Beatles News
Let’s begin today with some trivia. Who is the only performer to receive a separate guest credit on the label of a Beatles single?
You, the one yelling “Billy Preston!” loudly at the screen: You are correct. The 1969 “Get Back/Don’t Let Me Down” single is credited to “The Beatles With Billy Preston,” in honor of the virtuosic keyboardist responsible for that indelible Fender Rhodes solo.
Preston has been on my mind since the 2021 release of Peter Jackson’s docuseries “The Beatles: Get Back,” which served, among other things, as a reminder just how crucial the Texas-born keyboard prodigy was to the “Let It Be” sessions. (Given his effortless playing style and the good-natured way he diffused tension on the studio, John Lennon basically asked him to join the band.) But I’ve been listening to Preston, and specifically his Beatles covers, after catching a preview screening of Paris Barclay’s documentary about his charmed but troubled life, “Billy Preston: That’s the Way God Planned It,” which will be playing in New York later this month.
Preston’s covers got me thinking about how many fantastic — and in many cases, radically reworked — covers of Beatles songs have been recorded by Black musicians: Stevie Wonder’s “We Can Work It Out,” Al Green’s “I Want to Hold Your Hand” and Nina Simone’s “Here Comes the Sun,” to just scratch the surface. So in honor of Preston — and of Black History Month — today’s playlist is a baker’s dozen of tracks on which Black artists reinterpret, revise and reimagine the Beatles.
Like just about every other white rock band in history, the Beatles drew upon pre-existing Black musical traditions; they were particularly inspired by the Motown sound and early rock pioneers like Little Richard and Chuck Berry. But as the Beatles built up a formidable songwriting catalog, some of the artists who had inspired their early work, like the Supremes and Ray Charles, started putting their own spin on the Fab Four’s material, too. The result was a rich and reciprocal musical conversation.
Source: Lindsay Zoladz/nytimes.com
Even before the age of social media and the bottomless scroll, musicians were fighting against the general public’s relatively short attention span. (First impressions and all that.) More often than not, a listener would know whether they liked a song within the first few seconds, which made those first few seconds all the more important. And on February 11, 1963, The Beatles recorded a song introduction that would become synonymous with the group, all while calling back to a musical idol.
The Beatles recorded “I Saw Her Standing There” as part of an impressive recording session that saw the Fab Four record Please Please Me in one day. Although undoubtedly a big undertaking for the band and engineers alike, that big day in EMI Studios wasn’t entirely different from what The Beatles were already used to after cutting their teeth at nightclubs that expected them to play for hours on end. And it was just this kind of live feel that producer George Martin was after.
For this reason, Martin advised the band to count in their own numbers like they would if they were on stage. The end result is one of the most iconic intros in The Beatles discography and a subtle homage to the King of Rock ‘n’ Roll himself.
Source: Melanie Davis/americansongwriter.com
Oh, to be a fly on the wall in EMI Studios on February 10, 1967. If not for the superb vantage point, for the elbow room—it was a crowded affair in the recording room that day, with The Beatles, their star-studded group of pals, studio engineers, George Martin, and 41 professional symphonic musicians all in attendance. Everyone was there to put in some serious work, but one wouldn’t know it by looking at them. February 10 marked the fourth recording session for “A Day In The Life”, the expansive, controversial, and multi-faceted closing track to Sgt. Pepper’s Lonely Hearts Club Band. Members of the Royal Philharmonic and London Symphony Orchestras were there to record the cacophony that separates John Lennon’s somber first verses (“I read the news today, oh boy…”) with Paul McCartney’s bouncy interlude (“Woke up, jumped out of bed, ran a comb across my head.”)
The musical task at hand was a challenging one. Most conservatory musicians prefer structure, and The Beatles were after the opposite. But with the help of George Martin’s arranging skills and a vast assortment of gag accessories like clown noises, clip-on nipples, and gorilla paws, everyone at EMI came together to make it happen.
It Wasn’t Just a Recording Session, It Was an Affair
Perhaps the most notable part of the “A Day In The Life” recording sessions is what everyone was wearing. Once The Beatles knew they would be employing a 40+ orchestra, they decided to turn the recording session into an event. In Here, There, and Everywhere: My Life Recording the Music of The Beatles, studio engineer Geoff Emerick recalled Paul McCartney having the initial idea. John Lennon fleshed it out further, saying, “We’ll invite all our friends, and everyone will have to come in fancy dress costume.” When George Martin mentioned that asking the orchestra to dress up might increase their hourly cost, Lennon said, “Sod the cost. We’re making enough bloody money for EMI that they can spring for it…and for the party favors, too.”
