Saturday, November 20, 2010

The Story of Apple Records: Documentary Film

The Beatles Anthology - Episode Three

All songs are written by Lennon/McCartney and performed by The Beatles, unless otherwise noted.

Episode Three (February '64 to July '64) - 1:12:56

"Miami! That was just like paradise because we'd never been anywhere with palm trees." - Paul McCartney

1. Arrival In The U.S. – February 1964 [10:00]
* Help! - Title song played at the beginning of each episode.
* Footage of the Beatles arriving at the Kennedy Airport in New York, 7 February 1964. Voice of Beatles Manager Brian Epstein can be heard saying – "If there was a turning point in their carrier, a specific date on which the scope of their future was to be altered, then it was the day they touched down at Kennedy International New York to a welcome seldom equalled anywhere in history."
* Pride and Joy (Whitfield-Gaye-Stevenson) - Performed by Marvin Gaye.
* Excerpts of telephone conversation between BBC Radio's Brian Matthew and the group
2. First Appearance on The Ed Sullivan Show [3:55]
* All My Loving – Footage of the Beatles' first appearance on The Ed Sullivan Show in New York, 9 February 1964.
* Paul remarking later: “It's still supposed to be the largest viewing audience ever in the States”.
* Footage of a congratulatory telegram from Elvis Presley and Colonel Tom Parker
* George commenting later: "... they said there was the least reported, or no reported crime. Even the criminals had a rest for ten minutes while we were on."
3. The Coliseum Concert – Washington D.C. [10:29]
* Footage of the Beatles performing at the Washington Coliseum on 11 February 1964:
o "She Loves You"
o "I Saw Her Standing There"
o "Please Please Me"
4. Reception at the British Embassy [1:08]
* Footage of the Beatles’ reception at the British Embassy in Washington on 11 February 1964.
5. Miami Beach [3:00]
* I'll Follow the Sun – Played over a montage of still photographs of the group's visit to Miami Beach.
6. Second Appearance on The Ed Sullivan Show [3:54]
* Footage from rehearsals for The Ed Sullivan Show, Miami, 16 February, 1964
* This Boy – Excerpts from the Beatles’ second appearance on The Ed Sullivan Show.
* "These youngsters from Liverpool, England … Their conduct over here, not only as fine professional singers but as a group of fine youngsters will leave an imprint with everyone over here who has met them." — Ed Sullivan
7. Return to England [1:59]
* I Want to Hold Your Hand – Footage of the Fab Four returning to England and meeting the press at the London Airport on 22 February 1964.
8. "They’re Going to Put Us in the Movies" [2:56]
* Paul: "… I’m talking about this progression with the Beatles. From the Stevedores’ and Dockers’ Union, the Cavern, better clubs. So films was one that we’d always thought of. ... We were interested in films and what happened was Brian started talking to people, knowing of our interest and he came up with Dick Lester's name."
* Footage from the classic comedy short film Running Jumping Standing Still, directed by Richard Lester.
* Paul: "… Dick came round. He was a bit of a musician, played jazz piano, so he was even more interesting. … He got hold of Alun Owen, a Welsh playwright who’d written Last Tram to Lime Street. … He picked up little quotes like 'He's very clean, isn’t he?' He picked up the jokes and sarcasm, the Beatle humour, John's wit and each one of us, Ringo's laconic humour. He picked up our characters, which was good."
9. Filming A Hard Day's Night [10:54]
* Footage from the film A Hard Day's Night, including the following songs:
o A Hard Day's Night
o I Should Have Known Better
o If I Fell
o Can’t Buy Me Love - the film version merged with the NME Poll Winners’ Concert version
10. In His Own Write [3:00]
* Footage from the television program Not Only But Also, where John Lennon reads from his book In His Own Write.
* Photographs of The Daily Howl, a daily comic drawn by John Lennon in his school days.
11. World Tour 1964 [14:45]
* Footage of an interview with Derek Taylor, the Beatles’ press liaison, regarding his visit to Torquay accompanying Brian Epstein while he was writing A Cellarful of Noise.[clarification needed]
* Footage of a discussion of Ringo Starr's temporary replacement by Jimmy Nicol due to Ringo's tonsillitis during the World Tour of 1964.
o Long Tall Sally (Johnson-Blckwell-Penniman) – Footage of the group performing in the Netherlands on 5 June 1964.
o I'll Be Back - Played over footage of the group's visit to the Netherlands and their arrival in Hong Kong on 8 June 1964.
o Any Time at All – Played over footage of the group's arrival in Sydney, Australia, on 11 June 1964.
* Footage of the Beatles’ performance at the Festival Hall, Melbourne, on 17 June 1964
o All My Loving
o You Can't Do That
12. World Premiere of A Hard Day's Night [2:14]
* "A Hard Day's Night" – Played over footage of the world premiere of the film A Hard Day's Night in London on 6 July 1964.
13. Liverpool Homecoming [5:42]
* Things We Said Today – Played over footage of the Beatles’ homecoming to Liverpool on 10 July 1964.
* I'll Be Back (Demo version) – Played over the credits.


