Beatles News
The Beatles' meteoric rise to fame was nothing short of dramatic. After becoming the biggest band in Liverpool in 1962, they took the UK by storm in 1963, securing their first official number one single with 'From Me to You', followed by their debut album 'Please Please Me' topping the charts after its release in March.
By 1964, they were a global sensation. The Fab Four were in the midst of a 19-date concert residency in Paris on January 25, 1964, when their manager Brian Epstein informed them that they had achieved their first number one in America with 'I Want to Hold Your Hand' topping the US's Cashbox charts.
The song reached number one on the USA's main chart - the Billboard Hot 100 - by February 1 and remained there for seven weeks. At this point, Epstein decided it was time to capitalise on international markets.
Given The Beatles' early success in the clubs of Hamburg, Berlin-based Odeon Records suggested to Epstein and producer George Martin that singing in German would boost record sales in West Germany. Consequently, The Beatles were ushered into the Pathé Marconi studio in Paris on January 29 to sing in a foreign language.
Translations of 'She Loves You' and 'I Want to Hold Your Hand' were provided, but John Lennon, Paul McCartney, Ringo Starr and George Harrison were not particularly enthusiastic about the idea. They would have preferred to stay in their hotel, reports the Liverpool Echo.
Mr Martin recalled in 'The Complete Beatles Recording Sessions' by Mark Lewisohn: "I fixed the session for late morning. Norman Smith, myself, and the translator, a chap named Nicolas, all got to the studio on time, but there was no sign of The Beatles. We waited an hour before I telephoned their suite at the George V hotel.
"Neil Aspinall answered: 'They're in bed; they've decided not to go to the studio'. I went crazy – it was the first time they had refused to do anything for me. 'You tell them they've got to come, otherwise I shall be so angry it isn't true! I'm coming over right now'.
Source: Dan Haygarth/uk.news.yahoo.com
Speaking with The Guardian earlier this year, John Lennon’s oldest son Julian Lennon said that Beatles projects like Peter Jackson’s Get Back or the newly restored Let It Be are “news to me half the time.” That was also the case with Sam Mendes’ four simultaneous biopics. “Normally I’m kept out of all the Apple and Beatles stuff,” Julian explained in a recent interview with Rolling Stone. “Sean [Lennon, his half-brother] and I have a great relationship, but he can’t even talk to me about that stuff legally, which is a little uncomfortable, because he wants to tell me stuff, but he can’t. But Sean got in touch and said, ‘Listen, Sam Mendes wants to get in touch.’ I went, ‘Really? Why?’ I hadn’t even heard of the four new Beatles films. And initially, I just thought to myself, ‘You’ve got to be kidding me. Another freaking Beatles film? Haven’t we had enough?'” He laughed.
Julian’s interactions with the filmmaker seem to mark a difference from how he’s usually treated by the Beatles’ management. “Sam and I met earlier this year and had lunch. He was an absolute gentleman,” the musician and photographer gushed. Mendes asked him for stories he might remember of the Beatles phenomenon, but Julian admitted he was too young to remember much. “Then he said, ‘The most important thing for me, Jules, is that I want to make sure that your story and your mother’s story are told with absolute clarity and truth, whatever that means.’ And I just said, ‘I truly appreciate that.'”
Source: Mary Kate Carr/avclub.com
A Utah woman helped design one of the most famous Beatles album covers of all time: Sgt. Pepper’s Lonely Hearts Club Band.
Jann Haworth was just 24 years old when The Beatles asked her to co-create the iconic cover for their 1967 album.
“We were hearing a few tracks we would go over to Paul’s house and listen to another track,” she recalls casually referring to that Paul McCartney. A few days later, she helped bring to life the concept that became history: a full-size set, surrounded by life-sized cutouts of cultural icons, where The Beatles would stand for their photograph. “The Beatles are wearing uniforms from a different era,” she says. “It’s quite nostalgic if you look at it.”
Today, that nostalgia lives quietly in her Salt Lake City home — though not quite the way you’d expect. Her Grammy sits on the sofa in shambles, teeth marks and all. “The dog chewed it there,” she laughs. “If it were precious on a shelf — meh.“
More than 50 years later, she views her work with a new perspective. “There are deficits on the cover,” she admits. “Only twelve women, and six are fictional.”
