The Beatles Live at Stowe School, Buckingham & Outside BBC Paris Studio, London - Color Home Movie (April 4, 1963)

The Beatles recorded a session for the BBC radio show Side by Side at the BBC's Paris Studio in London. The recording took place between 11 am and 2 pm and featured performances of several songs, including "Too Much Monkey Business," "Love Me Do," "Boys," "I'll Be On My Way," and "From Me To You." The episode aired later that day at 5 pm on the BBC Light Programme. Although "I'll Be On My Way" wasn't initially released, it eventually appeared on the 1994 Live At The BBC collection.

During the recording session, Dezo Hoffmann and his assistant David Magnus captured some photos outside the studio. Some of these photos were later used on Apple's Live At The BBC album cover, albeit with significant alterations. Additionally, an 8mm color film was shot during the photo session outside the studio, which was later featured in the 1994 Baby It's You promo video.

The Beatles also performed at Stowe School in Buckinghamshire, an event organized by a pupil who contacted their manager, Brian Epstein. The concert took place in the school's Roxburgh Hall, where the audience, consisting of boys from the school, notably remained composed without the typical hysteria associated with Beatles performances.

A recording of the event surfaced in 2023, thanks to John Bloomfield, then a 15-year-old schoolboy who served as the show's stage manager. The recording, almost complete, was made by Bloomfield using his own equipment, capturing 22 tracks of the performance before running out during a reprise of "I Saw Her Standing There." The setlist includes well-known Beatles songs such as "Love Me Do," "Twist And Shout," and "Please Please Me."

BBC Radio 4's Front Row covered the discovery of this recording, with journalist Samira Ahmed leading the investigation. Ahmed's report, aired in April 2023, shed light on the significance of the recording and efforts to preserve it in a national cultural institution, rather than allowing it to remain in private hands. Discussions were underway to clean up the recording, buoyed by the success of Peter Jackson's audio restoration work on The Beatles' "Get Back" series.

The story offers a glimpse into a lesser-known Beatles performance and underscores the ongoing efforts to preserve and celebrate their musical legacy.

 

 

John Lennon & Yoko Ono on The Eamonn Andrews Show (April 3, 1969)

John Lennon and Yoko Ono's appearance on The Eamonn Andrews Show on April 3, 1969, was a notable television moment marked by both tension and wit. Hosted at the Café Royal restaurant in London and broadcast live by Thames Television, the show featured an eclectic mix of guests including singer Rolf Harrison, comedian Jack Benny, violinist Yehudi Menuhin, and singer Gaynor Jones.

The atmosphere was charged with curiosity and criticism regarding Lennon and Ono's unconventional peace activism, particularly their recent "bed-in" protest. Jack Benny's humorous quip about not wanting to get involved in the controversy set the tone for a lively exchange. Yehudi Menuhin added a touch of irony by pointing out the absence of Jesus's commentary on staying in bed in the New Testament.

The interview itself was confrontational, with Lennon and Ono defending their actions against audience hostility. Lennon emphasized their commitment to peace and their use of media attention to promote activism. However, audience members expressed skepticism and disapproval, accusing Lennon of being out of touch with reality and criticizing his influence on youth.

Despite the tension, Lennon and Ono maintained their composure, engaging in witty banter with the audience. Lennon's playful comparison of acorns to symbols of growth elicited both laughter and further criticism. The exchange encapsulated the complexity of public perception surrounding Lennon and Ono's activism, showcasing their resilience in the face of adversity.

 

Paul McCartney & Jane Asher Interview (March 26, 1968)

Upon their return from Rishikesh, India, Paul McCartney, accompanied by Jane Asher and Neil Aspinall, arrived at London Airport on the morning of March 27, 1968. They had spent over a month studying meditation with Maharishi Mahesh Yogi. McCartney and Asher briefly engaged with reporters, shedding light on their transformative experience:

Reporter: "Well, you look very happy. Do you feel better after five weeks of meditation?"

Paul McCartney: "Yes, yes, I feel a lot better, except for the flight, you know. That’s quite long. I’m a bit shattered, but the meditation is great! You sit down, you relax, and then you repeat a sound to yourself. It sounds daft, but it’s just a system of relaxation, and that’s all it is. There’s nothing more to it. We meditated for about five hours a day in all. Two hours in the morning and maybe three hours in the evening, and then, for the rest of the time, we slept, ate, sunbathed and had fun."