Friday, November 19, 2010

"Honey Don't"

"Honey Don't" is a song written by Carl Perkins, originally released on January 1, 1956 as the B-side of the "Blue Suede Shoes" single. Both songs became rockabilly classics. Bill Dahl of Allmusic praised the song saying, "'Honey Don't actually outclasses its more celebrated platter-mate in some ways." It has been covered by more than 20 other artists, including The Beatles, Ronnie Hawkins and Johnnie Rivers.

Behind the song

According to David McGee, author of Go, Cat, Go! The Life and Times of Carl Perkins, the King of Rockabilly, Carl Perkins first brought the song to a rehearsal with his band which at the time comprised the Perkins brothers and W.S. Holland:

* Carl Perkins – lead guitar and vocals
* Jay Perkins – acoustic guitar and backing vocals
* Clayton Perkins – standup bass
* W. S. Holland – drums.

When Carl first played the song to Jay, Jay protested what sounded to him like an odd chord choice, going to a C7 chord after the E of a natural blues progression choice of A. At first, Jay refused to go along, but Carl convinced him it was something different, and today the chord choice is one of the most interesting aspects of the song.

Beatles version

The Beatles recorded their version on October 26, 1964 one of the last songs recorded for Beatles for Sale which was released in the UK on December 4, 1964. The U.S. release was on December 15 on Beatles '65.

Although John Lennon had previously sung the song live, Ringo Starr sang it for the album, his requisite one lead vocal per album. During the song, he makes self-referential remarks leading into Harrison's guitar riffs, such as, "Rock on George, for Ringo on time!"

A version sung by Lennon is available on Live at the BBC. George Harrison was a fan of Perkins, and Starr sang "Honey Don't" during the Concert For George which was held at the Royal Albert Hall, London on November 29, 2002, the first anniversary of Harrison's death.

Personnel on Beatles version

* Ringo Starr – lead vocal, drums
* George Harrison – lead guitar
* John Lennon – acoustic rhythm guitar
* Paul McCartney – bass guitar

Other Covers

* Country singer Billy "Crash" Craddock covered the song in 1986 on his album Crash Craddock.
* Johnny Rivers covered the song on his album "Memphis Sun Recordings," released 1991.
* The Dutch group The Mississippi Delta Brothers released the song on their album "The Live Recordings 2007".
* Brazilian rock legend Raul Seixas covered the song in his 1975 album "Novo Aeon." Raul's song "Rock do Diabo" (Devil's Rock) has a similar melody with a different lyric.

B-side to "Blue Suede Shoes" by Carl Perkins
Published: BMI, 1955
Released: January 1, 1956
Recorded: December 1955
Genre: Rockabilly
Length: 2:53
Label: Sun Records
Writer: Carl Perkins
Producer: Sam Phillips

Song by The Beatles
Album: Beatles for Sale
Released: December 4, 1964
Recorded: October 18, 1964
Genre: Rockabilly
Length: 2:55
Label: Parlophone
Writer: Carl Perkins
Producer: George Martin


Thursday, November 18, 2010

Beatle Disc Runs Afoul of the Law

NEWARK, N.J. (UPI)--The sale of the Beatle record "Two Virgins" with a cover displaying front and rear nude photographs of John Lennon and his girlfriend was banned in New Jersey recently by a judge who called the cover nothing but a "suggestive naked spectacle."

