Psychedelic art is any kind of visual artwork inspired by psychedelic experiences induced by drugs such as LSD, mescaline, and psilocybin
The word "psychedelic" (coined by British psychologist Humphrey Osmond) means "mind manifesting". By that definition all artistic efforts to depict the inner world of the psyche may be considered "psychedelic". However, in common parlance "Psychedelic Art" refers above all to the art movement of the 1960s counterculture. Psychedelic visual arts were a counterpart to psychedelic rock music.Concert posters, album covers, lightshows, murals, comic books, underground newspapers and more reflected not only the kaleidoscopically swirling patterns of LSD hallucinations, but also revolutionary political, social and spiritual sentiments inspired by insights derived from these psychedelic states of consciousness.( http://en.wikipedia.org/wiki/Psychedelic_art  )            
 

edit post
One afternoon early in 1967, Julian Lennon came home from his nursery school with a painting that he said was of his classmate, four-year-old Lucy O'Donnell. Explaining his artwork to his father, Julian described it as Lucy - 'in the sky with diamonds'.
This phrase stuck in John's mind and triggered off the stream of associations that led to the writing of the dream-like 'Lucy In The Sky With Diamonds', one of three tracks on the Sgt. Pepper album which received special media attention because it was thought to be 'about drugs'. Although it's unlikely that John would have written such a piece of reverie without ever having experimented with hallucinogenics, this song was equally affected by his love of surrealism, word play and the works of Lewis Carroll.
The suggestion that the song was a description of an LSD trip appeared to be substantiated when it was noted that the title spelt LSD. Yet John consistently denied this, going into great detail in interviews about the drugs he had taken. He insisted that the title was taken from what Julian had said about his painting. Julian himself recalls, "I don't know why I called it that or why it stood out from all my other drawings but I obviously had an affection for Lucy at that age. I used to show dad everything I'd built or painted at school and this one sparked off the idea for a song about Lucy in the sky with diamonds."
Lucy O'Donnell (now 36 and working as a teacher with special needs' children) lived near the Lennon family in Weybridge and she and Julian were pupils at Heath House, a nursery school run by two old ladies in a rambling Edwardian house. "I can remember Julian at school," says Lucy, who didn't discover that she'd been immortalized in a Beatles' song until she was 13. "I can remember him very well. I can see his face clearly... we used to sit alongside each other in proper old-fashioned desks. The house was enormous and they had heavy curtains to divide the classrooms. Julian and I were a couple of little menaces from what I've been told."
John claimed that the hallucinatory images in the song were inspired by the 'Wool and Water' chapter in Lewis Carroll Through The Looking Glass, where Alice is taken down a river in a rowing boat by the Queen, who has suddenly changed into a sheep.
As a child, Alice's Adventures In Wonderland and Through The Looking Glass were two of John's favorite books. He said that it was partly through reading them that he realized the images in his own mind weren't indications of insanity. "Surrealism to me is reality," he said. "Psychedelic vision is reality to me and always was."
For similar reasons, John was attracted to The Goon Show, the British radio comedy programme featuring Spike Milligan, Harry Secombe and Peter Sellers which was broadcast by the BBC between June 1952 and January 1960. The Goon Show scripts, principally written by Milligan, lampooned establishment figures, attacked post-war stuffiness and popularized a surreal form of humor. The celebrated Beatle 'wackiness' owed a lot to the Goons, as did John's poetry and writing. He told Spike Milligan that 'Lucy In The Sky With Diamonds' and several other songs had been partly inspired by his love of Goon Show dialogue. "We used to talk about 'plasticine ties' in The Goon Show and this crept up in Lucy as 'plasticine porters with looking glass ties'," says Milligan who, as a friend of George Martin, sat in on some of the Sgt. Peppers sessions. "I knew Lennon quite well," he said. "He used to talk a lot about comedy. He was a Goon Show freak. It all stopped when he married Yoko Ono. Everything stopped. He never asked for me again."
When Paul arrived at Weybridge to work, John had only completed the first verse and the chorus. For the rest of the writing they traded lines and images; Paul coming up with 'newspaper taxis' and 'cellophane flowers', John with 'kaleidoscope eyes'. 

edit post
Written by George, 'Here Comes The Sun' was an expression of delight at being able to slip away from the interminable business meetings which were now taking up so much of the Beatles' time.

In January 1969, John and Yoko met with music business manager Allen Klein and shortly afterwards declared that he would be looking after their business affairs, despite the fact that New York lawyer John Eastman, brother of Linda, had recently been brought in to represent the Beatles collectively. This was the beginning of a bitter drawn-out conflict over who should manage the Beatles and what should be done about the chaotic state of their finances. Despite the tremendous sales of Beatles' music over the past six years, John claimed, "all of us could be broke in six months."
Klein offered to restructure Apple, organize a takeover bid for the shares the Beatles didn't own in Northern Songs and renegotiate a better royalty deal with EMI. He was able to persuade John, George and Ringo of his ability to do these things but Paul remained loyal to Eastman. As a result of the Beatles' existence was now under threat and the frequent meetings at Apple were fraught with tension. One morning in the early spring, George decided it was all getting a bit too much like school, and so he took a day off from the round table routine and went to see his friend Eric Clapton at his country home in Ewhurst, Surrey.
Borrowing one of Eric's acoustic guitars, George took a walk around the gardens and, basking in the first real sunshine of the year, he felt a sudden flush of optimism and started to write 'Here Comes The Sun'. "It was such a great release for me simply being out in the sun," said George at the time. "The song just came to me." 
(http://www.thebeatleshk.com/SongStories/HereComesTheSun.html

edit post

The Beatles--the world's most famous rock and roll band--travel from their home town of Liverpool to London to perform in a television broadcast. Along the way they must rescue Paul's unconventional grandfather from various misadventures and drummer Ringo goes missing just before the crucial concert. 

The plot is a study of a day in the life of the Fab Four beginning with them running from their adoring fans to catch a train. Every plot point circles around the band getting to a television show in order to perform a live concert, and within this stream of action is a series of slapstick, zany, and otherwise wacky bits of funniness. One obstacle in the works is Paul McCartney's babysitting of his grandfather (Wilfrid Brambell), a first class mixer always getting into mischief. It becomes one of the running jokes in the film that Brambell is a "clean old man," at least physically (this contrasts with Brambell's most famous role as Albert Steptoe in Steptoe and Son where he was a "dirty old man" both physically and psychologically). Ringo Starr gets a sense of liberation and goes off on his own to find happiness only to land in jail for loitering. John Lennon fires playful barbs at TV director (Victor Spinetti), whose biggest worry is that if for some reason the Beatles stand him up his next job will be doing "news in Welsh." One great story line is with George Harrison, in which he is mistaken for an actor auditioning for some trendy TV show for some trend setter hostess. The earnest demeanor of the casting head and his associates is undercut by George's declaration that she is a well-known drag. Norman Rossington and John Junkin as The Beatles' managers are stalwart English character actors who fill out the cast and support the general lunacy of the film with a more traditional presence, but still sustain an on-going battle about one being taller than the other. Anna Quayle has a great bit with John Lennon about his being someone he's not. The whole thing ends with an ear-shattering concert and the band yet again running from the adoring fans. 

(http://www.imdb.com/title/tt0058182/plotsummary)(http://www.imdb.com/title/tt0058182/synopsis)


edit post
Across The Universe is a fictional love story set in the 1960s amid the turbulent years of anti-war protest, the struggle for free speech and civil rights, mind exploration and rock and roll. At once gritty, whimsical and highly theatrical, the story moves from high schools and universities in Massachusetts, Princeton and Ohio to the Lower East Side of Manhattan, the Detroit riots, Vietnam and the dockyards of Liverpool. A combination of live action and animation, the film is paired with many songs by The Beatles that defined the time.

The film opens with a solitary figure, Jude (Jim Sturgess), sitting on a quiet beach front. He is singing "Girl" with a melancholy air, while looking off into the distant horizon. It's the end of the work day as Jude lines up with his fellow shipyard hands for their day's wages. After receiving payment from the old man in charge, Jude walks back home, smiling along the way.

As he leaves, "Hold Me Tight" begins, while we flash to an idealistic prom scene, where Lucy (Evan Rachel Wood) dances along with her boyfriend Daniel (Spencer Liff) and their high-school classmates. A classic band plays along, as Lucy sings to Daniel "Tell me I'm the only one..."

In another part of the world, another couple in Liverpool is singing the same song as they dance at a dark underground Liverpool bar - a reference to "The Cavern Club," where the Beatles began its career. Jude holds his girlfriend (Lisa Hogg) as she sings "Let me go on loving you." Ambling along a dark and damp street after leaving the bar, Jude and his girlfriend hold hands and trip along the cobblestone. They stop to kiss along the road, as she tells Jude not to forget her while he is in America. He laughs and consoles her, singing "While I'm away, I'll write home everyday, and I'll send all my loving to you." While Jude continues to sing "All My Loving," he packs his bag, kisses his mom (Angela Mounsey) goodbye, and heads off to the docks to board a ship to America, seeking out his estranged father in New Jersey.

Lucy, back at Daniel's house, is seeing him off to boot camp, and the Vietnam War. Daniel, dressed in his new uniform, drives away while Lucy runs after the car down the street.

Jude ends the song as he hitches a ride along the road in America. Managing to flag down a ride, we leave Jude to look across the road. A high-school football practice is winding down, with cheerleaders running through their routines and watching the football players on the field.

After practice ends, one of the cheerleaders, Prudence (T.V. Carpio), watches wistfully as a fellow cheerleader flirts with one of the players. She softly sings "I Want To Hold Your Hand" as she watches her obvious object of affection walking away with the jock. As she watches them and sings, she walks off the field, into the unknown.

Jude arrives at Princeton University and stands on the academic quad while a student, obviously in a rush, tears his way through the campus crowd and drops all of his books and papers. While stooping down to help collect the papers, Jude asks the student if he knows a certain Professor, believing him to be his father. The student, Max (Joe Anderson), is first at a loss, until he realizes that Jude is looking for the school janitor (Robert Clohessy). He laughs, and points to a man washing windows on a ladder, saying "That's him."

Introducing himself to the window washer, Jude explains who he is, and his reason for being at the school. At first, the man is surprised, saying that he didn't know the mother was pregnant, and that he would have married Jude's mother if he had known. Jude assures him that this apology wasn't what he wanted, but just wanted "them each to know that the other existed."

Max, the charming and outgoing student from earlier, is on a roof with a few of his buddies as they chip golf balls off of a beer bottle at the nearby dormitory windows. After a few misses, he finally connects - and the group flees the angry mob that spills out of the dorm. Jude, seeing the commotion while out having a cigarette in front of the building that his father is letting him stay in, lets Max slip in to hide. Grateful, Max invites Jude to go out for the night with himself and his golfing buddies. While proclaiming that they get by "With a Little Help From My Friends," they smoke and drink their way through town until they finally collapse on couches from exhaustion.

Lucy walks home from school with her friend, while she talks about missing her boyfriend Daniel. As they walk up to Lucy's house, her mom hands her a letter while smiling; it's a letter from Daniel saying that he has been able to get a few weeks leave, and will be home soon to visit. Lucy launches into song as she flies up the stairs, excited to know that "It Won't Be Long" before she'll be back together with Daniel.

For Thanksgiving break, Max invites Jude to his parents' house for the holidays. After picking up Max's little sister, who turns out to be Lucy, they continue on in his convertible to see the family. At dinner, Max announces that he is dropping out of college, and going to New York to make a living. A family argument ensues, and the three decide to go out bowling to release some tension.

At the alley, while they joke around and tease each other, Jude thinks to himself that he's "falling, yes he is falling" for Lucy while singing "I've Just Seen A Face." When he and Max drive away to a new life in New York City, Max warns Jude that Lucy has a boyfriend. Jude smiles and assures him that It's ok, he has a girlfriend too.

Jude and Max arrive in the city, and after climbing to the top of a walk-up building, they enter a large apartment owned by a tall singer named Sadie (Dana Fuchs). She shows them the apartment, while several other people lounge around playing the guitar or reading. Pleased with the apartment, they agree to pay two weeks rent in advance, and become New York City residents.

Moving to the streets of Detroit during the race riots, a little boy cowers next to a destroyed car on fire, while black men and women run on the streets from the police. Staring out at the audience, he sings "Let It Be" among the violence. Moving into a church in the black community, while the choir swells, we see the same little boy laying in a coffin, obviously a casualty of the fight. JoJo (Martin Luther) stands holding an older woman while she weeps, staring at the little boy's lifeless body.

Experiencing the same grief, we see Lucy weeping after a letter comes to Daniel's parents, notifying him of his death. She too, stares at the burial of her boyfriend, as Marines fold up the American flag and hand it to the mother Daniel has left behind.

As the song ends, JoJo slings a guitar over his shoulder, and walks down the street, heading to New York City himself. As he steps along, "Come Together" plays to the beat. He walks down the street, and sees a sign for Guitarist Needed at the bar "Café Huh?" and enters. Sadie is there, and gives him the role of lead guitarist in her band. He comes to the apartment to live; one night while he is playing out a song on his guitar for Jude, a water-logged Prudence climbs into their bathroom window out of the rain, and becomes their newest roommate.

After graduating from high school, Lucy joins her brother Max and friend Jude in the city for the summer before she goes to college. She is happy to see her brother, but is reluctant to give him the letter that came for him - a draft notice from the government. At a party they have at the apartment that night, Jude falls again for Lucy, and breaks up with a girl that he was seeing. Lucy sings "If I Fell" while they dance, and finally kiss.

The next day, Max reports to the draft office for his physical, and despite swallowing an entire box of cotton balls in the hopes that it will show up as a shadow in x-rays, is deemed qualified for service. While he and a large group of men all endure rigorous physicals, they imagine an animated poster of Uncle Sam singing to them "I Want You."

Back at the apartment, Prudence is mourning the coupling of JoJo and Sadie, after she finds herself infatuated with the tall singer. She locks herself into the closet, and the others sing "Dear Prudence" to coax her out of her hiding place. Despite this, Prudence leaves unexpectedly; no one is sure where she goes.

The remaining gang goes to a party where an agent tries to convince Sadie to go solo. Tripping out on pink punch, the group hops on a psychedelic bus trip across the country. At a stop in a field, they see a traveling circus run by Mr. Kite, and find Prudence in the troupe dating a contortionist named Rita.

Max is now off to war, leaving Lucy angry and distraught. After seeing an anti-war speaker in the park, she decides to join their organization to protest Vietnam and bring the troops home. As Lucy devotes more and more time to the organization, Jude becomes jealous of the man that runs the group.

Sadie has finally told the rest of the band that she is planning on going solo. Infuriated, JoJo purposefully ruins her opening song "Oh! Darling" with distracting and awful guitar riffs, which forces her to leave the stage. Having his own relationship trouble, Jude sinks into his artistic work while singing "Strawberry Fields Forever." He and Lucy have now fought over her increasing involvement and obsession with her anti-war group, culminating in Jude confronting her at their headquarters while singing "Revolution."

After being kicked out, he walks by a window display of tthe announcement of the assassination of Martin Luther King, Jr. "While My Guitar Gently Weeps" starts playing. He meets up with JoJo and gets drunk, only to find that Lucy has moved all of her belongings out of the apartment, leaving him. Later that day, he gets on a subway (to the song "Across The Universe") to go to Columbia University, where the anti-war group's actions escalate to increasing violence, leading to police action at a rally at Columbia University.

Sadie starts singing "Helter, Skelter" at a club, while Jude, walking through, sees Lucy as one of the protesters being arrested by the police, and attempts to save her while she is being dragged away. She calls out to him, but he is overcome by the police and is arrested.

At the same time, Max gets into a firefight, where he has to shoot a lot. He gets injured and has a dream sequence about naked Vietnamese mothers floating in the river.

Meanwhile, Jude sits in his jail cell, as more and more prisoners are let free to go home. Finally, alone, his father comes to visit him. His father breaks the news that although the police will not press charges, he is being forced to leave the country and return to England. He encounters Molly, his old flame, who is now pregnant with Phil's child.

While he is walking home, the scene cuts to Lucy at Max's bedside in the V A hospital. He starts singing "Happiness is a Warm Gun" in a sequence with Salma Hayek as a nurse. At one of her rallies, Lucy is in a phone booth, while her mother pleads with her on the phone to be careful and begs her to stop her involvement in the protests. Resolved, she argues with her mother, when a fight breaks out, and a gun shot hits the phone booth. Not hurt, Lucy sinks down while singing to herself that it'll be alright. TV scenes of the DC protests and the Pentagon protest show while Max is watching from the V A hospital. Lucy goes back to the old protest headquarters and finds Paco making pipe bombs.

"A Day in the Life" is playing as Jude gets off work, and he gets a newspaper and sees that the place where the protesters were organized from had blown up. Cut to him sitting on the beach... then cut to the wharf area in NY, where Max is sitting and Lucy sings "Blackbird", while Jude wanders the beach and tidal areas in Liverpool.

Jude gets back into his routine at the shipyards, then sits in a pub after work, drinking a pint. To the words of "Hey Jude," sung by Max (as imagined by Jude as sitting next to him, while he is looking into a mirror behind the bar), he runs to his house to again pack his bags, and returns to the States (with a visa) to get back Lucy. Max meets him at Customs, and takes him to the building where Sadie and JoJo's reunited band is playing "Don't Let Me Down" to a cheering crowd on the streets.

Lucy, not knowing Jude is back, is invited with a note by Max to come to the concert. She sees the strawberry logo Jude designed for Sadie, then gets very sad because no one will answer the door buzzer, and she walks away. The police break up the concert as the crowd gathering gets larger. Jude hides from the police, and after being left alone on the roof, starts singing "All You Need Is Love" into the microphone. Sadie, JoJo, Prudence, Max, and the rest all rush back up to the roof, and join in. Lucy hears Jude's voice, and frantically rushes to get into the building, only to be stopped by the police. She turns, and runs to a building across the street, and stares at Jude from the roof across the way.She smiles as a tear runs down her cheek. Jude sighs. Together in the end, they kiss as "Lucy in the Sky With Diamonds" plays during the end credits

edit post
Pete Best was the original drummer for one of the most famous musical groups of the 20th Century. Pete was dropped from the Beatles in 1962, and replaced by Ringo Starr. Who was this original Beatle? What stories could he tell about their early days creating the sound that changed the world?

In 1982, Pete resurfaced in Los Angeles and did a handful of rare interviews in the states. One of them was the David Letterman show. Shortly after this appearance, he did his first American radio network interview with me for CBS Radio and the Beatles hour.

The interview was conducted during “Beatlefest” at the Bonaventure hotel, where I was co-hosting and doing stage interviews of beatle people for the fans. Pete and I hit it off well during these onstage interviews, and he agreed to a series of recorded interviews for radio that would be held upstairs in our hotel rooms over the next few evenings.