Reporter: "One Indian MP accused the camp where you stayed as being an espionage centre, and you, in fact, as being a spy for the West."

Paul McCartney: "Yes, it’s true. Yes, we are spies. The four of us are spies. Actually, I’m a reporter and I joined The Beatles for that very reason. The story is out next week in a paper which shall be nameless."

Reporter: "Jane, did you go for a holiday or did you go to meditate as well?"

Jane Asher: "Oh, to meditate."

Reporter: "And what effect did it have on you? This, I presume, is your first big meditation experience?"

Jane Asher: "Yes. I think it calms you down. It’s hard to tell because it was so different, you know, the life out there. It’d be easy to tell now that I’m back, or when we’re doing ordinary things, to see just what it does."

Reporter: "We’ve heard about the extreme poverty that exists in India. Presumably you saw some of that?"

Paul McCartney: "Yes, oh yes. I don’t equate it, you know, because it’s nothing to do with it, you know. The idea is to stop poverty at its root. You see, if we just give handouts to people, it’ll just stop the problems for a day, or a week, you know. But, in India, there’s so many people, you really need all of America’s money to pour into India to solve it, you know. So, you’ve got to get to the cause of it and persuade all the Indians to start working and, you know, start doing things. Their religions, it’s very fatalistic, and they just sit down and think, ‘God said, this is it, so it’s too bad to do anything about it.’ The Maharishi’s trying to persuade them that they can do something about it."

McCartney and Asher's insightful reflections offered glimpses into the profound impact of their meditation experience and the broader societal issues they encountered during their time in India.

The Beatles at Allerton Golf Course & Sefton Park - Dezo Hoffmann Color Home Movie (March 25, 1963)

On March 25, 1963, The Beatles took a break from their busy schedule on the Montez/Roe tour to spend a day in Liverpool. It wasn't exactly a day off, as they were accompanied by photographer Dezo Hoffmann, capturing moments throughout the day.

They kicked off the day at the iconic Cavern Club, likely reminiscing about their early days performing there. Afterwards, they visited Horne Brothers hairdressers on Lord Street, where they all got haircuts and Ringo had his hair styled into the famous Beatle cut.

Next, they piled into Paul's Ford Consul 315 and headed to Allerton Golf Course, where they filmed some footage with Dezo's movie camera, capturing playful moments of them leaping into the air.

The day concluded at Paul McCartney's family home at 20 Forthlin Road, where they likely relaxed and spent time together.

Interestingly, the chairs from the barbershop they visited that day were later auctioned by Bonhams in June 2009, a testament to the enduring fascination with all things related to The Beatles.

 

Pattie Boyd Pictures

The Beatles - The Complete Hey Bulldog Recording / Filming Sessions (February 11, 1968)

The recording session for "Hey Bulldog" on Sunday, February 11, 1968, at Studio Three, EMI Studios, Abbey Road, stands as a testament to The Beatles' creative spontaneity and innovative spirit. Led by producer George Martin and engineer Geoff Emerick, the band embarked on a journey to capture the essence of John Lennon's latest composition amidst the hustle and bustle of filming a promotional clip for "Lady Madonna."

The day began at 4 pm in Abbey Road's Studio Three, where The Beatles, accompanied by NEMS employee Tony Bramwell filming the session, decided to seize the opportunity to record "Hey Bulldog." Lennon took to the piano, McCartney shook a tambourine, Harrison strummed rhythm guitar, and Starr kept the beat on drums as they laid down the foundation of the track in 10 takes.

McCartney later overdubbed a bass guitar part onto take 10, enhancing the song's rhythmic drive, while Harrison added the main riff on a distorted guitar and Starr contributed additional off-beat snare drum accents. Lennon and McCartney then shared a single microphone to deliver the vocals, infusing the recording with their signature harmonies and playful banter.

The session was marked by a collaborative spirit and creative experimentation, with the band exploring various sonic textures and effects to enhance the song's impact. Emerick applied artificial double tracking (ADT) to certain sections of the track, adding depth and dimension to the sound.

After Bramwell concluded filming, final overdubs were added, including a lead guitar solo performed on Harrison's Gibson SG Standard, though the identity of the player remains uncertain. Two mono mixes of "Hey Bulldog" were then created, with the second mix being provided to King Features for an animated sequence in the Yellow Submarine film.