Judge Nelson K. Mintz said he based his ruling on the testimony of an Elizabeth, N.J., record dealer who said he refused to show the album to 15 teen-aged girls because he felt they were more interested in seeing Lennon nude than hearing the album.

Defendants in the case, Telragrammaton of California, and Bestway Productions of Mountainside, N.J., had produced a psychiatrist last week who testified the photographs showed "calm and innocence and not a look that would appeal to prurient interests."

Mintz, however, said the "contact of the bodies" and "prominence of the genitalia are suggestive of sexual activity." He said the cover was "nothing more than an advertising gimmick to promote the sale of the record to teen-agers."

Mintz said the cover was "offensive to the community standards at large and the offensiveness aggravated when known celebrities . . . engage in this suggestive naked spectacle."

His ruling is expected to be appealed.

Wednesday, November 17, 2010

Beatles Covers: Frank Converse & The Cake - She's Leaving Home

Mary Hopkin Promo Films - Turn, Turn, Turn / Goodbye

"Sure to Fall (In Love with You)"

"Sure to Fall (In Love with You)" is song written by Bill Cantrell, Quinton Claunch and Carl Perkins. It is perhaps best known for its 1963 performances by The Beatles on their BBC radio series.

The Beatles version would later appear on their 1994 compilation album Live at the BBC. The Beatles thought highly enough of this song to record "live" versions of the song a total of four times for the BBC, which then appeared on the BBC's radio programs. The Beatles were known to have been fans of Carl Perkins' work.

Ringo Starr version

The Beatles' drummer, Ringo Starr, later recorded a version on his 1981 solo album, Stop and Smell the Roses.


Tuesday, November 16, 2010

Black Dyke Mills Band

The Black Dyke Band, formerly the Black Dyke Mills Band, is one of the oldest and best known brass bands in the world. It was formerly the band of the Black Dyke Mills in Queensbury, West Yorkshire, England, a company owned by John Foster. Foster, a French horn player, joined with others in a small band in Queensbury in 1816. This band faltered but finally, in 1855, Foster and other musicians established the new mill band and outfitted it with uniforms made from the mill's own cloth. The band has remained active since that time, and still rehearses in its original rooms.

The band has won many prizes and competitions over the years. In September 1968, it released a single on the The Beatles’ Apple Records label. The A-side was an instrumental composed by Lennon/McCartney called "Thingumybob" (the theme to a Yorkshire Television sitcom of the same name starring Stanley Holloway). The flip side was a brass band instrumental version of another Lennon/McCartney song, "Yellow Submarine." The single was released under the name John Foster & Sons Ltd Black Dyke Mills Band, produced by McCartney, and was one of the first four singles issued on the Apple label.

The Black Dyke Band has made many recordings including classical music. It has recorded with classical bass trombonist Douglas Yeo, and pop acts Tori Amos, Peter Gabriel and The Beautiful South. The band also worked with Gabriel on the highly acclaimed Millennium Show, featured in the Millennium Dome, as well as recording the music for the BBC programme Ground Force.

Black Dyke was the first band to achieve the "Grand Slam" in 1985 by winning the Yorkshire regional, European, British Open and National Championship contests. They were also voted BBC Band of the Year.

In 2008, the band won the National Brass Band Championships of Great Britain for a record 21st time.

The "corner-men" of the band's current line up include:

* Principal Cornet: Richard Marshall
* Principal Euphonium: David Thornton
* Principal Trombone: Brett Baker
* Soprano Cornet: Paul Duffy
* Principal Horn: Sandy Smith
* Flugel Horn: Alexandra Kerwin
* Principal Tuba: Joseph Cook

The band's current Musical Director and Professional Conductor is Welsh Euphonium virtuoso, Dr Nicholas Childs. His predecessor was trumpet player James Watson.

