!

by Hunter Davies

Can you answer these 13 questions?

1. Which Beatle was born during a heavy air-raid at seven in the morning at Oxford Street Maternity Hospital, Liverpool?

2. Which Beatle earned 50s. a week as a British Railways messenger boy and then worked as a barman on the Liverpool-North Wales boats?

3. What did the Beatles record as a follow-up to "Love Me Do"?

4. What was the actual date Paul and Jane became engaged?

5. What song did George write on a harmonium at Manfred Klaus Voormann's house?

6. Which Beatle edited, wrote and illustrated a series of home-made books called "Sport, Speed and Illustrated" when he was seven?

7. Who wrote "I Lost My Little Girl" in 1956?

8. Who was the drummer when the Beatles backed Johnny Gentle for a fortnight's tour of Scotland in 1960?

9. Who earned £7 a week winding electric coils in 1961?

10. When did Paul, George and John call themselves Paul Ramon, Carl Harrison and Johnny Silver?

11. Where did the Beatles appear in concert on a bill topped by Frank Ifield?

12. Which Beatle won a book called "Seven Queens of England" in 1953 as a school Coronation Year Essay Prize?

13. Where can you find "The best photographs of the Beatles . . . much better than any which appear in newspapers"?

The correct answers are below

1. John, on October 9, 1940.

2. Ringo--and each job lasted just six weeks.

3. "How Do You Do It"--but the recording was never released. They made "Please Please Me" instead and Gerry and the Pacemakers used the other song.

4. Christmas Day, 1967.

5. "Within You Without You".

6. John--his Aunt Mimi still keeps the original copies.

7. Paul--one of his very first compositions.

8. Thomas Moore.

9. Paul.

10. When they were billed as The Silver Beatles nearly eight years ago.

11. For promoter Arthur Howes at Peterborough's Embassy Theatre in 1962.

12. Paul--who still has the prize book in his library.

13. Right here in "THE BEATLES MONTHLY BOOK"--according to author Hunter Davies who writes in his biography of the Beatles: "It has been going since August 1963 and is the longest-running fan magazine in the country. Instead of taking a lot of profits out of it, NEMS insists upon its quality being maintained by having, for example, many full colour pictures. It is an excellent publication."

I have picked out just a handful of the fascinating facts to be found in Hunter Davies' forthcoming biography of the Beatles, the first officially authorised life-story, to be published in Britain at the end of September. At least a further 1,000 equally interesting answers come out in the course of Hunter's book.

After an introduction which condenses a history of Liverpool into several pages of print, Hunter opens his first chapter by looking back more than 50 years to the time when John's father, Fred Lennon, was born in Liverpool, the son of a Dubliner who had been an original member of the Kentucky Minstrels! He recalls how a five-year-old John almost emigrated to New Zealand and how John made his earliest school friendships--with Ivan Vaughan and Pete Shotton.

Taught Himself

The second chapter, headed "John And The Quarrymen", moves forward to John's teenage years in the first half of the 'fifties and shows how his upbringing was divided between his mother and his Aunt Mimi, and how he taught himself to play the mouth-organ with a little help from a bus conductor.

Next comes a couple of chapters devoted to Paul's childhood, his early days at Stockton Wood Road Primary and the memories of younger brother Michael, better known as Scaffold member Mike McGear. Paul's father wanted him to join Liverpool Cathedral Choir. "I made him go, but he deliberately cracked his voice in the audition. He did join St. Chad's Choir, near Penny Lane, for a while."

Paul was given an old trumpet by an uncle and taught himself to pick out tunes on it. Later still Paul was introduced to John by their mutual mate Ivan Vaughan, and John remembers being very impressed by Paul playing "Twenty Flight Rock" on the guitar, an informal audition which won him a place in the Quarrymen for a date at a local Conservative Club dance the following week.