Over dinner we talked about music, life, and his current hopes and dreams, while saving the big sotry for the taped conversations. During these, Pete told a fascinating story about the early years of the beatles- from the inside, as a member. Everything from their meeting, the first clubs they played, the Hamburg tour, the early songwriting and recording sessions, to the partying, and of course the breakup. Not having his memory clouded with all the fame and events that enveloped the Beatles after august of 1962, his memory of the Beatles early years was crystal clear. It seemed as though he had worked past the bitterness that had been a big part of the years immediately after the breakup, and was ready to tell his side of the story.
After 3 days together, I found Pete to be a fascinating person on several levels, deeper than many would imagine, funnier, smarter, and very a sincere and thoughtful person. To this day, it remains one of my favorite interviews and experiences.

Today, Pete has his own band and has just released a new album that’s getting airplay and interest. You will be surprised and impressed if you listen to it- the writing and production values are very good, and you will hear that unmistakable british beat, and a hint of beatle-esque production. Far from a drummer who needed replacing, he’s quite good. But, what else would you expect from a former beatle? His New album is called "Hayman's green", distributed by EMI.

Highlights in this video are from these interviews, and the “Best years of the Beatles” episodes of The Beatles Hour aired first on KCBS-FM and KRQR in San Francisco.


edit post

1963

“They’ve got something! From Liverpool, I hear, of all places.” “From Liverpool uber alles!”

They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream – while their conquering Paris – the record goes to Number One in America three weeks before the Ed Sullivan Show in New York.

If there had been no Beatles, no one would have had the imagination to invent such a story.

http://www.thebeatles.com/#/history/1963)

edit post






MusicPlaylistRingtones
Create a playlist at MixPod.com

Albums


Please Please Me (1963)
  1.  Saw Her Standing There
  2. Misery
  3. Anna (Go To Him)
  4. Chains
  5. Boys
  6. Ask Me Why
  7. Please Please Me
  8. Love Me Do
  9. P. S. I Love You
  10. Baby It's You
  11. Do You Want To Know A Secret
  12. Taste Of Honey, A
  13. There's A Place
  14. Twist And Shout
With the Beatles (1963)
  1. It Won't Be Long
  2. All I've Got To Do
  3. All My Loving
  4. Don't Bother Me
  5. Little Child
  6. Till There Was You
  7. Please Mister Postman
  8. Roll Over Beethoven
  9. Hold Me Tight
  10. You Really Got A Hold On Me
  11. I Wanna Be Your Man
  12. Devil In Her Heart
  13. Not A Second Time
  14. Money
A Hard Day's Night (1964)
  1. Hard Day's Night, A
  2. I Should Have Known Better
  3. If I Fell
  4. I'm Happy Just To Dance With You
  5. And I Love Her
  6. Tell Me Why
  7. Can't Buy Me Love
  8. Any Time At All
  9. I'll Cry Instead
  10. Things We Said Today
  11. When I Get Home
  12. You Can't Do That
  13. I'll Be Back
Beatles For Sale (1964)
  1. No Reply
  2. I'm A Loser
  3. Baby's In Black
  4. Rock And Roll Music
  5. I'll Follow The Sun
  6. Mr. Moonlight
  7. Kansas City / Hey, Hey, Hey, Hey
  8. Eight Days A Week
  9. Words Of Love
  10. Every Little Thing
  11. I Don't Want To Spoil The Party
  12. What You're Doing
The Savage Young Beatles (1964) 

Ain't She Sweet (1964)
  1. Ain't She Sweet
  2. Ruby Baby
  3. Why
  4. Get On The Right Track Ba
  5. Ya Ya
  6. Skinny Minnie
  7. Shake, Rattle & Roll
  8. Cry For A Shadow
  9. My Bonnie
  10. Let's Dance
  11. What'd I Say
  12. Nobody's Child
  13. Sweet Georgia Brown
  14. When The Saints Go Marchi
  15. If You Love Me Baby
  16. Shake It Some More
  17. Just You And Me
  18. Kansas City
The Beatles with Tony Sheridan and their Guests and Others (1964) 

Meet The Beatles (1964) 

The Beatles Second Album (1964) 

Something New (1964) 

Beatles '65 (1964)

The Early Beatles (1965) 

Beatles VI (1965)

Help! (1965)
  1. Help
  2. Night Before, The
  3. You've Got To Hide Your Love Away
  4. I Need You
  5. Another Girl
  6. You're Going To Lose That Girl
  7. Ticket To Ride
  8. Act Naturally
  9. It's Only Love
  10. You Like Me Too Much
  11. Tell Me What You See
  12. I've Just Seen A Face
  13. Yesterday
  14. Dizzy Miss Lizzie
Rubber Soul (1965)
  1. Drive My Car
  2. Norwegian Wood (This Bird Has Flown)
  3. You Won't See Me
  4. Nowhere Man
  5. Think For Yourself
  6. Word, The
  7. Michelle
  8. What Goes On
  9. Girl
  10. I'm Looking Through You
  11. In My Life
  12. Wait
  13. If I Needed Someone
  14. Run For Your Life
Yesterday and Today (1966) 

Revolver (1966)
  1. Taxman
  2. Eleanor Rigby
  3. I'm Only Sleeping
  4. Love You To
  5. Here, There And Everywhere
  6. Yellow Submarine
  7. She Said She Said
  8. Good Day Sunshine
  9. And Your Bird Can Sing
  10. For No One
  11. Doctor Robert
  12. I Want To Tell You
  13. Got To Get You Into My Life
  14. Tomorrow Never Knows
A Collection of Beatles Oldies (1966) 

Sgt. Pepper's Lonely Hearts Club Band (1967)
  1. Sgt. Pepper's Lonely Hearts Club Band
  2. With A Little Help From My Friends
  3. Lucy In The Sky With Diamonds
  4. Getting Better
  5. Fixing A Hole
  6. She's Leaving Home
  7. Being For The Benefit Of Mr. Kite!
  8. Within You Without You
  9. When I'm Sixty-Four
  10. Lovely Rita
  11. Good Morning Good Morning
  12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
  13. Day In The Life, A
Magical Mystery Tour (1968)
  1. Magical Mystery Tour
  2. Fool On The Hill, The
  3. Flying
  4. Blue Jay Way
  5. Your Mother Should Know
  6. I Am The Walrus
  7. Hello Goodbye
  8. Strawberry Fields Forever
  9. Penny Lane
  10. Baby You're A Rich Man
  11. All You Need Is Love
The Beatles (The White Album) (1968)
Disc: 1
  1. Back In The U.S.S.R.
  2. Dear Prudence
  3. Glass Onion
  4. Ob-La-Di, Ob-La-Da
  5. Wild Honey Pie
  6. Continuing Story Of Bungalow Bill, The
  7. While My Guitar Gently Weeps
  8. Happiness Is A Warm Gun
  9. Martha My Dear
  10. I'm So Tired
  11. Blackbird
  12. Piggies
  13. Rocky Raccoon
  14. Don't Pass Me By
  15. Why Don't We Do It In The Road
  16. I Will
  17. Julia
    Disc: 2
  1. Birthday
  2. Yer Blues
  3. Mother Nature's Son
  4. Everybody's Got Something To Hide Except Me And My Monkey
  5. Sexy Sadie
  6. Helter Skelter
  7. Long, Long, Long
  8. Revolution 1
  9. Honey Pie
  10. Savoy Truffle
  11. Cry Baby Cry
  12. Revolution 9
  13. Good Night
Yellow Submarine (1969)
  1. Yellow Submarine
  2. Hey Bulldog
  3. Eleanor Rigby
  4. Love You To
  5. All Together Now
  6. Lucy In The Sky With Diamonds
  7. Think For Yourself
  8. Sgt. Pepper's Lonely Hearts Club Band
  9. With A Little Help From My Friends
  10. Baby You're A Rich Man
  11. Only A Northern Song
  12. All You Need Is Love
  13. When I'm Sixty-Four
  14. Nowhere Man
  15. It's All Too Much
Abbey Road (1969)
  1. Come Together
  2. Something
  3. Maxwell's Silver Hammer
  4. Oh! Darling
  5. Octopus's Garden
  6. I Want You (She's So Heavy)
  7. Here Comes The Sun
  8. Because
  9. You Never Give Me Your Money
  10. Sun King
  11. Mean Mr. Mustard
  12. Polythene Pam
  13. She Came In Through The Bathroom Window
  14. Golden Slumbers
  15. Carry That Weight
  16. End, The
  17. Her Majesty
Let It Be (1970)
  1. Two Of Us
  2. Dig A Pony
  3. Across The Universe
  4. I Me Mine
  5. Dig It
  6. Let It Be
  7. Maggie Mae
  8. I've Got A Feeling
  9. One After 909
  10. Long And Winding Road
  11. For You Blue
  12. Get Back
The Early Years (1971) 

The Beatles 1962-1966 (1973)
Disc: 1
  1. Love Me Do
  2. Please Please Me
  3. From Me To You
  4. She Loves You
  5. I Want To Hold Your Hand
  6. All My Loving
  7. Can't Buy Me Love
  8. Hard Day's Night, A
  9. And I Love Her
  10. Eight Days A Week
  11. I Feel Fine
  12. Ticket To Ride
  13. Yesterday
    Disc: 2
  1. Help!
  2. You've Got To Hide Your Love Away
  3. We Can Work It Out
  4. Day Tripper
  5. Drive My Car
  6. Norwegian Wood (This Bird Has Flown)
  7. Nowhere Man
  8. Michelle
  9. In My Life
  10. Girl
  11. Paperback Writer
  12. Eleanor Rigby
  13. Yellow Submarine
The Beatles 1967-1970 (1973)
Disc: 1
  1. Strawberry Fields Forever
  2. Penny Lane
  3. Sgt. Pepper's Lonely Hearts Club Band
  4. With A Little Help From My Friends
  5. Lucy In The Sky With Diamonds
  6. Day In The Life, A
  7. All You Need Is Love
  8. I Am The Walrus
  9. Hello, Goodbye
  10. Fool On The Hill, The
  11. Magical Mystery Tour
  12. Lady Madonna
  13. Hey Jude
  14. Revolution
    Disc: 2
  1. Back In The U.S.S.R.
  2. While My Guitar Gently Weeps
  3. Ob-La-Di, Ob-La-Da
  4. Get Back
  5. Don't Let Me Down
  6. Ballad Of John And Yoko, The
  7. Old Brown Shoe
  8. Here Comes The Sun
  9. Come Together
  10. Something
  11. Octopus's Garden
  12. Let It Be
  13. Across The Universe
  14. Long And Winding Road, The
Rock & Roll Music (1976) 

Love Songs (1977) 

The Beatles At the Hollywood Bowl (1977) 

Rarities (1979) 

Past Masters Volume 1 (1988)
  1. Love Me Do - (single version with Ringo, mono)
  2. From Me To You - (mono)
  3. Thank You Girl - (mono)
  4. She Loves You - (mono)
  5. I'll Get You - (mono)
  6. I Want To Hold Your Hand
  7. This Boy
  8. Komm, Gib Mir Deine Hand - (mono, German version of "I Want To Hold Your Hand,")
  9. Sie Liebt Dich - (mono, German version of "She Loves You,")
  10. Long Tall Sally
  11. I Call Your Name
  12. Slow Down
  13. Matchbox
  14. I Feel Fine
  15. She's A Woman
  16. Bad Boy
  17. Yes It Is
  18. I'm Down
Past Masters Volume 2 (1988)
  1. Day Tripper
  2. We Can Work It Out
  3. Paperback Writer
  4. Rain
  5. Lady Madonna
  6. Inner Light, The
  7. Hey Jude
  8. Revolution
  9. Get Back - (single version)
  10. Don't Let Me Down
  11. Ballad Of John And Yoko, The
  12. Old Brown Shoe
  13. Across The Universe - (alternate, "Wildlife" version)
  14. Let It Be - (single mix)
  15. You Know My Name (Look Up The Number) - (mono)
Live At The BBC (1994) 

Anthology 1 (1995)
Disc: 1
  1. Free As A Bird
  2. Speech: John Lennon
  3. That'll Be The Day - (The Quarry Men, mono)
  4. In Spite Of All The Danger - (The Quarry Men, mono)
  5. Speech: Paul McCartney
  6. Hallelujah, I Love Her So - (mono)
  7. You'll Be Mine - (mono)
  8. Cayenne - (mono)
  9. Speech: Paul
  10. My Bonnie - (with Tony Sheridan)
  11. Ain't She Sweet
  12. Cry For A Shadow
  13. Speech: John
  14. Speech: Brian Epstein
  15. Searchin' - (mono)
  16. Three Cool Cats - (mono)
  17. Sheik Of Araby, The - (mono)
  18. Like Dreamers Do - (mono)
  19. Hello Little Girl - (mono)
  20. Speech: Brian Epstein
  21. Besame Mucho - (mono)
  22. Love Me Do - (alternate version, w/Pete Best, mono)
  23. How Do You Do It - (mono)
  24. Please Please Me - (early version, mono)
  25. One After 909 - (false starts, mono)
  26. One After 909 - (1963 version, mono)
  27. Lend Me Your Comb - (mono)
  28. I'll Get You - (live, mono)
  29. Speech: John
  30. I Saw Her Standing There - (live, mono)
  31. From Me To You - (live, mono)
  32. Money (That's What I Want) - (live, mono)
  33. You Really Got A Hold On Me - (live, mono)
  34. Roll Over Beethoven - (live, mono)
    Disc: 2
  1. She Loves You - (live, mono)
  2. Till There Was You - (live, mono)
  3. Twist And Shout - (live, mono)
  4. This Boy - (from "The Morecambe And Wise Show," mono)
  5. I Want To Hold Your Hand - (from "The Morecambe And Wise Show," mono)
  6. Speech: Eric Morecambe And Ernie Wise
  7. Moonlight Bay - (from "The Morecambe And Wise Show," mono)
  8. Can't Buy Me Love - (alternate take)
  9. All My Loving - (live, from "The Ed Sullivan Show," mono)
  10. You Can't Do That - (alternate take)
  11. And I Love Her - (alternate version)
  12. Hard Day's Night, A - (alternate take)
  13. I Wanna Be Your Man - (from "Around The Beatles" TV show)
  14. Long Tall Sally - (from "Around The Beatles" TV show)
  15. Boys - (from "Around The Beatles" TV show)
  16. Shout - (from "Around The Beatles" TV show)
  17. I'll Be Back - (demo)
  18. I'll Be Back - (alternate take)
  19. You Know What To Do - (demo)
  20. No Reply - (demo)
  21. Mr. Moonlight - (alternate version)
  22. Leave My Kitten Alone
  23. No Reply - (alternate take)
  24. Eight Days A Week - (false starts)
  25. Eight Days A Week - (alternate take)
  26. Kansas City - (alternate take) / Hey-Hey-Hey-Hey! - (alternate take)
Anthology 2 (1996)
Disc: 1
  1. Real Love
  2. Yes It Is - (combination of take 2 and master)
  3. I'm Down - (take 1)
  4. You've Got To Hide Your Love Away - (take 5, mono)
  5. If You've Got Trouble - (previously unreleased)
  6. That Means A Lot - (previously unreleased)
  7. Yesterday - (take 1, Paul McCartney solo)
  8. It's Only Love - (false start and take 2, mono)
  9. I Feel Fine - (live, mono)
  10. Ticket To Ride - (live, mono)
  11. Yesterday - (live, mono)
  12. Help! - (live, mono)
  13. Everybody's Trying To Be My Baby - (live, mono)
  14. Norwegian Wood (This Bird Has Flown) - (take 1)
  15. I'm Looking Through You - (alternate take)
  16. 12-Bar Original - (previously unreleased)
  17. Tomorrow Never Knows - ("Mark 1," take 1)
  18. Got To Get You Into My Life - (take 5, mono)
  19. And Your Bird Can Sing - (take 2)
  20. Taxman - (take 11)
  21. Eleanor Rigby - (instrumental)
  22. I'm Only Sleeping - (instrumental rehearsal, mono)
  23. I'm Only Sleeping - (take 1, mono)
  24. Rock And Roll Music - (live, mono)
  25. She's A Woman - (live, mono)
    Disc: 2
  1. Strawberry Fields Forever - (demo, mono)
  2. Strawberry Fields Forever - (take 1)
  3. Strawberry Fields Forever - (take 7, mono)
  4. Penny Lane - (alternate mix)
  5. Day In The Life, A - (blend of alternate takes)
  6. Good Morning Good Morning - (take 8)
  7. Only A Northern Song - (blend of alternate takes)
  8. Being For The Benefit Of Mr. Kite! - (takes 1 & 2)
  9. Being For The Benefit Of Mr. Kite! - (take 7)
  10. Lucy In The Sky With Diamonds - (alternate mix)
  11. Within You Without You - (instrumental)
  12. Sgt Pepper's Lonely Hearts Club Band (Reprise) - (take 5, mono)
  13. You Know My Name (Look Up The Number) - (extended, stereo version)
  14. I Am The Walrus - (take 16)
  15. Fool On The Hill, The - (Paul McCartney demo, mono)
  16. Your Mother Should Know - (take 27)
  17. Fool On The Hill, The - (alternate version, take 4)
  18. Hello, Goodbye - (take 16)
  19. Lady Madonna - (alternate mix)
  20. Across The Universe - (take 2)
Anthology 3 (1996)
Disc: 1
  1. Beginning, A
  2. Happiness Is A Warm Gun - (demo, mono)
  3. Helter Skelter - (outtake, mono)
  4. Mean Mr. Mustard - (demo)
  5. Polythene Pam - (demo)
  6. Glass Onion - (demo)
  7. Junk - (demo)
  8. Piggies - (demo, mono)
  9. Honey Pie - (mono)
  10. Don't Pass Me By - (outtake)
  11. Ob-La-Di, Ob-La-Da - (outtake)
  12. Good Night - (outtake)
  13. Cry Baby Cry - (outtake)
  14. Blackbird - (outtake)
  15. Sexy Sadie - (outtake)
  16. While My Guitar Gently Weeps - (solo acoustic)
  17. Hey Jude - (outtake)
  18. Not Guilty - (outtake)
  19. Mother Nature's Son - (outtake)
  20. Glass Onion - (outtake, mono)
  21. Rocky Raccoon - (outtake)
  22. What's The New Mary Jane - (outtake)
  23. Step Inside Love - (outtake) / Los Paranoius - (outtake)
  24. I'm So Tired - (outtake)
  25. I Will - (outtake)
  26. Why Don't We Do It In The Road - (mono, outtake)
  27. Julia - (outtake)  Disc: 2
  1. I've Got A Feeling - (outtake)
  2. She Came In Through The Bathroom Window - (outtake)
  3. Dig A Pony - (outtake)
  4. Two Of Us - (outtake)
  5. For You Blue - (outtake)
  6. Teddy Boy - (outtake)
  7. Rip It Up - (outtake) / Shake Rattle And Roll - (outtake) / Blue Suede Shoes - (outtake)
  8. Long And Winding Road, The - (outtake)
  9. Oh! Darling - (outtake)
  10. All Things Must Pass - (George Harrison demo)
  11. Mailman, Bring Me No More Blues - (outtake)
  12. Get Back - (outtake)
  13. Old Brown Shoe - (George Harrison demo)
  14. Octopus's Garden - (outtake)
  15. Maxwell's Silver Hammer - (outtake)
  16. Something - (mono, George Harrison demo)
  17. Come Together - (outtake)
  18. Come And Get It - (Paul McCartney demo)
  19. Ain't She Sweet
  20. Because - (outtake)
  21. Let It Be - (outtake)
  22. I Me Mine - (outtake)
  23. End, The - (outtake)                                                                                                                        (http://homepage.ntlworld.com/alan.stuart/music/discography/beatles.html)

edit post
Richard Starkey, MBE (born July 7, 1940) is best known by his stage name, Ringo Starr, as the drummer for The Beatles from August 16th 1962 (when he replaced Pete Best) until their breakup in 1970. Ringo is known for his reliable, steady drumming and innovative fills. His easygoing personality made him an easy fit with the other Beatles.