The recording session for "Hey Bulldog" encapsulates The Beatles' boundless creativity and collaborative synergy, resulting in a timeless and dynamic rock track that continues to captivate listeners to this day.

 

Earliest Footage of the Beatles: Live At St. Paul’s Church, Birkenhead - Color Home Movie (February 10, 1962)

Headlining the "beat session," alongside support act The Zeroes, The Beatles embarked on what would be a transformative journey, both for themselves and for the world of music.

Four shillings secured entry to this event, which took place from 7:30 to 11:00 pm. Little did the attendees know that they were witnessing the early steps of a band destined for global acclaim.

Fortunately, fragments of this momentous occasion were captured on cine camera, preserving a glimpse into the past for future generations to marvel at. The footage, acquired by Roag Best, brother of original Beatles drummer Pete Best, resurfaced in Peter Jackson’s music video accompanying The Beatles' 2023 single, ‘Now And Then’.

 

Pattie Boyd Pictures

George Harrison Records Wonderwall (January 10, 1968)

The recording session for George Harrison's soundtrack album "Wonderwall Music" on Wednesday, January 10, 1968, at EMI Recording Studio in Bombay, India, was a momentous occasion that captured the essence of Harrison's creative journey in the heart of India.

Having arrived in Bombay on January 7, 1968, Harrison was immersed in the vibrant atmosphere of the city as he embarked on recording the soundtrack for the film "Wonderwall." This particular session marked the second day of recording, following the commencement of sessions on January 9.

The studio was alive with energy as Harrison and a talented ensemble of Indian musicians came together to bring his vision to life. Among them were Ashish Khan on sarod, Ahapurush Misra on tabla and pakavaj, Sharad Jadev and Hanuman Jadev on shanhais, Shambu-Das, Indril Bhattacharya, and Shankar Ghosh on sitar, Chandra Shakher on sur-bahar, Shiv Kumar Sharma on santorr, SR Kenkare and Hari Prasad Chaurasia on flute, Vinayak Vohra on taar shehnai, and Rijram Desad on dholak, harmonium, and tabla-tarang.

The studio buzzed with activity as Harrison took on the dual role of producer and creative visionary, guiding the musicians through the intricacies of each composition. Camera crews from Reuters and BBC News were invited to capture the magic of the session, providing a rare glimpse into the creative process behind the album. Though the footage was silent, it offered a visual testament to the collaborative spirit and cultural fusion that defined the recording sessions.

The EMI Recording Studios, located at the Universal Insurance Building in Bombay, provided the perfect backdrop for this musical exploration. As the musicians worked tirelessly to bring Harrison's compositions to life, the studio reverberated with the sounds of traditional Indian instruments blending seamlessly with Harrison's distinctive musical style.

The recording session for "Wonderwall Music" in Bombay stands as a testament to Harrison's adventurous spirit and his deep appreciation for Indian music and culture. It was a pivotal moment in his artistic journey, paving the way for future explorations and collaborations that would leave an indelible mark on the world of music.

 

John Lennon: Declassified (2007)

John Lennon's activism and outspokenness against the Vietnam War and other political issues during the 1960s and 1970s drew the attention of the FBI, particularly under the leadership of J. Edgar Hoover. Lennon's anti-war activities, involvement with left-wing groups, and popularity made him a target for surveillance by the Nixon administration.

The FBI's surveillance of Lennon primarily focused on monitoring his activities, associations, and travels. This included wiretaps, physical surveillance, and compiling extensive files on him and his acquaintances. The FBI was particularly concerned about Lennon's potential influence on public opinion, especially among young people.

The surveillance of Lennon became public knowledge through the Freedom of Information Act (FOIA) requests and legal actions. In 1972, journalist Jon Wiener filed a FOIA request for Lennon's FBI files, which initiated a legal battle to obtain the documents. After years of litigation, Wiener finally succeeded in obtaining a significant portion of the FBI's Lennon files, revealing the extent of the government's surveillance of the former Beatle.

The FBI's surveillance of John Lennon underscores the agency's historical tendency to monitor and sometimes target individuals perceived as threats to the political status quo, regardless of their fame or influence.

 

Pattie Boyd Pictures