George, the fourth child and third son of Harold and Louise Harrison, was "always very independent and never wanted any assistance of any kind", admits his mother. In 1954 George started at Liverpool Institute. Paul was already there, in the year ahead. He once went to school with a canary yellow waistcoat under his school blazer. It belonged to his brother Harry, but George thought he looked terrific in it. His first guitar, bought by his mother for £3, was used for endless practice. He kept at it until his fingers were bleeding.

"I first saw the Quarrymen when they were playing at Wilson Hall in Garston. Paul was playing with them and said I should come", recalls George.

Chords

"George wanted to join us because he knew more chords, a lot more than we knew. So we got a lot from him. Every time we learned a new chord, we'd write a song round it", adds John.

"A lot of people in little boxes all trying to get out", is how Ringo remembers his hometown neighbourhood of Dingle, not far from Liverpool's dock area.

When he was six, after less than a year at St. Silas' Junior School, Ringo developed an appendicitis which burst and became peritonitis. His spell at Myrtle Street Children's Hospital--just over 12 months--was the first of several prolonged periods of indisposition which kept him away from school. Today he can't remember the names of any school masters, but he does remember the names of nurses who cared for him.

His first set of drums cost £100. He went to his Grandad for the £50 deposit.

Hunter's story moves on to chronicle John's days at Art College, his meeting with Cynthia, the time when the Quarrymen became the Moondogs, and then the Silver Beatles, and the group's first highly colourful trip to Hamburg in 1960.

Later chapters deal in much depth with Brian Epstein, the substituting of Ringo for drummer Pete Best, touring, Beatlemania in America, the so-called Beatle Business Empire, the period when the Beatles turned from drugs to meditation and, finally, the group as it is today.

One entire section deals with the death of Brian Epstein, another with the Beatles' closest relatives and friends, another with an impressive study of the Beatles' songwriting techniques.

Family

And there are another four chapters headed John, Paul, George and Ringo, with family conversations set in each Beatle home and involving the first really detailed interview material with Cynthia, Pattie, Maureen and Jane. Despite the fascination of the early part of the biography with all its childhood stories, this final segment of Hunter's book may be of greatest interest to Beatle People. Here are extended discussion pieces in which each one talks about the past, the present and the future with greater frankness and in greater depth than is possible via any newspaper or magazine feature.

When Hunter Davies had finished his writing, proof-copies of the book were circulated to each Beatle. All four read it in detail. So did their families and close friends. So everything in the finished book has been checked and re-checked for factual accuracy. For the first time Beatle People will have a true and very comprehensive book of reference.

The Beatles - White Sessions

Label: Silent Sea Productions, SS011-14

Disc 1

1. Revolution 1 (take 20, monitor mix)
2. Revolution 1 (take 20, monitor mix)
3. Revolution 1 (take 20, monitor mix)
4. Revolution 1 (take 20, monitor mix)
5. Revolution 1 (take 20, monitor mix)
6. Don't Pass Me By (take 3, fragment)
7. Don't Pass Me By (Anthology version)
8. Blackbird / Congratulations
9. Blackbird
10. Helter Skelter / Gone Tomorrow Here Today
11. Blackbird
12. Blackbird
13. Blackbird
14. Blackbird
15. Mother Nature's Son
16. Blackbird
17. Blackbird
18. Blackbird
19. Blackbird
20. Blackbird
21. Blackbird
22. Blackbird (take 4)
23. Blackbird (take 32)

Disc 2

1. Revolution 9 (take 1)
2. Good Night (rehearsal, from Anthology)
3. Good Night (fragment)
4. Ob-La-Di, Ob-La-Da (fragment)
5. Ob-La-Di, Ob-La-Da (take 5)
6. Ob-La-Di, Ob-La-Da (take 5, remixed)
7. Revolution (take 15)
8. Ob-La-Di, Ob-La-Da (take 23)
9. Cry Baby Cry (take 1)
10. Helter Skelter (take 2)
11. Sexy Sadie (unknown take, monitor mix)
12. Brian Epstein Blues
13. Sexy Sadie (unknown take, monitor mix)
14. Sexy Sadie (unknown take, monitor mix)
15. Sexy Sadie (take 6)
16. Don't Pass Me By (take 7)
17. Good Night (take 34)
18. Everybody's Got Something To Hide Except Me And My Monkey (take 12)
19. Sexy Sadie (take 28, fragment)
20. While My Guitar Gently Weeps (take 1, 1983 mix)
21. While My Guitar Gently Weeps (take 1, 1995 mix)
22. While My Guitar Gently Weeps (take 1, fragment remix of end)
23. Hey Jude (take 2)