Prior to joining the Beatles, he was the drummer for the Liverpool band Rory Storm and the Hurricanes, from 1959 to 1962. His musical talents were primarily confined to drumming, rather than singing or songwriting. Of all the Beatles, he did the least songwriting. The Beatles explained that when he would present a song as a contender for an album cut, the song would (to them) be a clear knockoff of another popular song, but Ringo would not recognize the similarities until they pointed it out. Ringo did, however, write "Octopus's Garden" (on the album Abbey Road) and "Don't Pass Me By" (on The White Album), as well as contributing to several others. Ringo generally sang at least one song on each studio album; in some cases John Lennon or Paul McCartney would write the lyrics and melody especially for him, as Lennon did with "With a Little Help from My Friends", from Sgt. Pepper's Lonely Hearts Club Band. Often these melodies would be deliberately limited to take into account Starr's vocal range—most of With A Little Help From My Friends is sung within the space of five notes.

Starr did however contribute a number of lyric ideas and song titles to Lennon and McCartney, although usually unintentionally. One of the most famous examples of this was the title for the band's first motion picture, A Hard Day's Night. Starr had emerged from the studio after a long day of work and commented to the others that it had been a "hard day's..." - before he finished his sentence, Starr noticed that it was now night time and added "night". Lennon and McCartney liked the twisted phrase enough that they decided to use it as the title for the still untitled movie the band had been filming. Another example is the title to "Tomorrow Never Knows".

Although some have tried to downplay his contributions to the band, Starr's unique drumming style played a major role in the overall sound of The Beatles. To this day, many drummers list Starr as a major influence including Max Weinberg of The E Street Band, Liberty DeVitto of Billy Joel's band, Phil Collins, Andy Sturmer of Jellyfish, and others. According to Collins, Ringo is "vastly underrated. The drum fills on "A Day In The Life" are very complex things. You could take a great drummer today and say, 'I want it like that.' They wouldn't know what to do." Lennon, McCartney and Harrison have all said that Ringo was the best rock and roll drummer in the world.













In 1972, after the breakup of the Beatles, Starr's solo recording of "Photograph" topped the Billboard charts. He also toured with Ringo Starr's All-Star Band.
He acted in several films such as Candy (1968), The Magic Christian (1969) (alongside Peter Sellers), Son of Dracula (1974), and Caveman (1980). He also worked on the children's television series Shining Time Station, it's Christmas special Shining Time Station: 'Tis A Gift and Thomas the Tank Engine and Friends. He appeared as himself on the cartoon The Simpsons.


edit post
George Harrison-photo
As lead guitarist for the Beatles, George Harrison provided the band with a lyrical style of playing in which every note mattered. Harrison was one of millions of young Britons inspired to take up the guitar by British skiffle king Lonnie Donegan's recording of "Rock Island Line." But he had more dedication than most, and with the encouragement of a slightly older school friend — Paul McCartney — he advanced quickly in his technique and command of the instrument. Harrison developed his style and technique slowly and painstakingly over the several years, learning everything he could from the records of Carl Perkins, Duane Eddy, Chet Atkins, Buddy Holly, and Eddie Cochran. By age 15, he was allowed to sit in with the Quarry Men, the Liverpool group founded by John Lennon, of which McCartney was a member; by 16 he was a full-fledged member of the group.

The Beatles finally coalesced around Lennon, McCartney, Harrison, and drummer Ringo Starr in 1962, with Harrison established on lead guitar. The Beatlemania years, from 1963 through 1966, were a mixed blessing for Harrison. The Beatles' studio sound was generally characterized by very prominent rhythm guitar parts, and on many of the Beatles' early songs, Harrison's lead guitar was buried beneath the chiming chords of Lennon's instrument. Additionally, he was thwarted as a songwriter by the presence of Lennon and McCartney — the quality and prolificacy of their output left very little room on the group's albums for songs by anyone else. Despite these problems, Harrison grew markedly as a musician between 1963 and 1966, writing a handful of good songs and one classic ("If I Needed Someone"), and also making his first acquaintance of the sitar, an Indian instrument whose sound fascinated him.

In 1966, Harrison finally seemed to find his voice, with two of his songs on the Revolver album, "Taxman" and "Love You Too." In the wake of the group's decision to stop touring, Harrison's playing and songwriting grew
exponentially. The period from 1968 onward was Harrison's richest with the Beatles. He displayed a smooth, elegant slide guitar technique that showed up on their last three albums, and contributed two classic songs, "While My Guitar Gently Weeps" and "Here Comes the Sun," along with "Something," which became the first Harrison song on the A-side of a Beatles single.

Although never known as a strong singer, Harrison's vocals were always distinctive, especially when placed in the right setting — for his first solo record following the group's 1970 break-up, All Things Must Pass, Harrison collaborated with producer Phil Spector, whose so-called "wall of sound" technique adapted well to Harrison's voice. All Things Must Pass and the accompanying single "My Sweet Lord" had the distinction of being the first solo recordings by any of the Beatles to top the charts following their breakup. Unfortunately, Harrison was later successfully sued by the publisher of the 1962 Chiffons hit "He's So Fine," which bore a striking resemblance to "My Sweet Lord."

Harrison followed All Things Must Pass with rock's first major charity event, The Concert for Bangladesh, which was staged as two shows at New York's Madison Square Garden in 1971 to help raise money for aid to that famine-ravaged nation. The second of the two all-star shows was released as a movie and a live triple album. Harrison's next studio album, Living in the Material World, initially sold well, but its leaner, less opulent production lacked the majestic force of All Things Must Pass, and it lacked the earlier album's mass appeal. Subsequent Harrison albums from the 1970s into the '80s always had an audience, but except for Somewhere in England (1981), released in the wake of the murder of John Lennon with the memorial song "All Those Years Ago," none seemed terribly well-crafted or executed. During this same period, Harrison embarked on a successful career as a movie producer with the founding of Handmade Films.

In 1987, Harrison made a return to the top of the charts with his album Cloud Nine, which featured his most inspired work in years, most notably a cover of an old Rudy Clark gospel number called "Got My Mind Set on You," which reached number one on the charts. In 1988, Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison formed the Traveling Wilburys, who have since released two very successful albums.

In 1992 perhaps still smarting from 1974 concert reviews, would make his return to the stage in Japan with Claptons and his band backing him up.

In 1997 Harrison was diagnosed with cancer and had throat surgery. He
considered his cancer to be caused by his 30+ years of smoking so he quit in 1998. In 1999 He was brutaly attacked by a deranged fan whom thought he was a devil worshipper.

In 2001 he re-released All Things Must Pass which included never before heard bonus tracks. He also was working on a new album and released the first single in October called a Horse To Water co-written with his son Dhani.

Throughout 2000 and 2001 Harrison would be treated for his cancer in various countries until November 29th 2001. George Harrison died of cancer at a friends home in Los Angelos around 1:30PM. George Harrison was 58.


edit post
(born June 18, 1942, Liverpool, Eng.) British vocalist, songwriter, composer, bass player, poet, and painter whose work with the Beatles in the 1960s helped lift popular music from its origins in the entertainment business and transform it into a creative, highly commercial art form. He is also one of the most popular solo performers of all time in terms of both sales of his recordings and attendance at his concerts.

McCartney's father, James, worked in the Liverpool Cotton Exchange, and his mother, Mary, was a midwife, out at all hours on her bicycle to deliver babies. Her death from breast cancer in October 1956, when McCartney was age 14, had a profound effect on his life and was the inspiration for his ballad “Let It Be” (1970). His younger brother, Michael, later changed his name to Mike McGear and had a number of hits in the satirical rock group Scaffold. Like fellow Beatles George Harrison and Ringo Starr (Richard Starkey), McCartney grew up in a traditional north of England working-class society, with an extended family frequently visiting the house at 20 Forthlin Road in the Allerton area of Liverpool (the house is now owned by the National Trust). His father had been the leader of Jim Mac's Jazz Band, and in the evenings the family often gathered around the piano, an experience McCartney drew upon for such sing-along songs as “When I'm 64” (1967).

On July 6, 1957, he met John Lennon at Woolton Village Fete and joined his skiffle group, the Quarrymen, which, after several name changes, became the Beatles. When Lennon's mother was killed by a speeding police car in 1958, McCartney, with his own mother's death still fresh in his memory, was able to empathize with the distraught 17-year-old, creating a bond that became the basis of their close friendship. McCartney and Lennon quickly established themselves as songwriters for the group, and, by the time the Beatles signed with EMI-Parlophone in 1962, they were writing most of their own material. By their third album the group stopped recording covers. Lennon and McCartney's songwriting partnership was very important to them, both financially and creatively; even in 1969, when they were estranged over business matters and supposedly not on speaking terms, Lennon brought McCartney his song “The Ballad of John and Yoko” and they worked together on the “middle eight” (the stand-alone section that often comes midway in a song). Their music transcended personal differences.


edit post
"If John Lennon had only been one of the four members of the Beatles, his artistic immortality would already have been assured. The so-called "smart Beatle," he brought a penetrating intelligence and a stinging wit both to the band's music and its self-presentation. But in such songs as "Strawberry Fields Forever," "Norwegian Wood (This Bird Has Flown)," "Rain" and "In My Life," he also marshaled gorgeous melodies to evoke a sophisticated, dreamlike world-weariness well beyond his years. Such work suggested not merely a profound musical and literary sensibility - a genius, in short -- but a vision of life that was simultaneously reflective, utopian and poignantly realistic.
  
While in the Beatles, Lennon displayed an outspokenness that immersed the band in controversy and helped redefine the rules of acceptable behavior for rock stars. He famously remarked in 1965 that the Beatles were "more popular than Jesus" - a statement that was more an observation than a boast, but that resulted in the band's records being burned and removed from radio station playlists in the U.S. He criticized America's involvement in Vietnam, and, as the Sixties progressed, he became an increasingly important symbol of the burgeoning counterculture.

But it was only after the breakup of the Beatles in 1970 that the figure the world now recognizes as "John Lennon" truly came into being. Whether he was engaging in social activism; giving long, passionate interviews that, once again, broadened the nature of public discourse for artists; defining a new life as a self-described "househusband;" or writing and recording songs, Lennon came to view his life as a work of art in which every act shimmered with potential meaning for the world at large. It was a Messianic attitude, to be sure, but one that was tempered by an innate inclusiveness and generosity. If he saw himself as larger than life, he also yearned for a world in which his ego managed at once to absorb everyone else and dissolve all differences among people, leaving a Zen-like tranquility and calm. "You may say I'm a dreamer, but I'm not the only one," he sang in "Imagine" which has become his best-known song and an international anthem of peace. "I hope someday you'll join us, and the world will live as one."

Such imagery, coupled with the tragedy of his murder in 1980, has often led to Lennon's being sentimentalized as a gentle prince of peace gazing off into the distance at an Eden only he could see. In fact, he was a far more complex and difficult person, which, in part, accounts for the world's endless fascination with him. Plastic Ono Band (1970), the first solo album he made after leaving the Beatles, alternates songs that are so emotionally raw that to this day they are difficult to listen to with songs of extraordinary beauty and simplicity. Gripped by his immersion in primal-scream therapy, which encouraged its practitioners to re-experience their most profound psychic injuries, Lennon sought in such songs as "Mother" and "God" to confront and strip away the traumas that had afflicted his life since childhood.

And those traumas were considerable. Lennon's mother, Julia, drifted in and out of his life during his childhood in Liverpool - he was raised by Julia's sister Mimi and Mimi's husband, George - and then died in a car accident when Lennon was seventeen. His father was similarly absent, essentially walking out on the family when John was an infant. He disappeared for good when Lennon was five, only to return after his son had become famous as a member of the Beatles. Consequently, Lennon struggled with fears of abandonment his entire life. When he repeatedly cries, "Mama, don't go/Daddy come home," in "Mother," it's less a performance than a scarifying brand of therapeutic performance art. And in that regard, as well as many others, it revealed the influence of Yoko Ono, whom Lennon had married in 1969, leaving his first wife, Cynthia, and their son Julian in order to do so.

The minimalist sound of Plastic Ono Band was significant too. Lennon had come to associate the elaborate musical arrangements of much of the Beatles' later work with Paul McCartney and George Martin, and he consciously set out to purge those elements from his own work. Co-producing with Ono and the legendary Phil Spector, he built a sonic environment that could not have been more basic - guitar, bass, drums, the occasional piano -- whatever was essential and absolutely nothing more. Lyrically, he turned away from the psychedelic flights and Joycean wordplay of such songs as "I Am the Walrus" and "Lucy in the Sky With Diamonds" - as well as his books, In His Own Write and A Spaniard in the Works -- and toward a style in which unadorned, elemental speech gathered poetic force through its very directness.
 
On his next album, Imagine (1971), Lennon felt confident enough to reintroduce some melodic elements reminiscent of the Beatles into his songs. Working again with Ono and Spector, he retains the eloquent plainspokenness of Plastic Ono Band, but allows textural elements such as strings, to create more of a sense of beauty. The album's title track alone ensured its historical importance; it is a call to idealism that has provided solace and inspiration at every moment of social and humanitarian crisis since it was written.

From there Lennon turned to a style that was a sort of journalistic agit-prop. Sometime In New York City (1972) is as outward-looking and blunt as Imagine was, for the most part, soft-focused and otherworldly. As its title suggests, the album reflects Lennon's immersion in the drama and noise of the city to which he had moved with Yoko Ono. And as its cover art suggests, the album is something like a newspaper - a report from the radical frontlines on the political upheavals of the day. His activism would create enormous problems for Lennon, however. The Nixon administration, paranoid about the possibility that a former Beatle might become a potent leader and recruiting tool of the anti-war movement, attempted to have Lennon deported. Years of legal battles ensued before Lennon finally was awarded his green card in 1976.

Lennon's political struggles unfortunately found their match in his personal life. He and Ono split up in the fall of 1973, shortly before the release of his album, Mind Games. He moved to Los Angeles and later described the eighteen months he spent separated from Ono as his "lost weekend," a period of wild indulgence and artistic drift. Like Mind Games, the albums he made during this period, Walls and Bridges (1974) and Rock N Roll (1975), are the expressions of a major artist seeking, with mixed results, to recover his voice. None of them lack charm, and their high points include the lovely title track of Mind Games; Walls and Bridges' "Whatever Gets You Through the Night," a rollicking duet with Elton John that gave Lennon his first number-one single as a solo artist; and the sweet nostalgia of Rock N Roll, a covers album that was Lennon's tribute to the musical pioneers of his youth. But none of those albums rank among his greatest work.

In 1975, Lennon reunited with Ono, and their son Sean was born later that year. For the next five years, Lennon withdrew from public life, and his family became his focus. Then, in 1980, he and Ono returned to the studio to work on Double Fantasy, a hymn to their life together with Sean. The couple was plotting a full-fledged comeback - doing major interviews to support the album's release, recording new songs for a follow-up, planning a tour. Then, shockingly, Lennon was shot to death outside the apartment building where he and Ono lived on the night of December 8, 1980.

Lennon's death broke hearts around the world. In the U.S., it recalled nothing so much as the assassination of John Kennedy in 1963, an event for which, ironically, the arrival of the Beatles a few months later had provided a welcome tonic. In the twenty-five years since, Lennon's influence and symbolic importance have only grown. His music, of course, will live forever. But he has survived primarily as a restless voice of change and independent thought. He is an enemy of the status quo, a bundle of contradictions who insisted on a world in which all the various elements of his personality could find free, untrammeled expression. Innumerable times since his death Lennon has been sorely missed. And just as many times and more he has been present - evoked by all of us who find ourselves and each other in the music he made and the vision that he articulated and tried to make real."

edit post
Psychedelic art
23:25 | Author:
Psychedelic art is any kind of visual artwork inspired by psychedelic experiences induced by drugs such as LSD, mescaline, and psilocybin
The word "psychedelic" (coined by British psychologist Humphrey Osmond) means "mind manifesting". By that definition all artistic efforts to depict the inner world of the psyche may be considered "psychedelic". However, in common parlance "Psychedelic Art" refers above all to the art movement of the 1960s counterculture. Psychedelic visual arts were a counterpart to psychedelic rock music.Concert posters, album covers, lightshows, murals, comic books, underground newspapers and more reflected not only the kaleidoscopically swirling patterns of LSD hallucinations, but also revolutionary political, social and spiritual sentiments inspired by insights derived from these psychedelic states of consciousness.( http://en.wikipedia.org/wiki/Psychedelic_art  )            
 
One afternoon early in 1967, Julian Lennon came home from his nursery school with a painting that he said was of his classmate, four-year-old Lucy O'Donnell. Explaining his artwork to his father, Julian described it as Lucy - 'in the sky with diamonds'.
This phrase stuck in John's mind and triggered off the stream of associations that led to the writing of the dream-like 'Lucy In The Sky With Diamonds', one of three tracks on the Sgt. Pepper album which received special media attention because it was thought to be 'about drugs'. Although it's unlikely that John would have written such a piece of reverie without ever having experimented with hallucinogenics, this song was equally affected by his love of surrealism, word play and the works of Lewis Carroll.
The suggestion that the song was a description of an LSD trip appeared to be substantiated when it was noted that the title spelt LSD. Yet John consistently denied this, going into great detail in interviews about the drugs he had taken. He insisted that the title was taken from what Julian had said about his painting. Julian himself recalls, "I don't know why I called it that or why it stood out from all my other drawings but I obviously had an affection for Lucy at that age. I used to show dad everything I'd built or painted at school and this one sparked off the idea for a song about Lucy in the sky with diamonds."
Lucy O'Donnell (now 36 and working as a teacher with special needs' children) lived near the Lennon family in Weybridge and she and Julian were pupils at Heath House, a nursery school run by two old ladies in a rambling Edwardian house. "I can remember Julian at school," says Lucy, who didn't discover that she'd been immortalized in a Beatles' song until she was 13. "I can remember him very well. I can see his face clearly... we used to sit alongside each other in proper old-fashioned desks. The house was enormous and they had heavy curtains to divide the classrooms. Julian and I were a couple of little menaces from what I've been told."
John claimed that the hallucinatory images in the song were inspired by the 'Wool and Water' chapter in Lewis Carroll Through The Looking Glass, where Alice is taken down a river in a rowing boat by the Queen, who has suddenly changed into a sheep.
As a child, Alice's Adventures In Wonderland and Through The Looking Glass were two of John's favorite books. He said that it was partly through reading them that he realized the images in his own mind weren't indications of insanity. "Surrealism to me is reality," he said. "Psychedelic vision is reality to me and always was."
For similar reasons, John was attracted to The Goon Show, the British radio comedy programme featuring Spike Milligan, Harry Secombe and Peter Sellers which was broadcast by the BBC between June 1952 and January 1960. The Goon Show scripts, principally written by Milligan, lampooned establishment figures, attacked post-war stuffiness and popularized a surreal form of humor. The celebrated Beatle 'wackiness' owed a lot to the Goons, as did John's poetry and writing. He told Spike Milligan that 'Lucy In The Sky With Diamonds' and several other songs had been partly inspired by his love of Goon Show dialogue. "We used to talk about 'plasticine ties' in The Goon Show and this crept up in Lucy as 'plasticine porters with looking glass ties'," says Milligan who, as a friend of George Martin, sat in on some of the Sgt. Peppers sessions. "I knew Lennon quite well," he said. "He used to talk a lot about comedy. He was a Goon Show freak. It all stopped when he married Yoko Ono. Everything stopped. He never asked for me again."
When Paul arrived at Weybridge to work, John had only completed the first verse and the chorus. For the rest of the writing they traded lines and images; Paul coming up with 'newspaper taxis' and 'cellophane flowers', John with 'kaleidoscope eyes'. 
Here comes the sun
22:38 | Author:
Written by George, 'Here Comes The Sun' was an expression of delight at being able to slip away from the interminable business meetings which were now taking up so much of the Beatles' time.