Source: Melanie Davis/americansongwriter.com
It is no secret that Paul McCartney and John Lennon had a competitive relationship. However, when we hear about this relationship, it’s typically through eyes that have not shared the same lived experience. In other words, it’s not being told through a professional musician’s perspective. That being so, facts are misinterpreted, moments are embellished, and ultimately, the foundational truth is partially lost. One musician with a similar disposition who once set the record straight on the matter was Paul Simon.
When it comes to the greatest songwriters of all time, Paul Simon is certainly one of them, and do you think he got there without a competitive drive? No, as competition is arguably embedded in every endeavor, obtaining a great ambitious mission. Now, that competition doesn’t necessarily need to be against another person, as that competition can also be simply against yourself.
Regarding this drive, Simon states in the book Paul Simon: The Life by Robert Hilburn, “I wanted my own parade. That’s a competitive drive I had, for whatever reason, whether it was in my nature or it came from my family or from my neighborhood — probably a father thing.” The Relatable Lens Looked Through by Paul Simon.
Source: Peter Burditt/americansongwriter.com
On February 9, 1961, The Beatles—John Lennon, Paul McCartney, George Harrison, bassist Stuart Sutcliffe, and drummer Pete Best—made their debut at The Cavern Club in Liverpool, 65 years ago. This lunchtime performance marked the beginning of their 291-show residency at the venue, which was crucial for developing their stage presence before Ringo Starr joined in 1962.
Key details of this historical milestone:
The Lineup: The band featured the "Fab Five" lineup of Lennon, McCartney, Harrison, Sutcliffe, and Best.
The Gig: They played a lunchtime gig, reportedly earning £5, at the Mathew Street venue.
Significance: This performance helped establish them in the local scene, leading to their discovery by manager Brian Epstein.
Legacy: While Sutcliffe left soon after to pursue art and Best was replaced by Ringo Starr in August 1962, this 1961 date is considered a foundational moment in their rise to fame.
Source: Google
Barry Keoghan transformed into Ringo Starr as he was spotted filming scenes for the upcoming Beatles biopic.
The actor, 33, joins the cast as the legendary drummer alongside Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon and Joseph Quinn as George Harrison. On Saturday, Barry looked the spitting image of the star, whose real name is Sir Richard Starkey, while on set.
He donned an oversized fur jacket layered over a striped purple shirt, paired with cropped trousers for the retro look. Barry also grew out a beard and styled his hair in Ringo’s classic shaggy cut, finishing the transformation with sunglasses as he filmed scenes.
The Daily Mail revealed that the Beatles biopics will be filmed at London's iconic Abbey Road Studios, with production getting underway in November last year despite earlier reports that plans had been blocked.
Barry Keoghan transformed into Ringo Starr as he was spotted filming scenes for the upcoming Beatles biopic. The actor, 33, joins the cast as the legendary drummer alongside Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon and Joseph Quinn as George Harrison. While it was previously claimed that Westminster Council would not allow filming at the famous zebra crossing, the council has since confirmed to the Daily Mail that production will be going ahead.
Mendes, who is directing the films, had wanted to recreate the Beatles' 1969 album cover on the crossing.
Westminster Council told the Daily Mail that they are, in fact, working closely with production teams to facilitate filming, which will involve closing the road. Speaking at the CinemaCon convention in Las Vegas last April, an event the cast also attended, Mendes described the films as the 'first binge-able theatrical experience'.
The project marks the first time Apple Corps Ltd and The Beatles – Sir Paul, Sir Ringo, and the families of Lennon and Harrison – have granted full life story and music rights for a scripted film. Sir Ringo previously hinted that Saltburn star Barry had taken on the role.
Source: Caroline Peacock/dailymail.co.uk
In 1964, the Beatles made their first live American television appearance on “The Ed Sullivan Show,” broadcast from New York on CBS. The quartet played five songs, including “She Loves You” and “I Want to Hold Your Hand,” to a crowd of screaming teenagers in person and more than 70 million viewers across the country.
Source: LimoOhio.com
In many ways, The Beatles remain the Platonic Ideal of a rock band. Not only did the Liverpool, England-born group write incredible songs and garner giant audiences, but they also broke the mold by breaking the molds. In other words, they were great, in part, because of their distinct personalities.
Each of the four former Mop Tops had specific qualities. And together, they were a complete group. But even despite the unbelievable synergy between the members, there were important musical figures who helped shape The Beatles from the outside. That’s just what we wanted to dive into here.