Disc 3

1. Hey Jude (take 7)
2. St. Louis Blues
3. Hey Jude (take 8? Incomplete)
4. Hey Jude (take 9)
5. Hey Jude (take 10)
6. Hey Jude (incomplete, unknown take)
7. St. Louis Blues
8. Hey Jude (unknown take)
9. Las Vegas Jude
10. Mother Nature's Son (take 2)
11. Mother Nature's Son (unknown take, fragment)
12. Not Guilty (complete)
13. Not Guilty (Peter Sellers tape version)
14. Not Guilty (Anthology/Sessions edit)
15. What's The New Mary Jane (take 2, inc.)
16. What's The New Mary Jane (take 4)
17. What's The New Mary Jane (take 4, remix)
18. Rocky Raccoon (take 8)
19. Rocky Raccoon (take 10, fragment)
20. Rocky Raccoon (take 10)
21. Yer Blues (RM3)
22. Mother Nature's Son (take 26)
23. Wild Honey Pie (take 1)
24. Sexy Sadie (take 117)

Disc 4

1. Back In The U.S.S.R. (take 6)
2. Dear Prudence (backing vocals, fragment)
3. Dear Prudence (SI onto take 1)
4. Dear Prudence (take 1 alternate mix)
5. By George! It's The David Frost Theme / It's Now Or Never
6. By George! It's The David Frost Theme
7. Hey Jude (U.K. promo film)
8. Hey Jude (U.S. promo film)
9. Hey Jude ("Anthology" promo film)
10. Revolution (U.S./U.K. promo film)
11. Revolution ("Anthology" promo film)
12. Revolution (promo film session fragment)
13. Helter Skelter (take 21)
14. I Will (take 1)
15. Step Inside Love / Los Paranoias
16. I Will (unknown take, fragment)
17. Birthday (take 22)
18. Piggies (unknown take, fragment)
19. Happiness Is A Warm Gun (overdubs)
20. Glass Onion (take 33, "Anthology" mix)
21. I'm So Tired ("Anthology" edit)
22. I'm So Tired (isolated tracks)
23. I'm So Tired (take 14)
24. I'm So Tired (take 14, "Anthology" remix, fragment)
25. Why Don't We Do It In The Road (take 4)
26. Why Don't We Do It In The Road (unknown take, fragment)
27. Julia (take 2)
28. Julia (unknown take, fragment)

The Beatles - Attack of the FILLER BEEBS, episode three

Label: Silent Sea Productions, SS003

"Saturday Club" 11-29-65
1. Saturday Jump, interview version - 0:12
2. Saturday Jump theme music - 0:09
3. Beatles promo spot session - 1:12
4. John, Paul, Ringo and Brian Matthew chat - 1:44
5. Beatles and Brian chat - 1:25
6. Beatles chat - 0:42
The Beatles tape their contributions to the "Saturday Club" Christmas broadcast. The promo spot is complicated by Ringo's intransigence; the first chat bit starts with an impromptu "Maria," then covers their Christmas plans; the second chat segment is a "Beatle Box Jury" following the playing of Brian Matthew's new single; and finally each Beatle sends his holiday wishes.

"Pop Profile" 11-30-65
7. theme song and intro - 0:31
8. John and Brian Matthew chat - 4:18
9. George and Brian chat - 3:51
Brian interviews two Beatles at the NEMS Enterprises office in London. John discusses what he cares most about, his political leanings, Julian's future education and parenthood. George muses on his image as the "silent Beatle," what he cares most about, songwriting, his home life, and what he wants.

