After John Lennon released Rock ‘N’ Roll in 1975, he took a five-year break from recording. His son Sean was born in October of that year, and Lennon chose to stay home to enjoy the role of father in a way he was unable to experience with his first son Julian, who was born at the height of Beatlemania. When it came time to make new music, Lennon and his wife Yoko Ono were without a record deal. Almost every major label expressed interest in the former Beatle. The British independent label Stiff Records sent Lennon a telegram saying, “Heard you are recording. We’re prepared to offer five thousand dollars to sign with us.” Lennon found the offer funny but was interested in more than money when it came to signing a record deal.

As offers came in, they were directed to Lennon. Yoko Ono would respond, only to find they only wanted to speak with Lennon. Those offers were declined. Record executive David Geffen sent a telegram directly to Ono asking to talk about the record. She showed it to Lennon, and he informed her to get in touch with him. Geffen flew to New York City the next day, where an agreement was reached. The record would be credited to both Lennon and Ono. Let’s take a look at the story behind “Dear Yoko” by John Lennon.

Source: Jay McDowell/americansongwriter.com

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Paul McCartney dusted off a classic Beatles tune for his fourth and final Got Back show in São Paulo, Brazil, on Wednesday.

According to setlist.fm, McCartney added the 1963 track “All My Loving” to the set about four songs in, marking the first time he’s played the tune on this tour and the first time he’s played it in concert since 2019.

Although “All My Loving” wasn’t officially released as a single in either the U.S. or the U.K., it got enough radio play to become a hit for The Beatles. It was actually the first song they performed during their debut appearance on The Ed Sullivan Show in February 1964.

As for the rest of McCartney’s São Paulo concert, he played a total of 37 songs, including Beatles tracks like “Can’t Buy Me Love,” “Got To Get You Into My Life,” “Love Me Do,” “Blackbird,” “Get Back,” “Hey Jude” and the most recent track, “Here and Now,” as well as Wings tunes “Live and Let Die,” “Let Em In” and “Jet.”

It also included McCartney solo songs like “Maybe I’m Amazed”; “My Valentine,” which was dedicated to Paul’s wife, Nancy Shevell; and “Here Today,” which was dedicated to John Lennon.

McCartney has one more show in Brazil on Saturday in Florianópolis, with upcoming shows in Argentina, Peru, Colombia, Costa Rica and Mexico. A complete list of dates can be found at paulmccartney.com.

Source: ABC News

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George Har­ri­son loved the ukulele, and real­ly, what’s not to love? For its dain­ty size, the uke can make a pow­er­ful­ly cheer­ful sound, and it’s an instru­ment both begin­ners and expert play­ers can learn and eas­i­ly car­ry around. As Harrison’s old friend Joe Brown remarked, “You can pick up a ukulele and any­body can learn to play a cou­ple of tunes in a day or even a few hours. And if you want to get good at it, there’s no end to what you can do.” Brown, once a star in his own right, met Har­ri­son and the Bea­t­les in 1962 and remem­bers being impressed with the fel­low uke-lover Harrison’s range of musi­cal tastes: “He loved music, not just rock and roll…. He’d go crack­ers, he’d phone me up and say ‘I’ve got this great record!’ and it would be Hoagy Carmichael and all this Hawai­ian stuff he used to like. George was not a musi­cal snob.”

“Crack­ers” may be the per­fect word for Harrison’s uke-phil­ia; he used it him­self in the adorable note above from 1999. “Every­one I know who is into the ukulele is ‘crack­ers,’” writes George, “you can’t play it and not laugh!” Har­ri­son remained upbeat, even dur­ing his first can­cer scare in 1997, the knife attack at his home in 1999, and the can­cer relapse that even­tu­al­ly took his life in 2001. The ukulele seemed a sweet­ly gen­uine expres­sion of his hope­ful atti­tude. And after Harrison’s death, it seemed to his friends the per­fect way to memo­ri­al­ize him. Joe Brown closed the Har­ri­son trib­ute con­cert at Roy­al Albert Hall with a uke ver­sion of “I’ll See You In My Dreams,” and Paul McCart­ney remem­bered his friend in 2009 by strum­ming “Some­thing” on a ukulele at New York’s Citi Field.