In January 1969, John and Yoko met with music business manager Allen Klein and shortly afterwards declared that he would be looking after their business affairs, despite the fact that New York lawyer John Eastman, brother of Linda, had recently been brought in to represent the Beatles collectively. This was the beginning of a bitter drawn-out conflict over who should manage the Beatles and what should be done about the chaotic state of their finances. Despite the tremendous sales of Beatles' music over the past six years, John claimed, "all of us could be broke in six months."
Klein offered to restructure Apple, organize a takeover bid for the shares the Beatles didn't own in Northern Songs and renegotiate a better royalty deal with EMI. He was able to persuade John, George and Ringo of his ability to do these things but Paul remained loyal to Eastman. As a result of the Beatles' existence was now under threat and the frequent meetings at Apple were fraught with tension. One morning in the early spring, George decided it was all getting a bit too much like school, and so he took a day off from the round table routine and went to see his friend Eric Clapton at his country home in Ewhurst, Surrey.
Borrowing one of Eric's acoustic guitars, George took a walk around the gardens and, basking in the first real sunshine of the year, he felt a sudden flush of optimism and started to write 'Here Comes The Sun'. "It was such a great release for me simply being out in the sun," said George at the time. "The song just came to me." 
(http://www.thebeatleshk.com/SongStories/HereComesTheSun.html
A Hard Day's Night
22:22 | Author:

The Beatles--the world's most famous rock and roll band--travel from their home town of Liverpool to London to perform in a television broadcast. Along the way they must rescue Paul's unconventional grandfather from various misadventures and drummer Ringo goes missing just before the crucial concert. 

The plot is a study of a day in the life of the Fab Four beginning with them running from their adoring fans to catch a train. Every plot point circles around the band getting to a television show in order to perform a live concert, and within this stream of action is a series of slapstick, zany, and otherwise wacky bits of funniness. One obstacle in the works is Paul McCartney's babysitting of his grandfather (Wilfrid Brambell), a first class mixer always getting into mischief. It becomes one of the running jokes in the film that Brambell is a "clean old man," at least physically (this contrasts with Brambell's most famous role as Albert Steptoe in Steptoe and Son where he was a "dirty old man" both physically and psychologically). Ringo Starr gets a sense of liberation and goes off on his own to find happiness only to land in jail for loitering. John Lennon fires playful barbs at TV director (Victor Spinetti), whose biggest worry is that if for some reason the Beatles stand him up his next job will be doing "news in Welsh." One great story line is with George Harrison, in which he is mistaken for an actor auditioning for some trendy TV show for some trend setter hostess. The earnest demeanor of the casting head and his associates is undercut by George's declaration that she is a well-known drag. Norman Rossington and John Junkin as The Beatles' managers are stalwart English character actors who fill out the cast and support the general lunacy of the film with a more traditional presence, but still sustain an on-going battle about one being taller than the other. Anna Quayle has a great bit with John Lennon about his being someone he's not. The whole thing ends with an ear-shattering concert and the band yet again running from the adoring fans. 

(http://www.imdb.com/title/tt0058182/plotsummary)(http://www.imdb.com/title/tt0058182/synopsis)

Across The Universe Movie
22:04 | Author:
Across The Universe is a fictional love story set in the 1960s amid the turbulent years of anti-war protest, the struggle for free speech and civil rights, mind exploration and rock and roll. At once gritty, whimsical and highly theatrical, the story moves from high schools and universities in Massachusetts, Princeton and Ohio to the Lower East Side of Manhattan, the Detroit riots, Vietnam and the dockyards of Liverpool. A combination of live action and animation, the film is paired with many songs by The Beatles that defined the time.

The film opens with a solitary figure, Jude (Jim Sturgess), sitting on a quiet beach front. He is singing "Girl" with a melancholy air, while looking off into the distant horizon. It's the end of the work day as Jude lines up with his fellow shipyard hands for their day's wages. After receiving payment from the old man in charge, Jude walks back home, smiling along the way.

As he leaves, "Hold Me Tight" begins, while we flash to an idealistic prom scene, where Lucy (Evan Rachel Wood) dances along with her boyfriend Daniel (Spencer Liff) and their high-school classmates. A classic band plays along, as Lucy sings to Daniel "Tell me I'm the only one..."

In another part of the world, another couple in Liverpool is singing the same song as they dance at a dark underground Liverpool bar - a reference to "The Cavern Club," where the Beatles began its career. Jude holds his girlfriend (Lisa Hogg) as she sings "Let me go on loving you." Ambling along a dark and damp street after leaving the bar, Jude and his girlfriend hold hands and trip along the cobblestone. They stop to kiss along the road, as she tells Jude not to forget her while he is in America. He laughs and consoles her, singing "While I'm away, I'll write home everyday, and I'll send all my loving to you." While Jude continues to sing "All My Loving," he packs his bag, kisses his mom (Angela Mounsey) goodbye, and heads off to the docks to board a ship to America, seeking out his estranged father in New Jersey.

Lucy, back at Daniel's house, is seeing him off to boot camp, and the Vietnam War. Daniel, dressed in his new uniform, drives away while Lucy runs after the car down the street.

Jude ends the song as he hitches a ride along the road in America. Managing to flag down a ride, we leave Jude to look across the road. A high-school football practice is winding down, with cheerleaders running through their routines and watching the football players on the field.

After practice ends, one of the cheerleaders, Prudence (T.V. Carpio), watches wistfully as a fellow cheerleader flirts with one of the players. She softly sings "I Want To Hold Your Hand" as she watches her obvious object of affection walking away with the jock. As she watches them and sings, she walks off the field, into the unknown.

Jude arrives at Princeton University and stands on the academic quad while a student, obviously in a rush, tears his way through the campus crowd and drops all of his books and papers. While stooping down to help collect the papers, Jude asks the student if he knows a certain Professor, believing him to be his father. The student, Max (Joe Anderson), is first at a loss, until he realizes that Jude is looking for the school janitor (Robert Clohessy). He laughs, and points to a man washing windows on a ladder, saying "That's him."

Introducing himself to the window washer, Jude explains who he is, and his reason for being at the school. At first, the man is surprised, saying that he didn't know the mother was pregnant, and that he would have married Jude's mother if he had known. Jude assures him that this apology wasn't what he wanted, but just wanted "them each to know that the other existed."

Max, the charming and outgoing student from earlier, is on a roof with a few of his buddies as they chip golf balls off of a beer bottle at the nearby dormitory windows. After a few misses, he finally connects - and the group flees the angry mob that spills out of the dorm. Jude, seeing the commotion while out having a cigarette in front of the building that his father is letting him stay in, lets Max slip in to hide. Grateful, Max invites Jude to go out for the night with himself and his golfing buddies. While proclaiming that they get by "With a Little Help From My Friends," they smoke and drink their way through town until they finally collapse on couches from exhaustion.

Lucy walks home from school with her friend, while she talks about missing her boyfriend Daniel. As they walk up to Lucy's house, her mom hands her a letter while smiling; it's a letter from Daniel saying that he has been able to get a few weeks leave, and will be home soon to visit. Lucy launches into song as she flies up the stairs, excited to know that "It Won't Be Long" before she'll be back together with Daniel.

For Thanksgiving break, Max invites Jude to his parents' house for the holidays. After picking up Max's little sister, who turns out to be Lucy, they continue on in his convertible to see the family. At dinner, Max announces that he is dropping out of college, and going to New York to make a living. A family argument ensues, and the three decide to go out bowling to release some tension.

At the alley, while they joke around and tease each other, Jude thinks to himself that he's "falling, yes he is falling" for Lucy while singing "I've Just Seen A Face." When he and Max drive away to a new life in New York City, Max warns Jude that Lucy has a boyfriend. Jude smiles and assures him that It's ok, he has a girlfriend too.

Jude and Max arrive in the city, and after climbing to the top of a walk-up building, they enter a large apartment owned by a tall singer named Sadie (Dana Fuchs). She shows them the apartment, while several other people lounge around playing the guitar or reading. Pleased with the apartment, they agree to pay two weeks rent in advance, and become New York City residents.

Moving to the streets of Detroit during the race riots, a little boy cowers next to a destroyed car on fire, while black men and women run on the streets from the police. Staring out at the audience, he sings "Let It Be" among the violence. Moving into a church in the black community, while the choir swells, we see the same little boy laying in a coffin, obviously a casualty of the fight. JoJo (Martin Luther) stands holding an older woman while she weeps, staring at the little boy's lifeless body.

Experiencing the same grief, we see Lucy weeping after a letter comes to Daniel's parents, notifying him of his death. She too, stares at the burial of her boyfriend, as Marines fold up the American flag and hand it to the mother Daniel has left behind.

As the song ends, JoJo slings a guitar over his shoulder, and walks down the street, heading to New York City himself. As he steps along, "Come Together" plays to the beat. He walks down the street, and sees a sign for Guitarist Needed at the bar "Café Huh?" and enters. Sadie is there, and gives him the role of lead guitarist in her band. He comes to the apartment to live; one night while he is playing out a song on his guitar for Jude, a water-logged Prudence climbs into their bathroom window out of the rain, and becomes their newest roommate.

After graduating from high school, Lucy joins her brother Max and friend Jude in the city for the summer before she goes to college. She is happy to see her brother, but is reluctant to give him the letter that came for him - a draft notice from the government. At a party they have at the apartment that night, Jude falls again for Lucy, and breaks up with a girl that he was seeing. Lucy sings "If I Fell" while they dance, and finally kiss.

The next day, Max reports to the draft office for his physical, and despite swallowing an entire box of cotton balls in the hopes that it will show up as a shadow in x-rays, is deemed qualified for service. While he and a large group of men all endure rigorous physicals, they imagine an animated poster of Uncle Sam singing to them "I Want You."

Back at the apartment, Prudence is mourning the coupling of JoJo and Sadie, after she finds herself infatuated with the tall singer. She locks herself into the closet, and the others sing "Dear Prudence" to coax her out of her hiding place. Despite this, Prudence leaves unexpectedly; no one is sure where she goes.

The remaining gang goes to a party where an agent tries to convince Sadie to go solo. Tripping out on pink punch, the group hops on a psychedelic bus trip across the country. At a stop in a field, they see a traveling circus run by Mr. Kite, and find Prudence in the troupe dating a contortionist named Rita.

Max is now off to war, leaving Lucy angry and distraught. After seeing an anti-war speaker in the park, she decides to join their organization to protest Vietnam and bring the troops home. As Lucy devotes more and more time to the organization, Jude becomes jealous of the man that runs the group.

Sadie has finally told the rest of the band that she is planning on going solo. Infuriated, JoJo purposefully ruins her opening song "Oh! Darling" with distracting and awful guitar riffs, which forces her to leave the stage. Having his own relationship trouble, Jude sinks into his artistic work while singing "Strawberry Fields Forever." He and Lucy have now fought over her increasing involvement and obsession with her anti-war group, culminating in Jude confronting her at their headquarters while singing "Revolution."

After being kicked out, he walks by a window display of tthe announcement of the assassination of Martin Luther King, Jr. "While My Guitar Gently Weeps" starts playing. He meets up with JoJo and gets drunk, only to find that Lucy has moved all of her belongings out of the apartment, leaving him. Later that day, he gets on a subway (to the song "Across The Universe") to go to Columbia University, where the anti-war group's actions escalate to increasing violence, leading to police action at a rally at Columbia University.

Sadie starts singing "Helter, Skelter" at a club, while Jude, walking through, sees Lucy as one of the protesters being arrested by the police, and attempts to save her while she is being dragged away. She calls out to him, but he is overcome by the police and is arrested.

At the same time, Max gets into a firefight, where he has to shoot a lot. He gets injured and has a dream sequence about naked Vietnamese mothers floating in the river.

Meanwhile, Jude sits in his jail cell, as more and more prisoners are let free to go home. Finally, alone, his father comes to visit him. His father breaks the news that although the police will not press charges, he is being forced to leave the country and return to England. He encounters Molly, his old flame, who is now pregnant with Phil's child.

While he is walking home, the scene cuts to Lucy at Max's bedside in the V A hospital. He starts singing "Happiness is a Warm Gun" in a sequence with Salma Hayek as a nurse. At one of her rallies, Lucy is in a phone booth, while her mother pleads with her on the phone to be careful and begs her to stop her involvement in the protests. Resolved, she argues with her mother, when a fight breaks out, and a gun shot hits the phone booth. Not hurt, Lucy sinks down while singing to herself that it'll be alright. TV scenes of the DC protests and the Pentagon protest show while Max is watching from the V A hospital. Lucy goes back to the old protest headquarters and finds Paco making pipe bombs.

"A Day in the Life" is playing as Jude gets off work, and he gets a newspaper and sees that the place where the protesters were organized from had blown up. Cut to him sitting on the beach... then cut to the wharf area in NY, where Max is sitting and Lucy sings "Blackbird", while Jude wanders the beach and tidal areas in Liverpool.

Jude gets back into his routine at the shipyards, then sits in a pub after work, drinking a pint. To the words of "Hey Jude," sung by Max (as imagined by Jude as sitting next to him, while he is looking into a mirror behind the bar), he runs to his house to again pack his bags, and returns to the States (with a visa) to get back Lucy. Max meets him at Customs, and takes him to the building where Sadie and JoJo's reunited band is playing "Don't Let Me Down" to a cheering crowd on the streets.

Lucy, not knowing Jude is back, is invited with a note by Max to come to the concert. She sees the strawberry logo Jude designed for Sadie, then gets very sad because no one will answer the door buzzer, and she walks away. The police break up the concert as the crowd gathering gets larger. Jude hides from the police, and after being left alone on the roof, starts singing "All You Need Is Love" into the microphone. Sadie, JoJo, Prudence, Max, and the rest all rush back up to the roof, and join in. Lucy hears Jude's voice, and frantically rushes to get into the building, only to be stopped by the police. She turns, and runs to a building across the street, and stares at Jude from the roof across the way.She smiles as a tear runs down her cheek. Jude sighs. Together in the end, they kiss as "Lucy in the Sky With Diamonds" plays during the end credits
Pete Best was the original drummer for one of the most famous musical groups of the 20th Century. Pete was dropped from the Beatles in 1962, and replaced by Ringo Starr. Who was this original Beatle? What stories could he tell about their early days creating the sound that changed the world?

In 1982, Pete resurfaced in Los Angeles and did a handful of rare interviews in the states. One of them was the David Letterman show. Shortly after this appearance, he did his first American radio network interview with me for CBS Radio and the Beatles hour.

The interview was conducted during “Beatlefest” at the Bonaventure hotel, where I was co-hosting and doing stage interviews of beatle people for the fans. Pete and I hit it off well during these onstage interviews, and he agreed to a series of recorded interviews for radio that would be held upstairs in our hotel rooms over the next few evenings.

Over dinner we talked about music, life, and his current hopes and dreams, while saving the big sotry for the taped conversations. During these, Pete told a fascinating story about the early years of the beatles- from the inside, as a member. Everything from their meeting, the first clubs they played, the Hamburg tour, the early songwriting and recording sessions, to the partying, and of course the breakup. Not having his memory clouded with all the fame and events that enveloped the Beatles after august of 1962, his memory of the Beatles early years was crystal clear. It seemed as though he had worked past the bitterness that had been a big part of the years immediately after the breakup, and was ready to tell his side of the story.
After 3 days together, I found Pete to be a fascinating person on several levels, deeper than many would imagine, funnier, smarter, and very a sincere and thoughtful person. To this day, it remains one of my favorite interviews and experiences.

Today, Pete has his own band and has just released a new album that’s getting airplay and interest. You will be surprised and impressed if you listen to it- the writing and production values are very good, and you will hear that unmistakable british beat, and a hint of beatle-esque production. Far from a drummer who needed replacing, he’s quite good. But, what else would you expect from a former beatle? His New album is called "Hayman's green", distributed by EMI.

Highlights in this video are from these interviews, and the “Best years of the Beatles” episodes of The Beatles Hour aired first on KCBS-FM and KRQR in San Francisco.

A promising start
17:57 | Author:

1963

“They’ve got something! From Liverpool, I hear, of all places.” “From Liverpool uber alles!”

They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream – while their conquering Paris – the record goes to Number One in America three weeks before the Ed Sullivan Show in New York.