Black Dyke Band are the brass band in residence at the Royal Northern College of Music in Manchester, and Nick Childs conducts the RNCM Brass Band.


Monday, November 15, 2010

Now on YouTube

Check out the site's YouTube channel for more Beatles video content, with plenty to be posted over the coming days and weeks. Here, for starters, is a live version of "If I Fell," with synced live audio, to improve what would otherwise be a silent viewing experience:

And here's Billy Graham in 1964, explaining that the Beatles are a passing fad:

One more, here's George Harrison explaining why it's no fun being pelted by jelly beans every night in the United States:

"Hold Me Tight"

"Hold Me Tight" is a Beatles song from their 1963 album With the Beatles. It was first recorded during the Please Please Me album session, but not selected for inclusion and re-recorded for their second album. It was the first of only two occasions when a song was held over from one Beatles album to appear on the next, "Wait" (left off Help! then included on Rubber Soul) being the other.


"Hold Me Tight" was composed principally by Paul McCartney in 1961, and was part of The Beatles stage act until 1963. In their best-selling The Beatles: An Illustrated Record, Roy Carr and Tony Tyler call it the album's poorest track, saying it "fails because McCartney's vision of the complete tune obviously sagged somewhat, and his distressingly out-of-tune singing became quite embarrassing after only a few bars."

Indeed, both McCartney and John Lennon had, at one time or another, shared their distaste for the song, and in a 1980s interview with Mark Lewisohn in The Beatles Recording Sessions, McCartney says, "I can't remember much about that one. Certain songs were just 'work' songs, you haven't got much memory of them. That's one of them." In Barry Miles' Paul McCartney: Many Years From Now, the songwriter calls it "a failed attempt at a single which then became an acceptable album filler."

However, Ian MacDonald redeems it in his book Revolution in the Head, in which he writes: "Play it loud with the bass boosted, and you have an overwhelming motoric rocker strongly redolent of the band's live sound."

McCartney wrote a different song called "Hold Me Tight" for a medley included on his 1973 solo album Red Rose Speedway.

Cover Versions

This song is amongst the least covered of the Beatles' original compositions. The Treasures, a Phil Spector-produced vocal group, recorded the song in 1964, as a single released on Spector's Philles Records. British band Stackridge included a cover version on their 1976 album, Mr Mick. Another cover version was featured near the beginning of the 2007 Beatles-themed film Across the Universe.


* Paul McCartney – bass, lead vocal
* John Lennon – rhythm guitar, backing vocal
* George Harrison – lead guitar, backing vocal
* Ringo Starr – drums

Album: With the Beatles
Released: 22 November 1963
Genre: Rock and roll
Length: 2:32
Label: Parlophone
Writer: Lennon/McCartney
Producer: George Martin


Sunday, November 14, 2010

"Hey Jude"

"Hey Jude" is a song written by Paul McCartney, credited to Lennon/McCartney, and released as a single by The Beatles in 1968. Originally titled "Hey Jules," McCartney wrote the ballad to comfort John Lennon's son Julian during his parents' divorce.

"Hey Jude" was the first single from The Beatles' record label Apple Records. Over seven minutes in length, "Hey Jude" was at the time the longest single ever to top the British charts. It also spent nine weeks as number one in the United States—the longest run at the top of the American charts for a Beatles single. The single has sold approximately eight million copies and is frequently included on professional lists of the all-time best songs.

"Hey Jude" begins with a verse-bridge structure based around McCartney's vocal performance and piano accompaniment; further details are added as the song progresses to distinguish sections. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes.

Inspiration and composition

In 1968, John Lennon and his wife Cynthia Lennon separated due to his affair with Yoko Ono. Soon afterwards, Paul McCartney drove out to visit Cynthia and Julian, her son with Lennon. "We'd been very good friends for millions of years and I thought it was a bit much for them suddenly to be personae non gratae and out of my life," McCartney said. Later, Cynthia Lennon recalled, "I was truly surprised when, one afternoon, Paul arrived on his own. I was touched by his obvious concern for our welfare.... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us."