Source: openculture.com

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The estate of former Beatles star John Lennon has appointed a UK music licensing company to collect royalties on all sound recordings where the late singer or his widowed wife Yoko Ono are listed as a performer.

Music licensing company Phonographic Performance Limited (PPL) will collect neighbouring rights royalties for the estate when music from the pair is played in public venues including shops, bars, or aired on commercial radio or TV.

Lennon died in 1980 in New York after he was shot by Mark David Chapman.  The John Lennon estate said in a statement: “PPL has shown they are the leaders in advocating for neighbouring rights globally.

“We have the utmost respect for the team and look forward to working with them.”

PPL analysed radio and TV airplay data from the 21st century to compile a list of most played Lennon recordings – which saw Woman take the top spot.

The 1980 track makes up 24% of Lennon’s total airplay, while his earlier 1971 song titled Imagine took the second spot with a total of 23% of his total airplay.

Source: Ellie Iorizzo/standard.co.uk

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Paul McCartney isn’t a songwriter that deals in direct statements. Like many great poets, McCartney prefers to write in metaphors, letting the listener ascertain their own meaning. However, there is one song of McCartney’s that is straight to the point. And, for that reason, McCartney isn’t the proudest of it. Find out which song that is, below.

Give Ireland back to the Irish
Don’t make them have to take it away
Give Ireland back to the Irish
Make Ireland Irish today

“Give Ireland Back to the Irish” is one of McCartney’s most staunch protest songs. Though Macca is an Englishman, he makes a case for his Irish neighbors to have a unified country. It’s a situation that has been on the hearts and minds of those in the U.K. for decades. McCartney speaks plainly about his stance on the subject.

Great Britain, you are tremendous
And nobody knows like me
But really, what are you doin’
In the land across the sea?

Though this song is successful in its goal of advocating for Ireland, McCartney wasn’t extremely proud of the end result. According to Macca, his best writing comes when he “veils” his meaning a bit.

“I’m not often specific, because it’s just not my way,” McCartney once said. “I’m much more comfortable talking about it but veiling it somehow. I think that’s stronger. I mean, my biggest protest song was ‘Give Ireland Back to the Irish.’ There’s no metaphors there, that’s just dead straight. But I didn’t think it was a very successful song. I wouldn’t say it was one of my best. So to write overtly about a situation is a little more difficult for me.”

Source: Alex Hopper/americansongwriter.com

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Paul McCartney Photographs 1963–64: Eyes of the Storm is an unprecedented exhibition, revealing extraordinary photographs taken by the beloved musical icon. Organized by the National Portrait Gallery in London, the exhibition will open at the Portland Art Museum on September 14, 2024, and run through January 19, 2025.

Comprising recently rediscovered photographs from Paul McCartney’s personal archive, more than 250 pictures invite visitors to intimately experience The Beatles’ meteoric rise from British sensation to international stardom. At a time when so many camera lenses were turned toward them, McCartney’s perspective from the inside out brings fresh insight into the band, their experiences, the fans, and the Beatlemania phenomenon. Through these photographs, along with video clips and archival material, visitors can witness the dawn of the “British Invasion” that fundamentally transformed rock and roll music and American society.

Captured by McCartney during a pivotal three-month period for The Beatles in late 1963 and early 1964, the photographs evoke an affectionate family album, picturing his fellow band members, John Lennon, George Harrison, and Ringo Starr, at a time when their lives were changing irrevocably. The exhibition gives visitors a highly personal glimpse into an extraordinary time with one of music’s enduring legends.

Source: Portland Art Museum/hereisoregon.com

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