After moving to Utah in the 1990s, Haworth began revisiting those gaps through her life-sized mural art. Her “SLC Pepper” mural near Pioneer Park reimagines the cover with 50 percent women. “Much of the work I have done in Salt Lake is, in some ways, an apology or revisiting of the Sgt. Pepper problems,” she says.
Her work today continues that mission — empowering local artists, students, and entire communities to take part in large-scale public art projects that celebrate inclusion. From community murals to collaborative installations, Haworth brings people together to literally paint a fuller picture, one that reflects everyone’s story.
“If you don’t change as you grow older and wiser and more informed, there’s something wrong.”
Source: Kristen Kenney/kutv.com
A collection of seven thousand autographs, including a self-portrait of Beatles guitarist John Lennon and Yoko Ono, has sold for more than £55 thousand at a Bristol auction house.
The items belonged to Dutchman Jan van Bree, who started collecting in 1957 after he wrote to Italian singer Beniamino Gigli and received a handwritten reply. Van Bree went on to collect signatures from celebrities across the world by writing them letters, waiting outside theatres and buying historical autographs.
The collection, which auctioneers have described as 'the best they've ever seen,' includes signed cheques, programmes, and letters.
Andrew Stowe of Auctioneum, which sells across Bristol and Bath, said: "I was awestruck." The Lennon and Ono sketch was drawn during the couple's 1969 'bed-in' anti-war protest.
"It’s the sheer variety of Jan’s collection that makes it so special," Andrew added.
"We’ve got autographs from all areas of history, entertainment and political figures. We’ve got sixteenth century royalty alongside Black Sabbath, John Steinbeck alongside Laurel and Hardy. "It’s a comprehensive ‘who’s who’ of famous signatures".
Van Bree stored most of his collection in albums but also kept hundreds loose.
He died in April 2024 and the collection was put up for sale by his family.
Source: ITV News
Imagine taking a nice peaceful walk by the Arkansas River in Tulsa, Oklahoma, and spotting Paul McCartney - yes, THAT Paul McCartney - just hanging out under a random overpass? No security detail, no adoring fans swarming him, just Sir Paul lounging up by the concrete pillars, soaking up the sunshine and the scenic majesty of....a highway bridge and the "usual graffiti". It's hilarious how cheerfully he narrates, “Here we are in Tulsa! Some sort of overpass!” as if he’s stumbled upon one of America's great wonders.
It's beautiful, and in a weird way - it all makes sense. McCartney has always been about simplicity - finding melody in the mundane and whatnot. Maybe he was there to reconnect with nature, or maybe he just wanted to smoke a funny cigarette in peace. He was known to enjoy some marijuana back in his day....
Either way, it’s kind of awesome. A Beatle sitting under a bridge in Tulsa, pondering the universe, maybe humming a tune, maybe lighting something up. If nirvana/enlightenment has a location, it might just be that patch of grass under an Oklahoma bridge with Sir Paul smiling at the clouds. It's brought on some great comments as well....
Source: Robbie Fox
The Fab Four released a ton of music while they were together in the 1960s. And they continued to release deep cuts, first takes, demos, and more after the band called it quits. There’s a lot to pick through when it comes to Beatles deep cuts. Personally, I’m a fan of the following three tunes. Let’s take a look!
“Free As A Bird”
Can a song be a deep cut if it made it all the way to No. 6 on the Billboard Hot 100 chart and No. 2 on the UK Singles chart? Considering this band has a laundry list of memorable hits and “Free As A Bird” rarely seems to make it to anyone’s list, I’ll go ahead and include this standout track from Anthology 1.
Released decades after the band broke up in 1995, “Free As A Bird” was a fast hit for fans of The Beatles in the mid-1990s. It’s a lovely John Lennon composition with a soft rock vibe to it. To be honest, I’m really not sure why so many people forgot about it.