If there had been no Beatles, no one would have had the imagination to invent such a story.

http://www.thebeatles.com/#/history/1963)
Beatles Discography
17:33 | Author:






MusicPlaylistRingtones
Create a playlist at MixPod.com

Albums


Please Please Me (1963)
  1.  Saw Her Standing There
  2. Misery
  3. Anna (Go To Him)
  4. Chains
  5. Boys
  6. Ask Me Why
  7. Please Please Me
  8. Love Me Do
  9. P. S. I Love You
  10. Baby It's You
  11. Do You Want To Know A Secret
  12. Taste Of Honey, A
  13. There's A Place
  14. Twist And Shout
With the Beatles (1963)
  1. It Won't Be Long
  2. All I've Got To Do
  3. All My Loving
  4. Don't Bother Me
  5. Little Child
  6. Till There Was You
  7. Please Mister Postman
  8. Roll Over Beethoven
  9. Hold Me Tight
  10. You Really Got A Hold On Me
  11. I Wanna Be Your Man
  12. Devil In Her Heart
  13. Not A Second Time
  14. Money
A Hard Day's Night (1964)
  1. Hard Day's Night, A
  2. I Should Have Known Better
  3. If I Fell
  4. I'm Happy Just To Dance With You
  5. And I Love Her
  6. Tell Me Why
  7. Can't Buy Me Love
  8. Any Time At All
  9. I'll Cry Instead
  10. Things We Said Today
  11. When I Get Home
  12. You Can't Do That
  13. I'll Be Back
Beatles For Sale (1964)
  1. No Reply
  2. I'm A Loser
  3. Baby's In Black
  4. Rock And Roll Music
  5. I'll Follow The Sun
  6. Mr. Moonlight
  7. Kansas City / Hey, Hey, Hey, Hey
  8. Eight Days A Week
  9. Words Of Love
  10. Every Little Thing
  11. I Don't Want To Spoil The Party
  12. What You're Doing
The Savage Young Beatles (1964) 

Ain't She Sweet (1964)
  1. Ain't She Sweet
  2. Ruby Baby
  3. Why
  4. Get On The Right Track Ba
  5. Ya Ya
  6. Skinny Minnie
  7. Shake, Rattle & Roll
  8. Cry For A Shadow
  9. My Bonnie
  10. Let's Dance
  11. What'd I Say
  12. Nobody's Child
  13. Sweet Georgia Brown
  14. When The Saints Go Marchi
  15. If You Love Me Baby
  16. Shake It Some More
  17. Just You And Me
  18. Kansas City
The Beatles with Tony Sheridan and their Guests and Others (1964) 

Meet The Beatles (1964) 

The Beatles Second Album (1964) 

Something New (1964) 

Beatles '65 (1964)

The Early Beatles (1965) 

Beatles VI (1965)

Help! (1965)
  1. Help
  2. Night Before, The
  3. You've Got To Hide Your Love Away
  4. I Need You
  5. Another Girl
  6. You're Going To Lose That Girl
  7. Ticket To Ride
  8. Act Naturally
  9. It's Only Love
  10. You Like Me Too Much
  11. Tell Me What You See
  12. I've Just Seen A Face
  13. Yesterday
  14. Dizzy Miss Lizzie
Rubber Soul (1965)
  1. Drive My Car
  2. Norwegian Wood (This Bird Has Flown)
  3. You Won't See Me
  4. Nowhere Man
  5. Think For Yourself
  6. Word, The
  7. Michelle
  8. What Goes On
  9. Girl
  10. I'm Looking Through You
  11. In My Life
  12. Wait
  13. If I Needed Someone
  14. Run For Your Life
Yesterday and Today (1966) 

Revolver (1966)
  1. Taxman
  2. Eleanor Rigby
  3. I'm Only Sleeping
  4. Love You To
  5. Here, There And Everywhere
  6. Yellow Submarine
  7. She Said She Said
  8. Good Day Sunshine
  9. And Your Bird Can Sing
  10. For No One
  11. Doctor Robert
  12. I Want To Tell You
  13. Got To Get You Into My Life
  14. Tomorrow Never Knows
A Collection of Beatles Oldies (1966) 

Sgt. Pepper's Lonely Hearts Club Band (1967)
  1. Sgt. Pepper's Lonely Hearts Club Band
  2. With A Little Help From My Friends
  3. Lucy In The Sky With Diamonds
  4. Getting Better
  5. Fixing A Hole
  6. She's Leaving Home
  7. Being For The Benefit Of Mr. Kite!
  8. Within You Without You
  9. When I'm Sixty-Four
  10. Lovely Rita
  11. Good Morning Good Morning
  12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
  13. Day In The Life, A
Magical Mystery Tour (1968)
  1. Magical Mystery Tour
  2. Fool On The Hill, The
  3. Flying
  4. Blue Jay Way
  5. Your Mother Should Know
  6. I Am The Walrus
  7. Hello Goodbye
  8. Strawberry Fields Forever
  9. Penny Lane
  10. Baby You're A Rich Man
  11. All You Need Is Love
The Beatles (The White Album) (1968)
Disc: 1
  1. Back In The U.S.S.R.
  2. Dear Prudence
  3. Glass Onion
  4. Ob-La-Di, Ob-La-Da
  5. Wild Honey Pie
  6. Continuing Story Of Bungalow Bill, The
  7. While My Guitar Gently Weeps
  8. Happiness Is A Warm Gun
  9. Martha My Dear
  10. I'm So Tired
  11. Blackbird
  12. Piggies
  13. Rocky Raccoon
  14. Don't Pass Me By
  15. Why Don't We Do It In The Road
  16. I Will
  17. Julia
    Disc: 2
  1. Birthday
  2. Yer Blues
  3. Mother Nature's Son
  4. Everybody's Got Something To Hide Except Me And My Monkey
  5. Sexy Sadie
  6. Helter Skelter
  7. Long, Long, Long
  8. Revolution 1
  9. Honey Pie
  10. Savoy Truffle
  11. Cry Baby Cry
  12. Revolution 9
  13. Good Night
Yellow Submarine (1969)
  1. Yellow Submarine
  2. Hey Bulldog
  3. Eleanor Rigby
  4. Love You To
  5. All Together Now
  6. Lucy In The Sky With Diamonds
  7. Think For Yourself
  8. Sgt. Pepper's Lonely Hearts Club Band
  9. With A Little Help From My Friends
  10. Baby You're A Rich Man
  11. Only A Northern Song
  12. All You Need Is Love
  13. When I'm Sixty-Four
  14. Nowhere Man
  15. It's All Too Much
Abbey Road (1969)
  1. Come Together
  2. Something
  3. Maxwell's Silver Hammer
  4. Oh! Darling
  5. Octopus's Garden
  6. I Want You (She's So Heavy)
  7. Here Comes The Sun
  8. Because
  9. You Never Give Me Your Money
  10. Sun King
  11. Mean Mr. Mustard
  12. Polythene Pam
  13. She Came In Through The Bathroom Window
  14. Golden Slumbers
  15. Carry That Weight
  16. End, The
  17. Her Majesty
Let It Be (1970)
  1. Two Of Us
  2. Dig A Pony
  3. Across The Universe
  4. I Me Mine
  5. Dig It
  6. Let It Be
  7. Maggie Mae
  8. I've Got A Feeling
  9. One After 909
  10. Long And Winding Road
  11. For You Blue
  12. Get Back
The Early Years (1971) 

The Beatles 1962-1966 (1973)
Disc: 1
  1. Love Me Do
  2. Please Please Me
  3. From Me To You
  4. She Loves You
  5. I Want To Hold Your Hand
  6. All My Loving
  7. Can't Buy Me Love
  8. Hard Day's Night, A
  9. And I Love Her
  10. Eight Days A Week
  11. I Feel Fine
  12. Ticket To Ride
  13. Yesterday
    Disc: 2
  1. Help!
  2. You've Got To Hide Your Love Away
  3. We Can Work It Out
  4. Day Tripper
  5. Drive My Car
  6. Norwegian Wood (This Bird Has Flown)
  7. Nowhere Man
  8. Michelle
  9. In My Life
  10. Girl
  11. Paperback Writer
  12. Eleanor Rigby
  13. Yellow Submarine
The Beatles 1967-1970 (1973)
Disc: 1
  1. Strawberry Fields Forever
  2. Penny Lane
  3. Sgt. Pepper's Lonely Hearts Club Band
  4. With A Little Help From My Friends
  5. Lucy In The Sky With Diamonds
  6. Day In The Life, A
  7. All You Need Is Love
  8. I Am The Walrus
  9. Hello, Goodbye
  10. Fool On The Hill, The
  11. Magical Mystery Tour
  12. Lady Madonna
  13. Hey Jude
  14. Revolution
    Disc: 2
  1. Back In The U.S.S.R.
  2. While My Guitar Gently Weeps
  3. Ob-La-Di, Ob-La-Da
  4. Get Back
  5. Don't Let Me Down
  6. Ballad Of John And Yoko, The
  7. Old Brown Shoe
  8. Here Comes The Sun
  9. Come Together
  10. Something
  11. Octopus's Garden
  12. Let It Be
  13. Across The Universe
  14. Long And Winding Road, The
Rock & Roll Music (1976) 

Love Songs (1977) 

The Beatles At the Hollywood Bowl (1977) 

Rarities (1979) 

Past Masters Volume 1 (1988)
  1. Love Me Do - (single version with Ringo, mono)
  2. From Me To You - (mono)
  3. Thank You Girl - (mono)
  4. She Loves You - (mono)
  5. I'll Get You - (mono)
  6. I Want To Hold Your Hand
  7. This Boy
  8. Komm, Gib Mir Deine Hand - (mono, German version of "I Want To Hold Your Hand,")
  9. Sie Liebt Dich - (mono, German version of "She Loves You,")
  10. Long Tall Sally
  11. I Call Your Name
  12. Slow Down
  13. Matchbox
  14. I Feel Fine
  15. She's A Woman
  16. Bad Boy
  17. Yes It Is
  18. I'm Down
Past Masters Volume 2 (1988)
  1. Day Tripper
  2. We Can Work It Out
  3. Paperback Writer
  4. Rain
  5. Lady Madonna
  6. Inner Light, The
  7. Hey Jude
  8. Revolution
  9. Get Back - (single version)
  10. Don't Let Me Down
  11. Ballad Of John And Yoko, The
  12. Old Brown Shoe
  13. Across The Universe - (alternate, "Wildlife" version)
  14. Let It Be - (single mix)
  15. You Know My Name (Look Up The Number) - (mono)
Live At The BBC (1994) 

Anthology 1 (1995)
Disc: 1
  1. Free As A Bird
  2. Speech: John Lennon
  3. That'll Be The Day - (The Quarry Men, mono)
  4. In Spite Of All The Danger - (The Quarry Men, mono)
  5. Speech: Paul McCartney
  6. Hallelujah, I Love Her So - (mono)
  7. You'll Be Mine - (mono)
  8. Cayenne - (mono)
  9. Speech: Paul
  10. My Bonnie - (with Tony Sheridan)
  11. Ain't She Sweet
  12. Cry For A Shadow
  13. Speech: John
  14. Speech: Brian Epstein
  15. Searchin' - (mono)
  16. Three Cool Cats - (mono)
  17. Sheik Of Araby, The - (mono)
  18. Like Dreamers Do - (mono)
  19. Hello Little Girl - (mono)
  20. Speech: Brian Epstein
  21. Besame Mucho - (mono)
  22. Love Me Do - (alternate version, w/Pete Best, mono)
  23. How Do You Do It - (mono)
  24. Please Please Me - (early version, mono)
  25. One After 909 - (false starts, mono)
  26. One After 909 - (1963 version, mono)
  27. Lend Me Your Comb - (mono)
  28. I'll Get You - (live, mono)
  29. Speech: John
  30. I Saw Her Standing There - (live, mono)
  31. From Me To You - (live, mono)
  32. Money (That's What I Want) - (live, mono)
  33. You Really Got A Hold On Me - (live, mono)
  34. Roll Over Beethoven - (live, mono)
    Disc: 2
  1. She Loves You - (live, mono)
  2. Till There Was You - (live, mono)
  3. Twist And Shout - (live, mono)
  4. This Boy - (from "The Morecambe And Wise Show," mono)
  5. I Want To Hold Your Hand - (from "The Morecambe And Wise Show," mono)
  6. Speech: Eric Morecambe And Ernie Wise
  7. Moonlight Bay - (from "The Morecambe And Wise Show," mono)
  8. Can't Buy Me Love - (alternate take)
  9. All My Loving - (live, from "The Ed Sullivan Show," mono)
  10. You Can't Do That - (alternate take)
  11. And I Love Her - (alternate version)
  12. Hard Day's Night, A - (alternate take)
  13. I Wanna Be Your Man - (from "Around The Beatles" TV show)
  14. Long Tall Sally - (from "Around The Beatles" TV show)
  15. Boys - (from "Around The Beatles" TV show)
  16. Shout - (from "Around The Beatles" TV show)
  17. I'll Be Back - (demo)
  18. I'll Be Back - (alternate take)
  19. You Know What To Do - (demo)
  20. No Reply - (demo)
  21. Mr. Moonlight - (alternate version)
  22. Leave My Kitten Alone
  23. No Reply - (alternate take)
  24. Eight Days A Week - (false starts)
  25. Eight Days A Week - (alternate take)
  26. Kansas City - (alternate take) / Hey-Hey-Hey-Hey! - (alternate take)
Anthology 2 (1996)
Disc: 1
  1. Real Love
  2. Yes It Is - (combination of take 2 and master)
  3. I'm Down - (take 1)
  4. You've Got To Hide Your Love Away - (take 5, mono)
  5. If You've Got Trouble - (previously unreleased)
  6. That Means A Lot - (previously unreleased)
  7. Yesterday - (take 1, Paul McCartney solo)
  8. It's Only Love - (false start and take 2, mono)
  9. I Feel Fine - (live, mono)
  10. Ticket To Ride - (live, mono)
  11. Yesterday - (live, mono)
  12. Help! - (live, mono)
  13. Everybody's Trying To Be My Baby - (live, mono)
  14. Norwegian Wood (This Bird Has Flown) - (take 1)
  15. I'm Looking Through You - (alternate take)
  16. 12-Bar Original - (previously unreleased)
  17. Tomorrow Never Knows - ("Mark 1," take 1)
  18. Got To Get You Into My Life - (take 5, mono)
  19. And Your Bird Can Sing - (take 2)
  20. Taxman - (take 11)
  21. Eleanor Rigby - (instrumental)
  22. I'm Only Sleeping - (instrumental rehearsal, mono)
  23. I'm Only Sleeping - (take 1, mono)
  24. Rock And Roll Music - (live, mono)
  25. She's A Woman - (live, mono)
    Disc: 2
  1. Strawberry Fields Forever - (demo, mono)
  2. Strawberry Fields Forever - (take 1)
  3. Strawberry Fields Forever - (take 7, mono)
  4. Penny Lane - (alternate mix)
  5. Day In The Life, A - (blend of alternate takes)
  6. Good Morning Good Morning - (take 8)
  7. Only A Northern Song - (blend of alternate takes)
  8. Being For The Benefit Of Mr. Kite! - (takes 1 & 2)
  9. Being For The Benefit Of Mr. Kite! - (take 7)
  10. Lucy In The Sky With Diamonds - (alternate mix)
  11. Within You Without You - (instrumental)
  12. Sgt Pepper's Lonely Hearts Club Band (Reprise) - (take 5, mono)
  13. You Know My Name (Look Up The Number) - (extended, stereo version)
  14. I Am The Walrus - (take 16)
  15. Fool On The Hill, The - (Paul McCartney demo, mono)
  16. Your Mother Should Know - (take 27)
  17. Fool On The Hill, The - (alternate version, take 4)
  18. Hello, Goodbye - (take 16)
  19. Lady Madonna - (alternate mix)
  20. Across The Universe - (take 2)
Anthology 3 (1996)
Disc: 1
  1. Beginning, A
  2. Happiness Is A Warm Gun - (demo, mono)
  3. Helter Skelter - (outtake, mono)
  4. Mean Mr. Mustard - (demo)
  5. Polythene Pam - (demo)
  6. Glass Onion - (demo)
  7. Junk - (demo)
  8. Piggies - (demo, mono)
  9. Honey Pie - (mono)
  10. Don't Pass Me By - (outtake)
  11. Ob-La-Di, Ob-La-Da - (outtake)
  12. Good Night - (outtake)
  13. Cry Baby Cry - (outtake)
  14. Blackbird - (outtake)
  15. Sexy Sadie - (outtake)
  16. While My Guitar Gently Weeps - (solo acoustic)
  17. Hey Jude - (outtake)
  18. Not Guilty - (outtake)
  19. Mother Nature's Son - (outtake)
  20. Glass Onion - (outtake, mono)
  21. Rocky Raccoon - (outtake)
  22. What's The New Mary Jane - (outtake)
  23. Step Inside Love - (outtake) / Los Paranoius - (outtake)
  24. I'm So Tired - (outtake)
  25. I Will - (outtake)
  26. Why Don't We Do It In The Road - (mono, outtake)
  27. Julia - (outtake)  Disc: 2
  1. I've Got A Feeling - (outtake)
  2. She Came In Through The Bathroom Window - (outtake)
  3. Dig A Pony - (outtake)
  4. Two Of Us - (outtake)
  5. For You Blue - (outtake)
  6. Teddy Boy - (outtake)
  7. Rip It Up - (outtake) / Shake Rattle And Roll - (outtake) / Blue Suede Shoes - (outtake)
  8. Long And Winding Road, The - (outtake)
  9. Oh! Darling - (outtake)
  10. All Things Must Pass - (George Harrison demo)
  11. Mailman, Bring Me No More Blues - (outtake)
  12. Get Back - (outtake)
  13. Old Brown Shoe - (George Harrison demo)
  14. Octopus's Garden - (outtake)
  15. Maxwell's Silver Hammer - (outtake)
  16. Something - (mono, George Harrison demo)
  17. Come Together - (outtake)
  18. Come And Get It - (Paul McCartney demo)
  19. Ain't She Sweet
  20. Because - (outtake)
  21. Let It Be - (outtake)
  22. I Me Mine - (outtake)
  23. End, The - (outtake)                                                                                                                        (http://homepage.ntlworld.com/alan.stuart/music/discography/beatles.html)
Ringo Starr
04:47 | Author:
Richard Starkey, MBE (born July 7, 1940) is best known by his stage name, Ringo Starr, as the drummer for The Beatles from August 16th 1962 (when he replaced Pete Best) until their breakup in 1970. Ringo is known for his reliable, steady drumming and innovative fills. His easygoing personality made him an easy fit with the other Beatles.

Prior to joining the Beatles, he was the drummer for the Liverpool band Rory Storm and the Hurricanes, from 1959 to 1962. His musical talents were primarily confined to drumming, rather than singing or songwriting. Of all the Beatles, he did the least songwriting. The Beatles explained that when he would present a song as a contender for an album cut, the song would (to them) be a clear knockoff of another popular song, but Ringo would not recognize the similarities until they pointed it out. Ringo did, however, write "Octopus's Garden" (on the album Abbey Road) and "Don't Pass Me By" (on The White Album), as well as contributing to several others. Ringo generally sang at least one song on each studio album; in some cases John Lennon or Paul McCartney would write the lyrics and melody especially for him, as Lennon did with "With a Little Help from My Friends", from Sgt. Pepper's Lonely Hearts Club Band. Often these melodies would be deliberately limited to take into account Starr's vocal range—most of With A Little Help From My Friends is sung within the space of five notes.

Starr did however contribute a number of lyric ideas and song titles to Lennon and McCartney, although usually unintentionally. One of the most famous examples of this was the title for the band's first motion picture, A Hard Day's Night. Starr had emerged from the studio after a long day of work and commented to the others that it had been a "hard day's..." - before he finished his sentence, Starr noticed that it was now night time and added "night". Lennon and McCartney liked the twisted phrase enough that they decided to use it as the title for the still untitled movie the band had been filming. Another example is the title to "Tomorrow Never Knows".