The song's original title was "Hey Jules", and it was intended to comfort Julian Lennon from the stress of his parents' divorce. McCartney said, "I started with the idea 'Hey Jules', which was Julian, don't make it bad, take a sad song and make it better. Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorces ... I had the idea [for the song] by the time I got there. I changed it to 'Jude' because I thought that sounded a bit better." Julian Lennon discovered the song had been written for him almost twenty years later. He remembered being closer to McCartney than to his father: "Paul and I used to hang about quite a bit—more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad."

Although McCartney originally wrote the song for Julian Lennon, John Lennon thought it had actually been written for him:

"But I always heard it as a song to me. If you think about it... Yoko's just come into the picture. He's saying. 'Hey, Jude—Hey, John.' I know I'm sounding like one of those fans who reads things into it, but you can hear it as a song to me ... Subconsciously, he was saying, Go ahead, leave me. On a conscious level, he didn't want me to go ahead."

Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express. Still others, including John Lennon, have speculated that McCartney's failing long-term relationship with Jane Asher when he wrote "Hey Jude" was an unconscious "message to himself." In fact, when John Lennon mentioned that he thought the song was about him, McCartney denied it, and told Lennon he had written the song about himself.

McCartney changed the title to "Hey Jude" because the name Jude was easier to sing. Much as he did with "Yesterday", McCartney played the song for other musicians and friends. Ron Griffith of Badfinger, the first band to join the Beatles-owned record label Apple Records, recalled that on their first day in the studio, "Paul walked over to the grand piano and said, 'Hey lads, have a listen', and he sat down and gave us a full concert rendition of 'Hey Jude'. We were gobsmacked."

Musical structure

"Hey Jude" begins with McCartney singing lead vocals and playing the piano. The patterns McCartney plays are based on three chords: F, C and B-flat (I, V and IV); the second verse adds accompaniment by guitar and a single tambourine. The main chord progression is "flipped on its head" for the refrain, as the C chord is replaced by E-flat. Writer Tim Riley notes, "As Ringo offers a restrained tom-tom and cymbal fill, the piano shifts downward to add a flat seventh to the tonic chord, making the downbeat of the bridge the point of arrival ('And any time you feel the pain')." At the end of each bridge, McCartney sings a brief phrase ("Na-na-na na . . .") and plays a piano fill which leads to the next verse; the phrase McCartney sings serves to "reorient the harmony for the verse as the piano figure turns upside down into a vocal aside." Additional details, such as tambourine on the third verse and subtle harmonies that accompany the lead vocal, are added to sustain the interest of the listener throughout the four-verse, two-bridge song.

The verse-bridge structure of the song persists for approximately three minutes, after which the band leads into a four-minute long outro refrain. During the outro, the rest of band, backed by an orchestra that also provides backing vocals, repeat the phrase "Na-na-na na" followed by the words "Hey Jude" until the song gradually fades out. Time magazine described the outro as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records." Riley notes the repeated chord progression of the outro (I-flat VII-IV-I) "answers all the musical questions raised at the beginnings and ends of bridges," for "The flat seventh that pose dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding [. . .] to leap about on vocally," as he ad-libs his vocal performance for the rest of the song. Riley concludes that the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda."

While "Hey Jude" was intended to address Julian Lennon, writer Mark Hertsgaard noted "many of the song's lyrics do seem directed more at a grown man on the verge of a powerful new love, especially the lines 'you have found her now go and get her' and 'you're waiting for someone to perform with.'" Tim Riley wrote, "If the song is about self-worth and self-consolation in the face of hardship, the vocal performance itself conveys much of the journey. He begins by singing to comfort someone else, finds himself weighing his own feelings in the process, and finally, in the repeated refrains that nurture his own approbation, he comes to believe in himself."


The Beatles recorded 25 takes of "Hey Jude" at Abbey Road Studios in two nights, 29 July and 30 July 1968. These were mostly rehearsals, however, as they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks). One take from 29 July is available on the Anthology 3 CD. The master rhythm track was recorded on 31 July at Trident. Four takes were recorded; take one was selected. The song was completed on 1 August with additional overdubs including a 36-piece orchestra for the song's long refrain, scored by George Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion, and two string basses. While adding backing vocals, The Beatles asked the orchestra members if they would clap their hands and sing along to the refrain in the song's coda. Most complied (for a double fee), but one declined, saying "I'm not going to clap my hands and sing Paul McCartney's bloody song!"