“Tomorrow Never Knows (Take 1)”
The album version of “Tomorrow Never Knows” is obviously not a deep cut, but this first take certainly is. This is one of my all-time favorite Beatles deep cuts, and I only just discovered it a few months ago. It’s somehow even more psychedelic than the album version. Truly, I find myself listening to this take more than the famous Revolver version. You’ll find the first take of “Tomorrow Never Knows” on Anthology 2, released in 1996.
“Ain’t She Sweet”
This is not a Beatles original, but the Fab Four certainly did something cool with it. “Ain’t She Sweet” was originally composed and written by Milton Ager and Jack Yellen in the year 1927 as a jazz-pop tune. It was quite popular, particularly throughout the rest of the 1920s. The Beatles loved this tune quite a bit, and John Lennon was a fan of the tune for a while before it was brought to the Fab Four’s plate. Their version was first released as a single in 1964, though it was originally recorded in 1961. If you want some Beatles deep cuts that showcase what the band sounded like when they first started, give this one a spin.
Source: Em Casalena/americansongwriter.com
The Beatles' drummer Ringo Starr and the band's producer, George Martin, agreed that one album was a mistake.
Shortly after meeting in 1957, the group's chief songwriters, John Lennon and Paul McCartney, began writing songs together. Soon, their songwriting partnership became one of the most successful in music as they crafted hit after hit.
However, as the Fab Four began to drift apart and explore other interests, most of the tension between Lennon and McCartney stemmed from their differing approaches to songwriting. While McCartney wanted to make catchy hits, Lennon strived to experiment with thought-provoking tunes. What resulted was a messy double-album called The White Album.
While some of The Beatles' biggest hits arrived on the 30-track record, including Blackbird and Happiness Is A Warm Gun, The White Album is considered one of the Fab Four's most chaotic endeavors.
George Martin, often referred to as the Fifth Beatle, had a significant issue with the project. "I thought we should probably have made a very, very good single album rather than a double," he admitted, according to the Anthology book.
However, Martin knew Lennon and McCartney didn't want to break up the tracks. He added, "But they insisted. I think it could have been made fantastically good if it had been compressed a bit and condensed.
"A lot of people I know think it’s still the best album they made. I later learned that by recording all those songs, they were getting rid of their contact with EMI more quickly."
Songs like Wild Honey Pie, Everybody's Got Something to Hide Except Me and My Monkey, and The Continuing Story of Bungalow Bill tend to be some of the most forgotten songs in The Beatles' entire catalog. It's obvious that they were filler.
Even Starr agreed the album was a mistake. "I agree that we should have put it out as two separate albums," Starr said. "The White and Whiter albums." Meanwhile, McCartney's issue with the album wasn't its length. According to Far Out, he admitted that pushing the band to do its best, something he normally did, was no longer enjoyable. So, The White Album wasn't "a pleasant one to make."
Lennon, on the other hand, later admitted to Martin that he wanted to re-record all of The Beatles' songs. While speaking with Robert Sandall, Martin recalled that Lennon had plans for certain songs as well.
He explained, "We were just chatting about old times, and he suddenly came out and said, 'I'd like to do everything we've done over again.' And I said, 'You don't think we did anything right?' He said, 'Most of what we did was crap.' I said, 'Well, what about Strawberry Fields?' and he said, 'ESPECIALLY Strawberry Fields.'"
Source: Hannah Furnell/irishstar.com
After the break-up of the biggest band in the world, what comes next? Man on the Run, the new documentary featuring rare unreleased music and footage from Paul McCartney, premieres 25th February on Prime Video.
Man on the Run takes viewers on an intimate journey through Paul McCartney's extraordinary life following the break-up of The Beatles and the formation of Wings with his wife, Linda. From Academy Award-winning director Morgan Neville, the film chronicles the arc of Paul's solo career as he faces down a myriad of challenges while creating new music to define a new decade. Through unprecedented access to previously unseen footage and rare archival materials, the documentary captures Paul’s transformative post-Beatles era through a uniquely vulnerable lens.
Man on the Run, presented by Amazon MGM Studios, is produced by Tremolo, in association with MPL and Polygram Entertainment, will be released in select theaters and subsequently available on Prime Video February 25 in more than 240 countries and territories worldwide. Producers include Morgan Neville, Chloe Simmons, and Meghan Walsh for Tremolo; Scott Rodger and Ben Chappell for MPL; and Michele Anthony and David Blackman for Polygram Entertainment. Executive producers include Caitrin Rogers and Paul McCartney.