Although some have tried to downplay his contributions to the band, Starr's unique drumming style played a major role in the overall sound of The Beatles. To this day, many drummers list Starr as a major influence including Max Weinberg of The E Street Band, Liberty DeVitto of Billy Joel's band, Phil Collins, Andy Sturmer of Jellyfish, and others. According to Collins, Ringo is "vastly underrated. The drum fills on "A Day In The Life" are very complex things. You could take a great drummer today and say, 'I want it like that.' They wouldn't know what to do." Lennon, McCartney and Harrison have all said that Ringo was the best rock and roll drummer in the world.













In 1972, after the breakup of the Beatles, Starr's solo recording of "Photograph" topped the Billboard charts. He also toured with Ringo Starr's All-Star Band.
He acted in several films such as Candy (1968), The Magic Christian (1969) (alongside Peter Sellers), Son of Dracula (1974), and Caveman (1980). He also worked on the children's television series Shining Time Station, it's Christmas special Shining Time Station: 'Tis A Gift and Thomas the Tank Engine and Friends. He appeared as himself on the cartoon The Simpsons.

George Harrison
04:41 | Author:
George Harrison-photo
As lead guitarist for the Beatles, George Harrison provided the band with a lyrical style of playing in which every note mattered. Harrison was one of millions of young Britons inspired to take up the guitar by British skiffle king Lonnie Donegan's recording of "Rock Island Line." But he had more dedication than most, and with the encouragement of a slightly older school friend — Paul McCartney — he advanced quickly in his technique and command of the instrument. Harrison developed his style and technique slowly and painstakingly over the several years, learning everything he could from the records of Carl Perkins, Duane Eddy, Chet Atkins, Buddy Holly, and Eddie Cochran. By age 15, he was allowed to sit in with the Quarry Men, the Liverpool group founded by John Lennon, of which McCartney was a member; by 16 he was a full-fledged member of the group.

The Beatles finally coalesced around Lennon, McCartney, Harrison, and drummer Ringo Starr in 1962, with Harrison established on lead guitar. The Beatlemania years, from 1963 through 1966, were a mixed blessing for Harrison. The Beatles' studio sound was generally characterized by very prominent rhythm guitar parts, and on many of the Beatles' early songs, Harrison's lead guitar was buried beneath the chiming chords of Lennon's instrument. Additionally, he was thwarted as a songwriter by the presence of Lennon and McCartney — the quality and prolificacy of their output left very little room on the group's albums for songs by anyone else. Despite these problems, Harrison grew markedly as a musician between 1963 and 1966, writing a handful of good songs and one classic ("If I Needed Someone"), and also making his first acquaintance of the sitar, an Indian instrument whose sound fascinated him.

In 1966, Harrison finally seemed to find his voice, with two of his songs on the Revolver album, "Taxman" and "Love You Too." In the wake of the group's decision to stop touring, Harrison's playing and songwriting grew
exponentially. The period from 1968 onward was Harrison's richest with the Beatles. He displayed a smooth, elegant slide guitar technique that showed up on their last three albums, and contributed two classic songs, "While My Guitar Gently Weeps" and "Here Comes the Sun," along with "Something," which became the first Harrison song on the A-side of a Beatles single.

Although never known as a strong singer, Harrison's vocals were always distinctive, especially when placed in the right setting — for his first solo record following the group's 1970 break-up, All Things Must Pass, Harrison collaborated with producer Phil Spector, whose so-called "wall of sound" technique adapted well to Harrison's voice. All Things Must Pass and the accompanying single "My Sweet Lord" had the distinction of being the first solo recordings by any of the Beatles to top the charts following their breakup. Unfortunately, Harrison was later successfully sued by the publisher of the 1962 Chiffons hit "He's So Fine," which bore a striking resemblance to "My Sweet Lord."

Harrison followed All Things Must Pass with rock's first major charity event, The Concert for Bangladesh, which was staged as two shows at New York's Madison Square Garden in 1971 to help raise money for aid to that famine-ravaged nation. The second of the two all-star shows was released as a movie and a live triple album. Harrison's next studio album, Living in the Material World, initially sold well, but its leaner, less opulent production lacked the majestic force of All Things Must Pass, and it lacked the earlier album's mass appeal. Subsequent Harrison albums from the 1970s into the '80s always had an audience, but except for Somewhere in England (1981), released in the wake of the murder of John Lennon with the memorial song "All Those Years Ago," none seemed terribly well-crafted or executed. During this same period, Harrison embarked on a successful career as a movie producer with the founding of Handmade Films.

In 1987, Harrison made a return to the top of the charts with his album Cloud Nine, which featured his most inspired work in years, most notably a cover of an old Rudy Clark gospel number called "Got My Mind Set on You," which reached number one on the charts. In 1988, Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison formed the Traveling Wilburys, who have since released two very successful albums.

In 1992 perhaps still smarting from 1974 concert reviews, would make his return to the stage in Japan with Claptons and his band backing him up.

In 1997 Harrison was diagnosed with cancer and had throat surgery. He
considered his cancer to be caused by his 30+ years of smoking so he quit in 1998. In 1999 He was brutaly attacked by a deranged fan whom thought he was a devil worshipper.

In 2001 he re-released All Things Must Pass which included never before heard bonus tracks. He also was working on a new album and released the first single in October called a Horse To Water co-written with his son Dhani.

Throughout 2000 and 2001 Harrison would be treated for his cancer in various countries until November 29th 2001. George Harrison died of cancer at a friends home in Los Angelos around 1:30PM. George Harrison was 58.

Paul McCartney
04:03 | Author:
(born June 18, 1942, Liverpool, Eng.) British vocalist, songwriter, composer, bass player, poet, and painter whose work with the Beatles in the 1960s helped lift popular music from its origins in the entertainment business and transform it into a creative, highly commercial art form. He is also one of the most popular solo performers of all time in terms of both sales of his recordings and attendance at his concerts.

McCartney's father, James, worked in the Liverpool Cotton Exchange, and his mother, Mary, was a midwife, out at all hours on her bicycle to deliver babies. Her death from breast cancer in October 1956, when McCartney was age 14, had a profound effect on his life and was the inspiration for his ballad “Let It Be” (1970). His younger brother, Michael, later changed his name to Mike McGear and had a number of hits in the satirical rock group Scaffold. Like fellow Beatles George Harrison and Ringo Starr (Richard Starkey), McCartney grew up in a traditional north of England working-class society, with an extended family frequently visiting the house at 20 Forthlin Road in the Allerton area of Liverpool (the house is now owned by the National Trust). His father had been the leader of Jim Mac's Jazz Band, and in the evenings the family often gathered around the piano, an experience McCartney drew upon for such sing-along songs as “When I'm 64” (1967).

On July 6, 1957, he met John Lennon at Woolton Village Fete and joined his skiffle group, the Quarrymen, which, after several name changes, became the Beatles. When Lennon's mother was killed by a speeding police car in 1958, McCartney, with his own mother's death still fresh in his memory, was able to empathize with the distraught 17-year-old, creating a bond that became the basis of their close friendship. McCartney and Lennon quickly established themselves as songwriters for the group, and, by the time the Beatles signed with EMI-Parlophone in 1962, they were writing most of their own material. By their third album the group stopped recording covers. Lennon and McCartney's songwriting partnership was very important to them, both financially and creatively; even in 1969, when they were estranged over business matters and supposedly not on speaking terms, Lennon brought McCartney his song “The Ballad of John and Yoko” and they worked together on the “middle eight” (the stand-alone section that often comes midway in a song). Their music transcended personal differences.

JOHN LENNON
03:52 | Author:
"If John Lennon had only been one of the four members of the Beatles, his artistic immortality would already have been assured. The so-called "smart Beatle," he brought a penetrating intelligence and a stinging wit both to the band's music and its self-presentation. But in such songs as "Strawberry Fields Forever," "Norwegian Wood (This Bird Has Flown)," "Rain" and "In My Life," he also marshaled gorgeous melodies to evoke a sophisticated, dreamlike world-weariness well beyond his years. Such work suggested not merely a profound musical and literary sensibility - a genius, in short -- but a vision of life that was simultaneously reflective, utopian and poignantly realistic.
  
While in the Beatles, Lennon displayed an outspokenness that immersed the band in controversy and helped redefine the rules of acceptable behavior for rock stars. He famously remarked in 1965 that the Beatles were "more popular than Jesus" - a statement that was more an observation than a boast, but that resulted in the band's records being burned and removed from radio station playlists in the U.S. He criticized America's involvement in Vietnam, and, as the Sixties progressed, he became an increasingly important symbol of the burgeoning counterculture.

But it was only after the breakup of the Beatles in 1970 that the figure the world now recognizes as "John Lennon" truly came into being. Whether he was engaging in social activism; giving long, passionate interviews that, once again, broadened the nature of public discourse for artists; defining a new life as a self-described "househusband;" or writing and recording songs, Lennon came to view his life as a work of art in which every act shimmered with potential meaning for the world at large. It was a Messianic attitude, to be sure, but one that was tempered by an innate inclusiveness and generosity. If he saw himself as larger than life, he also yearned for a world in which his ego managed at once to absorb everyone else and dissolve all differences among people, leaving a Zen-like tranquility and calm. "You may say I'm a dreamer, but I'm not the only one," he sang in "Imagine" which has become his best-known song and an international anthem of peace. "I hope someday you'll join us, and the world will live as one."

Such imagery, coupled with the tragedy of his murder in 1980, has often led to Lennon's being sentimentalized as a gentle prince of peace gazing off into the distance at an Eden only he could see. In fact, he was a far more complex and difficult person, which, in part, accounts for the world's endless fascination with him. Plastic Ono Band (1970), the first solo album he made after leaving the Beatles, alternates songs that are so emotionally raw that to this day they are difficult to listen to with songs of extraordinary beauty and simplicity. Gripped by his immersion in primal-scream therapy, which encouraged its practitioners to re-experience their most profound psychic injuries, Lennon sought in such songs as "Mother" and "God" to confront and strip away the traumas that had afflicted his life since childhood.

And those traumas were considerable. Lennon's mother, Julia, drifted in and out of his life during his childhood in Liverpool - he was raised by Julia's sister Mimi and Mimi's husband, George - and then died in a car accident when Lennon was seventeen. His father was similarly absent, essentially walking out on the family when John was an infant. He disappeared for good when Lennon was five, only to return after his son had become famous as a member of the Beatles. Consequently, Lennon struggled with fears of abandonment his entire life. When he repeatedly cries, "Mama, don't go/Daddy come home," in "Mother," it's less a performance than a scarifying brand of therapeutic performance art. And in that regard, as well as many others, it revealed the influence of Yoko Ono, whom Lennon had married in 1969, leaving his first wife, Cynthia, and their son Julian in order to do so.

The minimalist sound of Plastic Ono Band was significant too. Lennon had come to associate the elaborate musical arrangements of much of the Beatles' later work with Paul McCartney and George Martin, and he consciously set out to purge those elements from his own work. Co-producing with Ono and the legendary Phil Spector, he built a sonic environment that could not have been more basic - guitar, bass, drums, the occasional piano -- whatever was essential and absolutely nothing more. Lyrically, he turned away from the psychedelic flights and Joycean wordplay of such songs as "I Am the Walrus" and "Lucy in the Sky With Diamonds" - as well as his books, In His Own Write and A Spaniard in the Works -- and toward a style in which unadorned, elemental speech gathered poetic force through its very directness.
 
On his next album, Imagine (1971), Lennon felt confident enough to reintroduce some melodic elements reminiscent of the Beatles into his songs. Working again with Ono and Spector, he retains the eloquent plainspokenness of Plastic Ono Band, but allows textural elements such as strings, to create more of a sense of beauty. The album's title track alone ensured its historical importance; it is a call to idealism that has provided solace and inspiration at every moment of social and humanitarian crisis since it was written.

From there Lennon turned to a style that was a sort of journalistic agit-prop. Sometime In New York City (1972) is as outward-looking and blunt as Imagine was, for the most part, soft-focused and otherworldly. As its title suggests, the album reflects Lennon's immersion in the drama and noise of the city to which he had moved with Yoko Ono. And as its cover art suggests, the album is something like a newspaper - a report from the radical frontlines on the political upheavals of the day. His activism would create enormous problems for Lennon, however. The Nixon administration, paranoid about the possibility that a former Beatle might become a potent leader and recruiting tool of the anti-war movement, attempted to have Lennon deported. Years of legal battles ensued before Lennon finally was awarded his green card in 1976.

Lennon's political struggles unfortunately found their match in his personal life. He and Ono split up in the fall of 1973, shortly before the release of his album, Mind Games. He moved to Los Angeles and later described the eighteen months he spent separated from Ono as his "lost weekend," a period of wild indulgence and artistic drift. Like Mind Games, the albums he made during this period, Walls and Bridges (1974) and Rock N Roll (1975), are the expressions of a major artist seeking, with mixed results, to recover his voice. None of them lack charm, and their high points include the lovely title track of Mind Games; Walls and Bridges' "Whatever Gets You Through the Night," a rollicking duet with Elton John that gave Lennon his first number-one single as a solo artist; and the sweet nostalgia of Rock N Roll, a covers album that was Lennon's tribute to the musical pioneers of his youth. But none of those albums rank among his greatest work.

In 1975, Lennon reunited with Ono, and their son Sean was born later that year. For the next five years, Lennon withdrew from public life, and his family became his focus. Then, in 1980, he and Ono returned to the studio to work on Double Fantasy, a hymn to their life together with Sean. The couple was plotting a full-fledged comeback - doing major interviews to support the album's release, recording new songs for a follow-up, planning a tour. Then, shockingly, Lennon was shot to death outside the apartment building where he and Ono lived on the night of December 8, 1980.

Lennon's death broke hearts around the world. In the U.S., it recalled nothing so much as the assassination of John Kennedy in 1963, an event for which, ironically, the arrival of the Beatles a few months later had provided a welcome tonic. In the twenty-five years since, Lennon's influence and symbolic importance have only grown. His music, of course, will live forever. But he has survived primarily as a restless voice of change and independent thought. He is an enemy of the status quo, a bundle of contradictions who insisted on a world in which all the various elements of his personality could find free, untrammeled expression. Innumerable times since his death Lennon has been sorely missed. And just as many times and more he has been present - evoked by all of us who find ourselves and each other in the music he made and the vision that he articulated and tried to make real."

Psychedelic art

Posted: marți, 11 mai 2010
Psychedelic art is any kind of visual artwork inspired by psychedelic experiences induced by drugs such as LSD, mescaline, and psilocybin
The word "psychedelic" (coined by British psychologist Humphrey Osmond) means "mind manifesting". By that definition all artistic efforts to depict the inner world of the psyche may be considered "psychedelic". However, in common parlance "Psychedelic Art" refers above all to the art movement of the 1960s counterculture. Psychedelic visual arts were a counterpart to psychedelic rock music.Concert posters, album covers, lightshows, murals, comic books, underground newspapers and more reflected not only the kaleidoscopically swirling patterns of LSD hallucinations, but also revolutionary political, social and spiritual sentiments inspired by insights derived from these psychedelic states of consciousness.( http://en.wikipedia.org/wiki/Psychedelic_art  )            
 

Lucy In The Sky With Diamonds

Posted:
One afternoon early in 1967, Julian Lennon came home from his nursery school with a painting that he said was of his classmate, four-year-old Lucy O'Donnell. Explaining his artwork to his father, Julian described it as Lucy - 'in the sky with diamonds'.
This phrase stuck in John's mind and triggered off the stream of associations that led to the writing of the dream-like 'Lucy In The Sky With Diamonds', one of three tracks on the Sgt. Pepper album which received special media attention because it was thought to be 'about drugs'. Although it's unlikely that John would have written such a piece of reverie without ever having experimented with hallucinogenics, this song was equally affected by his love of surrealism, word play and the works of Lewis Carroll.
The suggestion that the song was a description of an LSD trip appeared to be substantiated when it was noted that the title spelt LSD. Yet John consistently denied this, going into great detail in interviews about the drugs he had taken. He insisted that the title was taken from what Julian had said about his painting. Julian himself recalls, "I don't know why I called it that or why it stood out from all my other drawings but I obviously had an affection for Lucy at that age. I used to show dad everything I'd built or painted at school and this one sparked off the idea for a song about Lucy in the sky with diamonds."
Lucy O'Donnell (now 36 and working as a teacher with special needs' children) lived near the Lennon family in Weybridge and she and Julian were pupils at Heath House, a nursery school run by two old ladies in a rambling Edwardian house. "I can remember Julian at school," says Lucy, who didn't discover that she'd been immortalized in a Beatles' song until she was 13. "I can remember him very well. I can see his face clearly... we used to sit alongside each other in proper old-fashioned desks. The house was enormous and they had heavy curtains to divide the classrooms. Julian and I were a couple of little menaces from what I've been told."
John claimed that the hallucinatory images in the song were inspired by the 'Wool and Water' chapter in Lewis Carroll Through The Looking Glass, where Alice is taken down a river in a rowing boat by the Queen, who has suddenly changed into a sheep.
As a child, Alice's Adventures In Wonderland and Through The Looking Glass were two of John's favorite books. He said that it was partly through reading them that he realized the images in his own mind weren't indications of insanity. "Surrealism to me is reality," he said. "Psychedelic vision is reality to me and always was."
For similar reasons, John was attracted to The Goon Show, the British radio comedy programme featuring Spike Milligan, Harry Secombe and Peter Sellers which was broadcast by the BBC between June 1952 and January 1960. The Goon Show scripts, principally written by Milligan, lampooned establishment figures, attacked post-war stuffiness and popularized a surreal form of humor. The celebrated Beatle 'wackiness' owed a lot to the Goons, as did John's poetry and writing. He told Spike Milligan that 'Lucy In The Sky With Diamonds' and several other songs had been partly inspired by his love of Goon Show dialogue. "We used to talk about 'plasticine ties' in The Goon Show and this crept up in Lucy as 'plasticine porters with looking glass ties'," says Milligan who, as a friend of George Martin, sat in on some of the Sgt. Peppers sessions. "I knew Lennon quite well," he said. "He used to talk a lot about comedy. He was a Goon Show freak. It all stopped when he married Yoko Ono. Everything stopped. He never asked for me again."
When Paul arrived at Weybridge to work, John had only completed the first verse and the chorus. For the rest of the writing they traded lines and images; Paul coming up with 'newspaper taxis' and 'cellophane flowers', John with 'kaleidoscope eyes'. 

Here comes the sun

Posted:
Written by George, 'Here Comes The Sun' was an expression of delight at being able to slip away from the interminable business meetings which were now taking up so much of the Beatles' time.