"Pop Profile" 5-2-66
10. Paul and Brian Matthew chat - 4:19
11. Ringo and Brian chat and outro - 4:13
Brian interviews two more Beatles at the Playhouse Theatre in London. Paul complains about press reactions to his concert and play attendance and discusses post-Beatles possibilities and various other musics. Ringo talks about music he likes, life as a lad, life as a whole and how he got into music.

"The Lennon and McCartney Songbook" 8-6-66
12. John, Paul and Keith Fordyce chat - 9:26
At Paul's St. John's Wood home in London, Keith Fordyce gets the Nerk Twins' reactions to some of the many covers of their compositions, including the Irish Guards' "She Loves You," Peggy Lee's "A Hard Day's Night," Matt Munro's "All My Loving," Lena Horne's "And I Love Him" and Frankie Vaughn's "Wait," with interruptions by Mr. or Mrs. Higgins and Martha (My Dear) the sheepdog puppy.

"Top Of The Pops" 3-20-67
13. John, Paul and Brian Matthew chat - 5:12
The Fab Two discuss "Penny Lane" not making Number One, songwriting, doing another film, not touring and not writing a stage musical.

"Scene And Heard" 9-13-67
14. George and Miranda Ward chat - 4:24
Interviewed at the Atlantic Hotel in Newgate during "Magical Mystery Tour" filming, George explains why they still haven't done their required third feature film, what they're doing with "Mystery Tour," and his interest in Indian philosophy and spiritual fulfillment.

"Where It's At" 11-67
15. John, Chris Denning and Kenny Everett chat - 2:47
16. All Together On The Wireless Machine - 2:00
John talks about the possibility of a Beatles radio show, building a studio, and other future plans. The second track is a home tape Paul recorded for the program.

unknown program 3-26-68
17. Paul and Jane Asher chat - 2:01
On their return from India, Paul responds to questions about meditation and poverty in India and Jane discusses meditation's effect on her.

unknown program 6-68
18. Beatles rehearsal - 0:49
Tony Allerstone (?) narrates as John bangs a drum, Paul plays lead guitar, George plays piano and vocalizes, and Ringo walks around thinking.

"The Kenny Everett Show" 6-6-68
19. John intro - 0:28
20. John and Kenny chat - 4:34
21. Beatles and Kenny chat - 12:52
John provides a very spaced-out welcome to the end, followed by part of the broadcast as edited by Kenny. Finally, the complete session tape includes John strumming on a fretless guitar while expounding on what to expect from them in the next few months, "Somebody Stole My Gal," "Goodbye Jingle," Harry Nilsson, "Cottonfields" with Kenny, Rishikesh, what they've recorded so far, "It's The Kenny Everett Show," "You Know, Listeners," Apple, if he were stranded on an island and how high "Sgt. Pepper" was. Paul joins John for "Goodbye To Kenny Everett," John proposes "Tiny Tim For President," George says hello, Paul does Tiny, Ringo sings "Goodbye Kenny" and John and Paul do a jazzy "Strawberry Fields Forever."

The Beatles - Attack of the FILLER BEEBS, episode two

Label: Silent Sea Productions, SS002

unknown program 2-5-64?
1. Beatles and someone chat - 2:12
The Beatles discuss their recent Paris trip and upcoming American one.

"Saturday Club" 2-7-64
2. coverage of Plaza Hotel arrival - 1:05
3. Beatles and Brian Matthew phone chat - 4:58
Brian, in London, talks to the Beatles in their New York hotel room, getting their first impressions of America.

"Saturday Club" 2-22-64
4. Beatles and Brian Matthew phone chat - 4:06
Brian, in the "Saturday Club" studio, talks to the Beatles at Heathrow Airport, as they arrive back in Britain.

"From Us To You" #2, 2-28-64
5. John, Paul and Alan Freeman chat - 0:38
This bit was incomplete on the "Complete" box set.