The film coincides with the release of Paul's book Wings: The Story of a Band on the Run, which will be available on 4th November 2025, WINGS the definitive self-titled collection available on streaming and limited edition vinyl on 7th November, and Paul's Got Back tour dates across North America this autumn.
Source: paulmccartney.com
Ringo Starr’s solo career proved that he could write some excellent songs. But while he was with The Beatles, he lacked the confidence in that department to stack up against the work of John Lennon, Paul McCartney, and George Harrison. Lennon and McCartney made sure that Ringo’s voice was still heard. These three songs, written by the pair, proved tailor-made for Ringo Starr as a vocalist.
“Yellow Submarine” from ‘Revolver’ (1966)
The early drafts of the song that would become “Yellow Submarine” read much darker than the finished version. A demo that was unearthed for a reissue of Revolver found John Lennon singing, in hushed tones, these lyrics: “In the place where I was born, no one cared, no one cared.” Nothing like the happy-go-lucky sea captain narrator who would eventually populate the song. That’s probably because there was no water vehicle involved in the beginning. Somewhere along the line, The Beatles decided to make it into a kids’ song. Rock bands rarely attempted such a thing. Paul McCartney came up with the concept of the “Yellow Submarine”. He and Lennon clearly had a blast making up the seaworthy sound effects in the instrumental break. Ringo Starr’s vocal also carries a lot of the weight, imbuing the simple melody with charm and wonder.
“With A Little Help From My Friends” from ‘Sgt. Pepper’s Lonely Hearts Club Band (1967)
Tired of every piece of music that they created being scrutinized to the hilt, The Beatles decided to record Sgt. Pepper’s Lonely Hearts Club Band in the guise of an imaginary group. The gambit didn’t really deflect any attention. In fact, the album became one of the most closely studied in the history of music anyway. And they didn’t really follow the concept through past the opening and closing songs. But Ringo Starr did help put the idea across by coming on to the fake stage and delivering “With A Little Help From My Friends” as the crooner Billy Shears. Lennon and McCartney wrote the song as the kind of thing you might expect an entertainer like that to perform as a showstopper. And Starr rose to the occasion. He’s extremely lovable, engaging in back-and-forth exchanges with Lennon and McCartney in the verses. And he brings home the high note at the end for everything it’s worth.
Source: Jim Beviglia/americansongwriter.com
This weekend, music fans gathered for a unique and intimate event inside one of Britain’s most significant musical landmarks — George Harrison’s childhood home at 25 Upton Green, Speke.
Hosted by local Beatles tour guide and storyteller Dale Roberts (@DaleLiverpool), “An Afternoon at George’s” offered visitors a chance to step inside the house where George grew up, long before the world knew his name. The event featured performances from The Paperback Writers, a band celebrated for their authentic renditions of The Beatles’ early rock ’n’ roll sound, and a tour from the owners (Dale Roberts and Ken Lambert) connecting George’s early life to the wider story of Liverpool and The Beatles’ rise.
Guests experienced an afternoon of live music and nostalgia — with the performance taking place in the house where George once strummed his first chords. The weather stayed bright, the atmosphere was warm, and visitors described it as “one of the most special Beatles experiences they’ve ever had.” ‘An Afternoon for George’ Draws Fans to George Harrison’s Childhood Home
Dale said:
“It’s always special to open the doors to George’s home and share his story in the place where it began. There’s something powerful about hearing the music played here — it’s emotional, it’s real, and it reminds you how human these legends were.”
The event marks a milestone for Dale Liverpool Tours Ltd as earlier this week Dale’s company was shortlisted for Independent Business of the Year at the Liverpool Tourism Awards.
Roberts’ journey from Beatles fan to one of Liverpool’s most well known tour guides was recently featured in The Mirror, which told the story of how he went from working five jobs at the same time to co-owning George Harrison’s childhood home — an opportunity as a working class lad from Walton, he thought was out of reach.
Source: Will Hynd/theguideliverpool.com