In January 1969, John and Yoko met with music business manager Allen Klein and shortly afterwards declared that he would be looking after their business affairs, despite the fact that New York lawyer John Eastman, brother of Linda, had recently been brought in to represent the Beatles collectively. This was the beginning of a bitter drawn-out conflict over who should manage the Beatles and what should be done about the chaotic state of their finances. Despite the tremendous sales of Beatles' music over the past six years, John claimed, "all of us could be broke in six months."
Klein offered to restructure Apple, organize a takeover bid for the shares the Beatles didn't own in Northern Songs and renegotiate a better royalty deal with EMI. He was able to persuade John, George and Ringo of his ability to do these things but Paul remained loyal to Eastman. As a result of the Beatles' existence was now under threat and the frequent meetings at Apple were fraught with tension. One morning in the early spring, George decided it was all getting a bit too much like school, and so he took a day off from the round table routine and went to see his friend Eric Clapton at his country home in Ewhurst, Surrey.
Borrowing one of Eric's acoustic guitars, George took a walk around the gardens and, basking in the first real sunshine of the year, he felt a sudden flush of optimism and started to write 'Here Comes The Sun'. "It was such a great release for me simply being out in the sun," said George at the time. "The song just came to me." 
(http://www.thebeatleshk.com/SongStories/HereComesTheSun.html

A Hard Day's Night

Posted:

The Beatles--the world's most famous rock and roll band--travel from their home town of Liverpool to London to perform in a television broadcast. Along the way they must rescue Paul's unconventional grandfather from various misadventures and drummer Ringo goes missing just before the crucial concert. 

The plot is a study of a day in the life of the Fab Four beginning with them running from their adoring fans to catch a train. Every plot point circles around the band getting to a television show in order to perform a live concert, and within this stream of action is a series of slapstick, zany, and otherwise wacky bits of funniness. One obstacle in the works is Paul McCartney's babysitting of his grandfather (Wilfrid Brambell), a first class mixer always getting into mischief. It becomes one of the running jokes in the film that Brambell is a "clean old man," at least physically (this contrasts with Brambell's most famous role as Albert Steptoe in Steptoe and Son where he was a "dirty old man" both physically and psychologically). Ringo Starr gets a sense of liberation and goes off on his own to find happiness only to land in jail for loitering. John Lennon fires playful barbs at TV director (Victor Spinetti), whose biggest worry is that if for some reason the Beatles stand him up his next job will be doing "news in Welsh." One great story line is with George Harrison, in which he is mistaken for an actor auditioning for some trendy TV show for some trend setter hostess. The earnest demeanor of the casting head and his associates is undercut by George's declaration that she is a well-known drag. Norman Rossington and John Junkin as The Beatles' managers are stalwart English character actors who fill out the cast and support the general lunacy of the film with a more traditional presence, but still sustain an on-going battle about one being taller than the other. Anna Quayle has a great bit with John Lennon about his being someone he's not. The whole thing ends with an ear-shattering concert and the band yet again running from the adoring fans. 

(http://www.imdb.com/title/tt0058182/plotsummary)(http://www.imdb.com/title/tt0058182/synopsis)

Across The Universe Movie

Posted:
Across The Universe is a fictional love story set in the 1960s amid the turbulent years of anti-war protest, the struggle for free speech and civil rights, mind exploration and rock and roll. At once gritty, whimsical and highly theatrical, the story moves from high schools and universities in Massachusetts, Princeton and Ohio to the Lower East Side of Manhattan, the Detroit riots, Vietnam and the dockyards of Liverpool. A combination of live action and animation, the film is paired with many songs by The Beatles that defined the time.

The film opens with a solitary figure, Jude (Jim Sturgess), sitting on a quiet beach front. He is singing "Girl" with a melancholy air, while looking off into the distant horizon. It's the end of the work day as Jude lines up with his fellow shipyard hands for their day's wages. After receiving payment from the old man in charge, Jude walks back home, smiling along the way.

As he leaves, "Hold Me Tight" begins, while we flash to an idealistic prom scene, where Lucy (Evan Rachel Wood) dances along with her boyfriend Daniel (Spencer Liff) and their high-school classmates. A classic band plays along, as Lucy sings to Daniel "Tell me I'm the only one..."

In another part of the world, another couple in Liverpool is singing the same song as they dance at a dark underground Liverpool bar - a reference to "The Cavern Club," where the Beatles began its career. Jude holds his girlfriend (Lisa Hogg) as she sings "Let me go on loving you." Ambling along a dark and damp street after leaving the bar, Jude and his girlfriend hold hands and trip along the cobblestone. They stop to kiss along the road, as she tells Jude not to forget her while he is in America. He laughs and consoles her, singing "While I'm away, I'll write home everyday, and I'll send all my loving to you." While Jude continues to sing "All My Loving," he packs his bag, kisses his mom (Angela Mounsey) goodbye, and heads off to the docks to board a ship to America, seeking out his estranged father in New Jersey.

Lucy, back at Daniel's house, is seeing him off to boot camp, and the Vietnam War. Daniel, dressed in his new uniform, drives away while Lucy runs after the car down the street.

Jude ends the song as he hitches a ride along the road in America. Managing to flag down a ride, we leave Jude to look across the road. A high-school football practice is winding down, with cheerleaders running through their routines and watching the football players on the field.

After practice ends, one of the cheerleaders, Prudence (T.V. Carpio), watches wistfully as a fellow cheerleader flirts with one of the players. She softly sings "I Want To Hold Your Hand" as she watches her obvious object of affection walking away with the jock. As she watches them and sings, she walks off the field, into the unknown.

Jude arrives at Princeton University and stands on the academic quad while a student, obviously in a rush, tears his way through the campus crowd and drops all of his books and papers. While stooping down to help collect the papers, Jude asks the student if he knows a certain Professor, believing him to be his father. The student, Max (Joe Anderson), is first at a loss, until he realizes that Jude is looking for the school janitor (Robert Clohessy). He laughs, and points to a man washing windows on a ladder, saying "That's him."

Introducing himself to the window washer, Jude explains who he is, and his reason for being at the school. At first, the man is surprised, saying that he didn't know the mother was pregnant, and that he would have married Jude's mother if he had known. Jude assures him that this apology wasn't what he wanted, but just wanted "them each to know that the other existed."

Max, the charming and outgoing student from earlier, is on a roof with a few of his buddies as they chip golf balls off of a beer bottle at the nearby dormitory windows. After a few misses, he finally connects - and the group flees the angry mob that spills out of the dorm. Jude, seeing the commotion while out having a cigarette in front of the building that his father is letting him stay in, lets Max slip in to hide. Grateful, Max invites Jude to go out for the night with himself and his golfing buddies. While proclaiming that they get by "With a Little Help From My Friends," they smoke and drink their way through town until they finally collapse on couches from exhaustion.

Lucy walks home from school with her friend, while she talks about missing her boyfriend Daniel. As they walk up to Lucy's house, her mom hands her a letter while smiling; it's a letter from Daniel saying that he has been able to get a few weeks leave, and will be home soon to visit. Lucy launches into song as she flies up the stairs, excited to know that "It Won't Be Long" before she'll be back together with Daniel.

For Thanksgiving break, Max invites Jude to his parents' house for the holidays. After picking up Max's little sister, who turns out to be Lucy, they continue on in his convertible to see the family. At dinner, Max announces that he is dropping out of college, and going to New York to make a living. A family argument ensues, and the three decide to go out bowling to release some tension.

At the alley, while they joke around and tease each other, Jude thinks to himself that he's "falling, yes he is falling" for Lucy while singing "I've Just Seen A Face." When he and Max drive away to a new life in New York City, Max warns Jude that Lucy has a boyfriend. Jude smiles and assures him that It's ok, he has a girlfriend too.

Jude and Max arrive in the city, and after climbing to the top of a walk-up building, they enter a large apartment owned by a tall singer named Sadie (Dana Fuchs). She shows them the apartment, while several other people lounge around playing the guitar or reading. Pleased with the apartment, they agree to pay two weeks rent in advance, and become New York City residents.

Moving to the streets of Detroit during the race riots, a little boy cowers next to a destroyed car on fire, while black men and women run on the streets from the police. Staring out at the audience, he sings "Let It Be" among the violence. Moving into a church in the black community, while the choir swells, we see the same little boy laying in a coffin, obviously a casualty of the fight. JoJo (Martin Luther) stands holding an older woman while she weeps, staring at the little boy's lifeless body.

Experiencing the same grief, we see Lucy weeping after a letter comes to Daniel's parents, notifying him of his death. She too, stares at the burial of her boyfriend, as Marines fold up the American flag and hand it to the mother Daniel has left behind.

As the song ends, JoJo slings a guitar over his shoulder, and walks down the street, heading to New York City himself. As he steps along, "Come Together" plays to the beat. He walks down the street, and sees a sign for Guitarist Needed at the bar "Café Huh?" and enters. Sadie is there, and gives him the role of lead guitarist in her band. He comes to the apartment to live; one night while he is playing out a song on his guitar for Jude, a water-logged Prudence climbs into their bathroom window out of the rain, and becomes their newest roommate.

After graduating from high school, Lucy joins her brother Max and friend Jude in the city for the summer before she goes to college. She is happy to see her brother, but is reluctant to give him the letter that came for him - a draft notice from the government. At a party they have at the apartment that night, Jude falls again for Lucy, and breaks up with a girl that he was seeing. Lucy sings "If I Fell" while they dance, and finally kiss.

The next day, Max reports to the draft office for his physical, and despite swallowing an entire box of cotton balls in the hopes that it will show up as a shadow in x-rays, is deemed qualified for service. While he and a large group of men all endure rigorous physicals, they imagine an animated poster of Uncle Sam singing to them "I Want You."

Back at the apartment, Prudence is mourning the coupling of JoJo and Sadie, after she finds herself infatuated with the tall singer. She locks herself into the closet, and the others sing "Dear Prudence" to coax her out of her hiding place. Despite this, Prudence leaves unexpectedly; no one is sure where she goes.

The remaining gang goes to a party where an agent tries to convince Sadie to go solo. Tripping out on pink punch, the group hops on a psychedelic bus trip across the country. At a stop in a field, they see a traveling circus run by Mr. Kite, and find Prudence in the troupe dating a contortionist named Rita.

Max is now off to war, leaving Lucy angry and distraught. After seeing an anti-war speaker in the park, she decides to join their organization to protest Vietnam and bring the troops home. As Lucy devotes more and more time to the organization, Jude becomes jealous of the man that runs the group.

Sadie has finally told the rest of the band that she is planning on going solo. Infuriated, JoJo purposefully ruins her opening song "Oh! Darling" with distracting and awful guitar riffs, which forces her to leave the stage. Having his own relationship trouble, Jude sinks into his artistic work while singing "Strawberry Fields Forever." He and Lucy have now fought over her increasing involvement and obsession with her anti-war group, culminating in Jude confronting her at their headquarters while singing "Revolution."

After being kicked out, he walks by a window display of tthe announcement of the assassination of Martin Luther King, Jr. "While My Guitar Gently Weeps" starts playing. He meets up with JoJo and gets drunk, only to find that Lucy has moved all of her belongings out of the apartment, leaving him. Later that day, he gets on a subway (to the song "Across The Universe") to go to Columbia University, where the anti-war group's actions escalate to increasing violence, leading to police action at a rally at Columbia University.

Sadie starts singing "Helter, Skelter" at a club, while Jude, walking through, sees Lucy as one of the protesters being arrested by the police, and attempts to save her while she is being dragged away. She calls out to him, but he is overcome by the police and is arrested.

At the same time, Max gets into a firefight, where he has to shoot a lot. He gets injured and has a dream sequence about naked Vietnamese mothers floating in the river.

Meanwhile, Jude sits in his jail cell, as more and more prisoners are let free to go home. Finally, alone, his father comes to visit him. His father breaks the news that although the police will not press charges, he is being forced to leave the country and return to England. He encounters Molly, his old flame, who is now pregnant with Phil's child.

While he is walking home, the scene cuts to Lucy at Max's bedside in the V A hospital. He starts singing "Happiness is a Warm Gun" in a sequence with Salma Hayek as a nurse. At one of her rallies, Lucy is in a phone booth, while her mother pleads with her on the phone to be careful and begs her to stop her involvement in the protests. Resolved, she argues with her mother, when a fight breaks out, and a gun shot hits the phone booth. Not hurt, Lucy sinks down while singing to herself that it'll be alright. TV scenes of the DC protests and the Pentagon protest show while Max is watching from the V A hospital. Lucy goes back to the old protest headquarters and finds Paco making pipe bombs.

"A Day in the Life" is playing as Jude gets off work, and he gets a newspaper and sees that the place where the protesters were organized from had blown up. Cut to him sitting on the beach... then cut to the wharf area in NY, where Max is sitting and Lucy sings "Blackbird", while Jude wanders the beach and tidal areas in Liverpool.

Jude gets back into his routine at the shipyards, then sits in a pub after work, drinking a pint. To the words of "Hey Jude," sung by Max (as imagined by Jude as sitting next to him, while he is looking into a mirror behind the bar), he runs to his house to again pack his bags, and returns to the States (with a visa) to get back Lucy. Max meets him at Customs, and takes him to the building where Sadie and JoJo's reunited band is playing "Don't Let Me Down" to a cheering crowd on the streets.

Lucy, not knowing Jude is back, is invited with a note by Max to come to the concert. She sees the strawberry logo Jude designed for Sadie, then gets very sad because no one will answer the door buzzer, and she walks away. The police break up the concert as the crowd gathering gets larger. Jude hides from the police, and after being left alone on the roof, starts singing "All You Need Is Love" into the microphone. Sadie, JoJo, Prudence, Max, and the rest all rush back up to the roof, and join in. Lucy hears Jude's voice, and frantically rushes to get into the building, only to be stopped by the police. She turns, and runs to a building across the street, and stares at Jude from the roof across the way.She smiles as a tear runs down her cheek. Jude sighs. Together in the end, they kiss as "Lucy in the Sky With Diamonds" plays during the end credits

When Pete was the Most Popular Beatle

Posted:
Pete Best was the original drummer for one of the most famous musical groups of the 20th Century. Pete was dropped from the Beatles in 1962, and replaced by Ringo Starr. Who was this original Beatle? What stories could he tell about their early days creating the sound that changed the world?

In 1982, Pete resurfaced in Los Angeles and did a handful of rare interviews in the states. One of them was the David Letterman show. Shortly after this appearance, he did his first American radio network interview with me for CBS Radio and the Beatles hour.

The interview was conducted during “Beatlefest” at the Bonaventure hotel, where I was co-hosting and doing stage interviews of beatle people for the fans. Pete and I hit it off well during these onstage interviews, and he agreed to a series of recorded interviews for radio that would be held upstairs in our hotel rooms over the next few evenings.

Over dinner we talked about music, life, and his current hopes and dreams, while saving the big sotry for the taped conversations. During these, Pete told a fascinating story about the early years of the beatles- from the inside, as a member. Everything from their meeting, the first clubs they played, the Hamburg tour, the early songwriting and recording sessions, to the partying, and of course the breakup. Not having his memory clouded with all the fame and events that enveloped the Beatles after august of 1962, his memory of the Beatles early years was crystal clear. It seemed as though he had worked past the bitterness that had been a big part of the years immediately after the breakup, and was ready to tell his side of the story.
After 3 days together, I found Pete to be a fascinating person on several levels, deeper than many would imagine, funnier, smarter, and very a sincere and thoughtful person. To this day, it remains one of my favorite interviews and experiences.

Today, Pete has his own band and has just released a new album that’s getting airplay and interest. You will be surprised and impressed if you listen to it- the writing and production values are very good, and you will hear that unmistakable british beat, and a hint of beatle-esque production. Far from a drummer who needed replacing, he’s quite good. But, what else would you expect from a former beatle? His New album is called "Hayman's green", distributed by EMI.

Highlights in this video are from these interviews, and the “Best years of the Beatles” episodes of The Beatles Hour aired first on KCBS-FM and KRQR in San Francisco.

A promising start

Posted:

1963

“They’ve got something! From Liverpool, I hear, of all places.” “From Liverpool uber alles!”

They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream – while their conquering Paris – the record goes to Number One in America three weeks before the Ed Sullivan Show in New York.

If there had been no Beatles, no one would have had the imagination to invent such a story.

http://www.thebeatles.com/#/history/1963)

Beatles Discography

Posted:






MusicPlaylistRingtones
Create a playlist at MixPod.com

Albums


Please Please Me (1963)
  1.  Saw Her Standing There
  2. Misery
  3. Anna (Go To Him)
  4. Chains
  5. Boys
  6. Ask Me Why
  7. Please Please Me
  8. Love Me Do
  9. P. S. I Love You
  10. Baby It's You
  11. Do You Want To Know A Secret
  12. Taste Of Honey, A
  13. There's A Place
  14. Twist And Shout
With the Beatles (1963)
  1. It Won't Be Long
  2. All I've Got To Do
  3. All My Loving
  4. Don't Bother Me
  5. Little Child
  6. Till There Was You
  7. Please Mister Postman
  8. Roll Over Beethoven
  9. Hold Me Tight
  10. You Really Got A Hold On Me
  11. I Wanna Be Your Man
  12. Devil In Her Heart
  13. Not A Second Time
  14. Money
A Hard Day's Night (1964)
  1. Hard Day's Night, A
  2. I Should Have Known Better
  3. If I Fell
  4. I'm Happy Just To Dance With You
  5. And I Love Her
  6. Tell Me Why
  7. Can't Buy Me Love
  8. Any Time At All
  9. I'll Cry Instead
  10. Things We Said Today
  11. When I Get Home
  12. You Can't Do That
  13. I'll Be Back
Beatles For Sale (1964)
  1. No Reply
  2. I'm A Loser
  3. Baby's In Black
  4. Rock And Roll Music
  5. I'll Follow The Sun
  6. Mr. Moonlight
  7. Kansas City / Hey, Hey, Hey, Hey
  8. Eight Days A Week
  9. Words Of Love
  10. Every Little Thing
  11. I Don't Want To Spoil The Party
  12. What You're Doing
The Savage Young Beatles (1964) 

Ain't She Sweet (1964)
  1. Ain't She Sweet
  2. Ruby Baby
  3. Why
  4. Get On The Right Track Ba
  5. Ya Ya
  6. Skinny Minnie
  7. Shake, Rattle & Roll
  8. Cry For A Shadow
  9. My Bonnie
  10. Let's Dance
  11. What'd I Say
  12. Nobody's Child
  13. Sweet Georgia Brown
  14. When The Saints Go Marchi
  15. If You Love Me Baby
  16. Shake It Some More
  17. Just You And Me
  18. Kansas City
The Beatles with Tony Sheridan and their Guests and Others (1964) 

Meet The Beatles (1964) 

The Beatles Second Album (1964) 

Something New (1964) 

Beatles '65 (1964)

The Early Beatles (1965) 

Beatles VI (1965)