"The Public Ear" 3-18-64
6. Ringo responds to Barbara Garnet's plea - 0:22
7. John, George and Ringo chat - 2:06
8. George and Ringo read the credits - 0:42
George interviews Ringo about John's book, and the author reads "Alec Speaking."

"Saturday Club" 3-31-64
9. Beatles and Brian Matthew chat - 2:01
10. Paul, George and Brian chat - 2:00
These interviews were incomplete on the box set.

"Top Gear" 7-64
11. Paul, George and Ringo promo session - 2:15
12. George and Ringo promo spot - 0:26
A home recording, at Tony Hall's apartment, with more posh voicings from Paul.

"Top Gear" 7-14-64
13. Things We Said Today - 2:20
14. John, Paul, Ringo and Brian Matthew chat - 1:16
15. A Hard Day's Night - 2:34
The first two are more complete than the versions on the box set, while the third features alternate outro chat.

"From Us To You" #3, 7-17-64
16. I'm Happy Just To Dance With You - 2:01
17. Things We Said Today - 2:35
18. I Should Have Known Better - 2:40
19. A Hard Day's Night - 2:31
From the session tape, but not included in the box set.

unknown program 7-28-64
20. Beatles and Klas Burling chat - 0:14
21. Ringo and Klas chat - 0:42
22. Paul and Klas chat - 1:07
23. Paul and Klas chat - 0:40
24. John, Paul and Klas chat - 0:44
25. George and Klas chat - 0:14
A bonus non-BBC session. Recorded in Stockholm by Radio Sweden.

"Top Gear" 11-17-64
26. I Feel Fine, false start - 0:50
27. I Feel Fine, partial, before overdub - 1:08
28. Beatles and Brian Matthew chat - 3:00
29. Honey Don't - 3:05
The "Complete" box set omitted the pre-overdub "I Feel Fine," and it only included the edited versions of the last two tracks.

"Pop Inn" 4-13-65
30. Beatles and Brian Matthew chat - 1:54
At Twickenham during filming, they discuss John's new book, writing a musical, painting the Palace, another US tour, and folk music.

unknown program 6-65?
31. Paul chat - 0:32
Paul answers a Brian Matthew query about "Michelle" as an a-side.

"The World Of Books" 6-16-65
32. John and Wilfred De'Ath chat - 4:15
Automatic piers, influences, awareness and "The Fat Budgie."

"Today" 6-16-65
33. Beatles read "The National Health Cow" - 0:41
The boys plug John's new book.

"The Beatles" 7-30-65
34. John, Paul, George and Dibbs Mather chat - 1:12
35. John, Paul, George and Dibbs chat - 0:50
36. John, Paul, George and Dibbs chat - 1:27
They discuss future plans and their image, the new film and acting, and life if not Beatles and how they've stopped improving on stage.

"The Beatles Abroad" 8-65
37. George and Brian Matthew chat - 1:11
38. John and Brian chat - 2:15
39. Paul and Brian chat - 2:49
40. George and Brian chat - 1:35
41. Ringo and Brian chat - 1:15
42. John and Brian chat - 0:53
George on Shea; John on Shea; Paul on the future, the musical and standards; George on the rigors of touring and getting out at night in London; Ringo on Beatles wives and John off American food.

The Beatles - Attack of the FILLER BEEBS, episode one

Label: Silent Sea Productions, SS001

"Teenager's Turn" 3-7-62
1. Dream Baby - 1:57
2. Memphis - 2:21
3. Please Mr. Postman - 2:18
Sourced from a cleaner tape than the one used for the "Complete BBC Sessions" box set.

"Here We Go" 6-11-62
4. Ask Me Why - 2:24
5. Besame Mucho - 2:34
6. A Picture Of You - 2:32
Again, from a better source tape.

"Saturday Club" 1-22-63
7. Some Other Guy - 1:56
8. Beautiful Dreamer - 1:47
Sourced from a markedly better tape than the one that has been previously available.