While the four members of The Beatles were in the recording studio, laying down their tracks, it was producer George Martin in the booth, working the boards and knobs. Where would the band be without his ear for levels and mixes? Where would they be without his influence? Just one example of Martin’s genius is his work on the 1967 album Sgt. Pepper’s Lonely Hearts Club Band.
Much has been written about Yoko Ono and her effect on John Lennon and The Beatles. For decades, she was considered the villain who broke up the band. But more recently, those ideas have been debunked thanks, in part, to footage from the recent documentary, Get Back. For whatever you thought of her, Ono was an artist. She experimented fearlessly and her impact remains on the creative culture today. Who knows, maybe The Beatles’ final album, Let It Be, would never have happened without her influence. Maybe the band’s final album would have halted without her support outside the studio.
Billy Preston
The band was struggling. Members were leaving at inopportune times during the recording session for their final album. Old wounds were opening along with new ones. The Beatles had become a tired, old married couple of four. There was no hope. Until the Houston, Texas-born keys player Billy Preston walked through the door. John Lennon said it himself, Preston saved the recording session for the band’s final record, Let It Be. With his nimble playing, blues background, and immense skill, Preston, who has also played with the likes of Little Richard, Sam Cooke, and Ray Charles, helped to save one of the greatest rock records ever.
Source: Jacob Uitti/americansongwriter.com
Cynthia Powell was the third child of Charles Powell, who worked for the electrical and engineering company GEC, and his wife, Lillian. She was born in the opening days of the Second World War, in Blackpool, to where her expecting mother had been evacuated from the family home in Liverpool along with other pregnant women. As a child, Cynthia was described as "shy, gentle, and studious", and her upbringing was much stricter than her future husband's.
The family later moved back to the Wirral, settling in the seaside town of Hoylake. Cynthia showed artistic flair, and after attending Liverpool's Junior Art School, and at the age of 11 won an art prize in a Liverpool Echo competition. She went on to study at the Liverpool College of Art in 1957 where she met John Lennon.
Cynthia married Lennon in 1962, just before the Beatles released their first single, Love Me Do, after discovering she was pregnant with Julian. The Beatles’ manager, Brian Epstein, was best man.
The marriage lasted just six years and ended after Cynthia reportedly returned home from a trip to Greece to find Lennon and Yoko Ono, in matching towelling robes, gazing at each other.
Cynthia started divorce proceedings after hearing that Ono was pregnant with Sean. Eventually John grudgingly agreed to pay Cynthia £100,000, plus maintenance of £2,400 a year, with another £100,000 placed in a trust fund for Julian.
Cynthia wrote a memoir of John in 2005 in which she said: “Having tried to live an ordinary life for so many years since John and I parted, I have come to realise that I will always be known as John’s first wife."
Source: Amy Fenton/lancs.live
aul McCartney announced a second surprise show at the Bowery Ballroom slated for Wednesday night, but tickets were quickly snapped up. The East Village venue was completely sold out by 11 a.m.
McCartney, 82, shocked New Yorkers on Tuesday afternoon when he announced plans to play the theater that night, making tickets only available in person at the box office. That show almost immediately sold out as well.
By Wednesday morning, people were more prepared, with lines outside the venue all morning in anticipation of a possible announcement, according to the music blog Brooklyn Vegan. The concert was set to begin at 6:30 p.m. McCartney is expected to be in town all week, as he is scheduled to be part of a 50th anniversary celebration on “Saturday Night Live” this weekend.
Tuesday night’s show in the tiny Bowery Ballroom, with hardly more than 550 people in attendance, included a full 22-song setlist from McCartney, along with plenty of chatter. “So, here we are,” McCartney said at the beginning with a grin. “Some little gig. New York. Why not?”
McCartney is famously no stranger to a surprise performance. In addition to the famous Beatles rooftop concert, he appeared on top of Ed Sullivan Theatre marquee in 2009 and set up a performance at Grand Central Terminal in 2018.
When he announced the Tuesday concert, New Yorkers within a reasonable distance of the Bowery Ballroom flocked to snag tickets.
“I thought: I can do this,” Amy Jaffe, who lives about 30 blocks north, told The Associated Press. “I put on jeans, grabbed a coat, called a Lyft.” Jaffe, 69, was one of the lucky few in attendance Tuesday. McCartney played a full show, ranging from Beatles classics like “Hey Jude” to solo efforts such as “Maybe I’m Amazed.”
Source: MSN