Ringo Starr almost missed his drum cue. He left for a toilet break—unnoticed by the other Beatles—and the Beatles started recording. In 1994, McCartney said, "Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take, and 'Hey Jude' goes on for hours before the drums come in and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable."

During the recording of the master take, Lennon shouted "Oh!" followed by "Fucking hell!" at 2:56 and 2:58, respectively, into the song. This occurs after he sings "let her under your skin" under McCartney's "then you'll begin." Sound engineer Ken Scott later told Mojo's Chris Hunt, "I was told about it at the time but could never hear it. But once I had it pointed out I can't miss it now. I have a sneaking suspicion they knew all along, as it was a track that should have been pulled out in the mix. I would imagine it was one of those things that happened—it was a mistake, they listened to it and thought, 'doesn't matter, it's fine'."

George Harrison and McCartney had a disagreement over this song. According to McCartney, during a rehearsal Harrison played an answer to every line of the vocal. This did not fit with McCartney's idea of the song's arrangement, and he vetoed it. In a 1994 interview, McCartney said, "We were joking when we made the Anthology: I was saying: 'I realise I was a bossy git.' And George said, 'Oh no, Paul, you never did anything like that!' ... But it was essential for me and looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure." Ron Richards, who worked for George Martin at both Parlophone at AIR Studios, and who discovered The Hollies, was present for many Beatle recording sessions. He said McCartney was "oblivious to anyone else's feelings in the studio," and that he was driven to make the best possible record, at almost any cost.

Single release

"Hey Jude" was released on 26 August 1968 in the United States and 30 August in the United Kingdom, backed with "Revolution" on the B-side of a 7" single. The single was the debut release of the Beatles' record label Apple Records, and it was also the first Beatles single to be issued in a paper sleeve instead of a picture cover. Even though "Hey Jude" was recorded during the sessions for the album The Beatles, also known as The White Album, it was always intended as a single and not an album track. Lennon wanted "Revolution" to be the A-side of the single, but the other Beatles did not agree. In his 1970 interview with Rolling Stone, he said "Hey Jude" was worthy of an A-side, "but we could have had both." Ten years later in 1980, he told Playboy he still disagreed with the decision.

"Hey Jude" began its sixteen-week run on the British charts on 7 September 1968, claiming the top spot a week later. It only lasted two weeks on top before being knocked off by another single from Apple, Mary Hopkin's "Those Were the Days." The single was certified gold by the Recording Industry Association of America on 13 September; that same week NME reported that two million copies of the single had been sold. The song entered the U.S. charts on 14 September 1968, where it stayed for the next nineteen weeks. Two weeks later, "Hey Jude" was number one in the charts, and held that position for the following nine weeks, setting the U.S. record for the longest time spent by a Beatles single at number one, as well as being the longest-playing single to reach number one. Because of the U.S. practice of counting sales and airplay for the A- and B-sides of a single separately, at one point Record World listed "Hey Jude" at number one, followed by its B-side, "Revolution", at number two.

American radio stations were averse to playing anything longer than the usual three to three-and-a-half minutes, and Capitol Records pressed a shortened version of the song specifically for airplay. "Hey Jude" clocked in at seven minutes and eleven seconds. The only other chart-topping song worldwide in the 1960s that ran over seven minutes was Richard Harris' "MacArthur Park". In the UK, where "MacArthur Park" did not top the chart, "Hey Jude" remained the longest number one hit for nearly a quarter of a century, until it was surpassed in 1993 by Meat Loaf's "I'd Do Anything for Love (But I Won't Do That)", which ran seven minutes fifty-eight seconds as a single.

On 30 November 1968 NME reported that sales had reached nearly six million copies worldwide. "Hey Jude" became the biggest-selling debut release for a record label ever, selling an estimated eight million copies worldwide and topping the charts in eleven countries. It remains the Beatles' most commercially successful single. "Hey Jude" was the top Billboard Hot 100 single for 1968, according to year-end charts. While the record was certified gold the day before it entered the U.S. charts, it took almost thirty years to be certified platinum, on 17 February 1999.