"Here We Go" 3-6-63
9. Misery - 2:14
10. Do You Want To Know A Secret - 2:09
11. Please Please Me - 2:12
This excellent performance surfaced shortly after the "Complete" box set was released.

"Saturday Club" 3-16-63
12. I Saw Her Standing There - 2:35
13. John and Brian Matthew chat - 0:45
14. Misery - 1:45
15. Too Much Monkey Business - 1:51
16. Talking About You - 1:50
17. John, Paul and Brian Matthew chat - 0:51
18. Please Please Me - 1:52
19. Hippy Hippy Shake - 1:40
Again, sourced from a significantly improved tape, except for track 15, included from the box set.

"Side By Side" 4-1-63
20. Ringo and John Dunn chat - 0:12
This "Boys" intro was left off the "Complete" box set.

"Non Stop Pop" 7-30-63
21. Beatles and Phil Tate chat - 2:22
Ringo discusses not moving to London and requests a song, John talks about songwriting and hobbies, George answers a fan's question about their hair, and Paul muses on fame.

"The Public Ear" 10-3-63
22. Beatles self-introductions - 0:13
23. Beatles chat - 2:15
Paul wonders about the future, George talks about money, and all four talk about practicing and making music.

"Radio Newsreel" 10-16-63
24. Beatles and Peter Woods chat - 2:10
The Fabs talk about the upcoming Royal Variety Performance and their success without posh voices.

"Easy Beat" 10-16-63
25. From Me To You - 1:49
An upgrade of the flawed "Complete" box set track.

"Dateline London" 12-10-63
26. Beatles and Dibbs Mather chat - 9:16
Ringo outlines his early career; George discusses life's change, family, life, money and the future; Paul talks about the name, being role models and the future; and John goes on about Goon-type humor and success and reads "The Neville Club."

"The Public Ear" 1-5-64
27. George and Ringo promo spot, tk 1 - 0:48
28. George and Ringo promo spot, tk 2 - 0:42
George reads his and Ringo's letter and ruins Ringo's gag, then gets it right on the second try.

"Weekend World" 1-24-64
29. Beatles and Bob chat - 7:07
30. Beatles and Bob chat more - 6:39
A bonus non-BBC session, recorded in Paris by an unknown American interviewer for Armed Forces Network. First Paul discusses their origins, success and haircuts; George talks about the Liverpool Sound; Ringo briefly synopsizes his career; and John talks about imitators. Then Paul discusses the Olympia shows, writing "I Want To Hold Your Hand," themes in their songs and their upcoming U.S. trip and first feature film; George talks about the lack of French girls and landing the Sullivan show; John discusses "yeah yeah yeah" and they all rate the French girls.

Beatlesongs

by William J. Dowlding

Firsthand quotes, little-known facts and details about the production of each song/album, including:

• where song ideas came from
• who contributed how much to each song
• changes to titles, lyrics, music
• instrumentation used
• the Beatles' thoughts on song development
• the history of Beatle covers, and much more

A complete and fascinating chronicle of Beatles music and history, Beatlesongs details the growth, evolution, and dissolution of the most influential group of our time.

Drawing together information from sources that include interviews, insider accounts, magazines, and news wire services, this is a complete profile of every Beatles song ever written--from recording details such as who played which instruments and sang what harmonies to how each song fared on the charts and how other musicians and critics felt about it. Chronologically arranged by U.K. release date, Beatlesongs nails down dates, places, participants, and other intriguing facts in a truly remarkable portrait of the Liverpudlian legends.

Behind each is a story--like Paul's criticism of George's guitar playing during the Rubber Soul sessions, John's acid trip during the Sgt. Pepper's session, and the selection process for the Revolver album cover. And carefully examined along the way are the Beatles' evolving musical talents, their stormy private lives, and their successful--and unsuccessful--collaborations.

Beatlesongs is truly an inside look at the Fab Four and a treasures for all their fans.