Critical reception

Upon the release of the "Hey Jude" single, Time contrasted it with its B-side "Revolution." Time wrote, "The other side of the new disk urges activism of a different sort" as McCartney "liltingly exhorts a friend to overcome his fears and commit himself in love." Music analyst Alan Pollack praised "Hey Jude" saying, "it's such a good illustration of two compositional lessons—how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." He also said it is unusual for a long song because it uses a "binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression." Pollack described the song's long outro and fadeout as "an astonishingly transcendental effect," while Unterberger observed, "What could have very easily been boring is instead hypnotic."

"Hey Jude" was nominated for the Grammy Awards of 1969 in the Record of the Year, Song of the Year and Best Pop Performance by a Duo or Group with Vocal categories, but failed to win any of them. It did win the 1968 Ivor Novello Award for "A-Side With the Highest Sales". In the NME 1968 Readers' Poll, "Hey Jude" was named the best single of the year. In 2001, "Hey Jude" was inducted into the National Academy of Recording Arts and Sciences Grammy Hall of Fame. In 2004, it was ranked number 8 on Rolling Stone magazine's list of the 500 greatest songs of all time. It came in third on Channel 4's list of 100 Greatest Singles. The Amusement & Music Operators Association ranked "Hey Jude" the 11th-best jukebox single of all time.

Promotional film

The Beatles hired Michael Lindsay-Hogg to shoot the "Hey Jude" promotional film (he had previously directed a 'promo' film for "Paperback Writer") and they settled on the idea of filming with a live, albeit controlled audience. Hogg shot the film at Twickenham Film Studios on 4 September 1968, with McCartney himself designing the set. Tony Bramwell, a friend of the Beatles, later described the set as "the piano, there; drums, there; and orchestra in two tiers at the back." The event is also memorable as it marked Starr's return to the group after a two-week hiatus, during which he had announced that he had left the band. The eventual, final film was a combination of several different takes and included filmed 'introductions' to the song by David Frost (who introduced the Beatles as "the greatest tea-room orchestra in the world") and Sir Cliff Richard, for their respective, eponymous TV programmes. As filming wore on, Lennon repeatedly asked Lindsay-Hogg if he had the footage he needed. After twelve takes, McCartney said, "I think that's enough" and filming concluded. It was first aired in the UK on 8 September 1968 and the film was later broadcast for the United States on The Smothers Brothers Comedy Hour on 6 October 1968. Footage of the performance can be seen in the Anthology DVD series.

Auctioned lyrics

In 1996, Julian Lennon paid £25,000 for the recording notes to "Hey Jude" at an auction. Lennon spent another £35,000 at the auction buying John Lennon memorabilia. John Cousins, Julian Lennon's manager, stated, "He has a few photographs of his father, but not very much else. He is collecting for personal reasons, these are family heirlooms if you like."

In 2002, the original handwritten lyrics for the song were nearly auctioned off at Christie's in London. The sheet of notepaper with the scrawled lyrics had been expected to fetch up to £80,000 at the auction, which was scheduled for 30 April 2002. McCartney went to court to stop the auction, claiming the paper had disappeared from his West London home. Richard Morgan, representing Christie's, said McCartney had provided no evidence that he had ever owned the piece of paper on which the lyrics were written. The courts decided in McCartney's favour and prohibited the sale of the lyrics. They had been sent to Christie's for auction by Frenchman Florrent Tessier, who said he purchased the piece of paper at a street market stall in London for £10 in the early 1970s. In the original catalogue for the auction, Julian Lennon had written, "It's very strange to think that someone has written a song about you. It still touches me."

B-side: "Revolution"
Released: 26 August 1968
Format: 7"
Recorded: 31 July 1968 at Trident Studios, London
Genre: Rock
Length: 7:05 (standard version), 7:12 (mono single version)
Label: Apple Records
Writer(s): Lennon/McCartney
Producer: George Martin