Help! (1965)
  1. Help
  2. Night Before, The
  3. You've Got To Hide Your Love Away
  4. I Need You
  5. Another Girl
  6. You're Going To Lose That Girl
  7. Ticket To Ride
  8. Act Naturally
  9. It's Only Love
  10. You Like Me Too Much
  11. Tell Me What You See
  12. I've Just Seen A Face
  13. Yesterday
  14. Dizzy Miss Lizzie
Rubber Soul (1965)
  1. Drive My Car
  2. Norwegian Wood (This Bird Has Flown)
  3. You Won't See Me
  4. Nowhere Man
  5. Think For Yourself
  6. Word, The
  7. Michelle
  8. What Goes On
  9. Girl
  10. I'm Looking Through You
  11. In My Life
  12. Wait
  13. If I Needed Someone
  14. Run For Your Life
Yesterday and Today (1966) 

Revolver (1966)
  1. Taxman
  2. Eleanor Rigby
  3. I'm Only Sleeping
  4. Love You To
  5. Here, There And Everywhere
  6. Yellow Submarine
  7. She Said She Said
  8. Good Day Sunshine
  9. And Your Bird Can Sing
  10. For No One
  11. Doctor Robert
  12. I Want To Tell You
  13. Got To Get You Into My Life
  14. Tomorrow Never Knows
A Collection of Beatles Oldies (1966) 

Sgt. Pepper's Lonely Hearts Club Band (1967)
  1. Sgt. Pepper's Lonely Hearts Club Band
  2. With A Little Help From My Friends
  3. Lucy In The Sky With Diamonds
  4. Getting Better
  5. Fixing A Hole
  6. She's Leaving Home
  7. Being For The Benefit Of Mr. Kite!
  8. Within You Without You
  9. When I'm Sixty-Four
  10. Lovely Rita
  11. Good Morning Good Morning
  12. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
  13. Day In The Life, A
Magical Mystery Tour (1968)
  1. Magical Mystery Tour
  2. Fool On The Hill, The
  3. Flying
  4. Blue Jay Way
  5. Your Mother Should Know
  6. I Am The Walrus
  7. Hello Goodbye
  8. Strawberry Fields Forever
  9. Penny Lane
  10. Baby You're A Rich Man
  11. All You Need Is Love
The Beatles (The White Album) (1968)
Disc: 1
  1. Back In The U.S.S.R.
  2. Dear Prudence
  3. Glass Onion
  4. Ob-La-Di, Ob-La-Da
  5. Wild Honey Pie
  6. Continuing Story Of Bungalow Bill, The
  7. While My Guitar Gently Weeps
  8. Happiness Is A Warm Gun
  9. Martha My Dear
  10. I'm So Tired
  11. Blackbird
  12. Piggies
  13. Rocky Raccoon
  14. Don't Pass Me By
  15. Why Don't We Do It In The Road
  16. I Will
  17. Julia
    Disc: 2
  1. Birthday
  2. Yer Blues
  3. Mother Nature's Son
  4. Everybody's Got Something To Hide Except Me And My Monkey
  5. Sexy Sadie
  6. Helter Skelter
  7. Long, Long, Long
  8. Revolution 1
  9. Honey Pie
  10. Savoy Truffle
  11. Cry Baby Cry
  12. Revolution 9
  13. Good Night
Yellow Submarine (1969)
  1. Yellow Submarine
  2. Hey Bulldog
  3. Eleanor Rigby
  4. Love You To
  5. All Together Now
  6. Lucy In The Sky With Diamonds
  7. Think For Yourself
  8. Sgt. Pepper's Lonely Hearts Club Band
  9. With A Little Help From My Friends
  10. Baby You're A Rich Man
  11. Only A Northern Song
  12. All You Need Is Love
  13. When I'm Sixty-Four
  14. Nowhere Man
  15. It's All Too Much
Abbey Road (1969)
  1. Come Together
  2. Something
  3. Maxwell's Silver Hammer
  4. Oh! Darling
  5. Octopus's Garden
  6. I Want You (She's So Heavy)
  7. Here Comes The Sun
  8. Because
  9. You Never Give Me Your Money
  10. Sun King
  11. Mean Mr. Mustard
  12. Polythene Pam
  13. She Came In Through The Bathroom Window
  14. Golden Slumbers
  15. Carry That Weight
  16. End, The
  17. Her Majesty
Let It Be (1970)
  1. Two Of Us
  2. Dig A Pony
  3. Across The Universe
  4. I Me Mine
  5. Dig It
  6. Let It Be
  7. Maggie Mae
  8. I've Got A Feeling
  9. One After 909
  10. Long And Winding Road
  11. For You Blue
  12. Get Back
The Early Years (1971) 

The Beatles 1962-1966 (1973)
Disc: 1
  1. Love Me Do
  2. Please Please Me
  3. From Me To You
  4. She Loves You
  5. I Want To Hold Your Hand
  6. All My Loving
  7. Can't Buy Me Love
  8. Hard Day's Night, A
  9. And I Love Her
  10. Eight Days A Week
  11. I Feel Fine
  12. Ticket To Ride
  13. Yesterday
    Disc: 2
  1. Help!
  2. You've Got To Hide Your Love Away
  3. We Can Work It Out
  4. Day Tripper
  5. Drive My Car
  6. Norwegian Wood (This Bird Has Flown)
  7. Nowhere Man
  8. Michelle
  9. In My Life
  10. Girl
  11. Paperback Writer
  12. Eleanor Rigby
  13. Yellow Submarine
The Beatles 1967-1970 (1973)
Disc: 1
  1. Strawberry Fields Forever
  2. Penny Lane
  3. Sgt. Pepper's Lonely Hearts Club Band
  4. With A Little Help From My Friends
  5. Lucy In The Sky With Diamonds
  6. Day In The Life, A
  7. All You Need Is Love
  8. I Am The Walrus
  9. Hello, Goodbye
  10. Fool On The Hill, The
  11. Magical Mystery Tour
  12. Lady Madonna
  13. Hey Jude
  14. Revolution
    Disc: 2
  1. Back In The U.S.S.R.
  2. While My Guitar Gently Weeps
  3. Ob-La-Di, Ob-La-Da
  4. Get Back
  5. Don't Let Me Down
  6. Ballad Of John And Yoko, The
  7. Old Brown Shoe
  8. Here Comes The Sun
  9. Come Together
  10. Something
  11. Octopus's Garden
  12. Let It Be
  13. Across The Universe
  14. Long And Winding Road, The
Rock & Roll Music (1976) 

Love Songs (1977) 

The Beatles At the Hollywood Bowl (1977) 

Rarities (1979) 

Past Masters Volume 1 (1988)
  1. Love Me Do - (single version with Ringo, mono)
  2. From Me To You - (mono)
  3. Thank You Girl - (mono)
  4. She Loves You - (mono)
  5. I'll Get You - (mono)
  6. I Want To Hold Your Hand
  7. This Boy
  8. Komm, Gib Mir Deine Hand - (mono, German version of "I Want To Hold Your Hand,")
  9. Sie Liebt Dich - (mono, German version of "She Loves You,")
  10. Long Tall Sally
  11. I Call Your Name
  12. Slow Down
  13. Matchbox
  14. I Feel Fine
  15. She's A Woman
  16. Bad Boy
  17. Yes It Is
  18. I'm Down
Past Masters Volume 2 (1988)
  1. Day Tripper
  2. We Can Work It Out
  3. Paperback Writer
  4. Rain
  5. Lady Madonna
  6. Inner Light, The
  7. Hey Jude
  8. Revolution
  9. Get Back - (single version)
  10. Don't Let Me Down
  11. Ballad Of John And Yoko, The
  12. Old Brown Shoe
  13. Across The Universe - (alternate, "Wildlife" version)
  14. Let It Be - (single mix)
  15. You Know My Name (Look Up The Number) - (mono)
Live At The BBC (1994) 

Anthology 1 (1995)
Disc: 1
  1. Free As A Bird
  2. Speech: John Lennon
  3. That'll Be The Day - (The Quarry Men, mono)
  4. In Spite Of All The Danger - (The Quarry Men, mono)
  5. Speech: Paul McCartney
  6. Hallelujah, I Love Her So - (mono)
  7. You'll Be Mine - (mono)
  8. Cayenne - (mono)
  9. Speech: Paul
  10. My Bonnie - (with Tony Sheridan)
  11. Ain't She Sweet
  12. Cry For A Shadow
  13. Speech: John
  14. Speech: Brian Epstein
  15. Searchin' - (mono)
  16. Three Cool Cats - (mono)
  17. Sheik Of Araby, The - (mono)
  18. Like Dreamers Do - (mono)
  19. Hello Little Girl - (mono)
  20. Speech: Brian Epstein
  21. Besame Mucho - (mono)
  22. Love Me Do - (alternate version, w/Pete Best, mono)
  23. How Do You Do It - (mono)
  24. Please Please Me - (early version, mono)
  25. One After 909 - (false starts, mono)
  26. One After 909 - (1963 version, mono)
  27. Lend Me Your Comb - (mono)
  28. I'll Get You - (live, mono)
  29. Speech: John
  30. I Saw Her Standing There - (live, mono)
  31. From Me To You - (live, mono)
  32. Money (That's What I Want) - (live, mono)
  33. You Really Got A Hold On Me - (live, mono)
  34. Roll Over Beethoven - (live, mono)
    Disc: 2
  1. She Loves You - (live, mono)
  2. Till There Was You - (live, mono)
  3. Twist And Shout - (live, mono)
  4. This Boy - (from "The Morecambe And Wise Show," mono)
  5. I Want To Hold Your Hand - (from "The Morecambe And Wise Show," mono)
  6. Speech: Eric Morecambe And Ernie Wise
  7. Moonlight Bay - (from "The Morecambe And Wise Show," mono)
  8. Can't Buy Me Love - (alternate take)
  9. All My Loving - (live, from "The Ed Sullivan Show," mono)
  10. You Can't Do That - (alternate take)
  11. And I Love Her - (alternate version)
  12. Hard Day's Night, A - (alternate take)
  13. I Wanna Be Your Man - (from "Around The Beatles" TV show)
  14. Long Tall Sally - (from "Around The Beatles" TV show)
  15. Boys - (from "Around The Beatles" TV show)
  16. Shout - (from "Around The Beatles" TV show)
  17. I'll Be Back - (demo)
  18. I'll Be Back - (alternate take)
  19. You Know What To Do - (demo)
  20. No Reply - (demo)
  21. Mr. Moonlight - (alternate version)
  22. Leave My Kitten Alone
  23. No Reply - (alternate take)
  24. Eight Days A Week - (false starts)
  25. Eight Days A Week - (alternate take)
  26. Kansas City - (alternate take) / Hey-Hey-Hey-Hey! - (alternate take)
Anthology 2 (1996)
Disc: 1
  1. Real Love
  2. Yes It Is - (combination of take 2 and master)
  3. I'm Down - (take 1)
  4. You've Got To Hide Your Love Away - (take 5, mono)
  5. If You've Got Trouble - (previously unreleased)
  6. That Means A Lot - (previously unreleased)
  7. Yesterday - (take 1, Paul McCartney solo)
  8. It's Only Love - (false start and take 2, mono)
  9. I Feel Fine - (live, mono)
  10. Ticket To Ride - (live, mono)
  11. Yesterday - (live, mono)
  12. Help! - (live, mono)
  13. Everybody's Trying To Be My Baby - (live, mono)
  14. Norwegian Wood (This Bird Has Flown) - (take 1)
  15. I'm Looking Through You - (alternate take)
  16. 12-Bar Original - (previously unreleased)
  17. Tomorrow Never Knows - ("Mark 1," take 1)
  18. Got To Get You Into My Life - (take 5, mono)
  19. And Your Bird Can Sing - (take 2)
  20. Taxman - (take 11)
  21. Eleanor Rigby - (instrumental)
  22. I'm Only Sleeping - (instrumental rehearsal, mono)
  23. I'm Only Sleeping - (take 1, mono)
  24. Rock And Roll Music - (live, mono)
  25. She's A Woman - (live, mono)
    Disc: 2
  1. Strawberry Fields Forever - (demo, mono)
  2. Strawberry Fields Forever - (take 1)
  3. Strawberry Fields Forever - (take 7, mono)
  4. Penny Lane - (alternate mix)
  5. Day In The Life, A - (blend of alternate takes)
  6. Good Morning Good Morning - (take 8)
  7. Only A Northern Song - (blend of alternate takes)
  8. Being For The Benefit Of Mr. Kite! - (takes 1 & 2)
  9. Being For The Benefit Of Mr. Kite! - (take 7)
  10. Lucy In The Sky With Diamonds - (alternate mix)
  11. Within You Without You - (instrumental)
  12. Sgt Pepper's Lonely Hearts Club Band (Reprise) - (take 5, mono)
  13. You Know My Name (Look Up The Number) - (extended, stereo version)
  14. I Am The Walrus - (take 16)
  15. Fool On The Hill, The - (Paul McCartney demo, mono)
  16. Your Mother Should Know - (take 27)
  17. Fool On The Hill, The - (alternate version, take 4)
  18. Hello, Goodbye - (take 16)
  19. Lady Madonna - (alternate mix)
  20. Across The Universe - (take 2)
Anthology 3 (1996)
Disc: 1
  1. Beginning, A
  2. Happiness Is A Warm Gun - (demo, mono)
  3. Helter Skelter - (outtake, mono)
  4. Mean Mr. Mustard - (demo)
  5. Polythene Pam - (demo)
  6. Glass Onion - (demo)
  7. Junk - (demo)
  8. Piggies - (demo, mono)
  9. Honey Pie - (mono)
  10. Don't Pass Me By - (outtake)
  11. Ob-La-Di, Ob-La-Da - (outtake)
  12. Good Night - (outtake)
  13. Cry Baby Cry - (outtake)
  14. Blackbird - (outtake)
  15. Sexy Sadie - (outtake)
  16. While My Guitar Gently Weeps - (solo acoustic)
  17. Hey Jude - (outtake)
  18. Not Guilty - (outtake)
  19. Mother Nature's Son - (outtake)
  20. Glass Onion - (outtake, mono)
  21. Rocky Raccoon - (outtake)
  22. What's The New Mary Jane - (outtake)
  23. Step Inside Love - (outtake) / Los Paranoius - (outtake)
  24. I'm So Tired - (outtake)
  25. I Will - (outtake)
  26. Why Don't We Do It In The Road - (mono, outtake)
  27. Julia - (outtake)  Disc: 2
  1. I've Got A Feeling - (outtake)
  2. She Came In Through The Bathroom Window - (outtake)
  3. Dig A Pony - (outtake)
  4. Two Of Us - (outtake)
  5. For You Blue - (outtake)
  6. Teddy Boy - (outtake)
  7. Rip It Up - (outtake) / Shake Rattle And Roll - (outtake) / Blue Suede Shoes - (outtake)
  8. Long And Winding Road, The - (outtake)
  9. Oh! Darling - (outtake)
  10. All Things Must Pass - (George Harrison demo)
  11. Mailman, Bring Me No More Blues - (outtake)
  12. Get Back - (outtake)
  13. Old Brown Shoe - (George Harrison demo)
  14. Octopus's Garden - (outtake)
  15. Maxwell's Silver Hammer - (outtake)
  16. Something - (mono, George Harrison demo)
  17. Come Together - (outtake)
  18. Come And Get It - (Paul McCartney demo)
  19. Ain't She Sweet
  20. Because - (outtake)
  21. Let It Be - (outtake)
  22. I Me Mine - (outtake)
  23. End, The - (outtake)                                                                                                                        (http://homepage.ntlworld.com/alan.stuart/music/discography/beatles.html)

Ringo Starr

Posted: duminică, 9 mai 2010
Richard Starkey, MBE (born July 7, 1940) is best known by his stage name, Ringo Starr, as the drummer for The Beatles from August 16th 1962 (when he replaced Pete Best) until their breakup in 1970. Ringo is known for his reliable, steady drumming and innovative fills. His easygoing personality made him an easy fit with the other Beatles.

Prior to joining the Beatles, he was the drummer for the Liverpool band Rory Storm and the Hurricanes, from 1959 to 1962. His musical talents were primarily confined to drumming, rather than singing or songwriting. Of all the Beatles, he did the least songwriting. The Beatles explained that when he would present a song as a contender for an album cut, the song would (to them) be a clear knockoff of another popular song, but Ringo would not recognize the similarities until they pointed it out. Ringo did, however, write "Octopus's Garden" (on the album Abbey Road) and "Don't Pass Me By" (on The White Album), as well as contributing to several others. Ringo generally sang at least one song on each studio album; in some cases John Lennon or Paul McCartney would write the lyrics and melody especially for him, as Lennon did with "With a Little Help from My Friends", from Sgt. Pepper's Lonely Hearts Club Band. Often these melodies would be deliberately limited to take into account Starr's vocal range—most of With A Little Help From My Friends is sung within the space of five notes.

Starr did however contribute a number of lyric ideas and song titles to Lennon and McCartney, although usually unintentionally. One of the most famous examples of this was the title for the band's first motion picture, A Hard Day's Night. Starr had emerged from the studio after a long day of work and commented to the others that it had been a "hard day's..." - before he finished his sentence, Starr noticed that it was now night time and added "night". Lennon and McCartney liked the twisted phrase enough that they decided to use it as the title for the still untitled movie the band had been filming. Another example is the title to "Tomorrow Never Knows".

Although some have tried to downplay his contributions to the band, Starr's unique drumming style played a major role in the overall sound of The Beatles. To this day, many drummers list Starr as a major influence including Max Weinberg of The E Street Band, Liberty DeVitto of Billy Joel's band, Phil Collins, Andy Sturmer of Jellyfish, and others. According to Collins, Ringo is "vastly underrated. The drum fills on "A Day In The Life" are very complex things. You could take a great drummer today and say, 'I want it like that.' They wouldn't know what to do." Lennon, McCartney and Harrison have all said that Ringo was the best rock and roll drummer in the world.













In 1972, after the breakup of the Beatles, Starr's solo recording of "Photograph" topped the Billboard charts. He also toured with Ringo Starr's All-Star Band.
He acted in several films such as Candy (1968), The Magic Christian (1969) (alongside Peter Sellers), Son of Dracula (1974), and Caveman (1980). He also worked on the children's television series Shining Time Station, it's Christmas special Shining Time Station: 'Tis A Gift and Thomas the Tank Engine and Friends. He appeared as himself on the cartoon The Simpsons.

George Harrison

Posted:
George Harrison-photo
As lead guitarist for the Beatles, George Harrison provided the band with a lyrical style of playing in which every note mattered. Harrison was one of millions of young Britons inspired to take up the guitar by British skiffle king Lonnie Donegan's recording of "Rock Island Line." But he had more dedication than most, and with the encouragement of a slightly older school friend — Paul McCartney — he advanced quickly in his technique and command of the instrument. Harrison developed his style and technique slowly and painstakingly over the several years, learning everything he could from the records of Carl Perkins, Duane Eddy, Chet Atkins, Buddy Holly, and Eddie Cochran. By age 15, he was allowed to sit in with the Quarry Men, the Liverpool group founded by John Lennon, of which McCartney was a member; by 16 he was a full-fledged member of the group.

The Beatles finally coalesced around Lennon, McCartney, Harrison, and drummer Ringo Starr in 1962, with Harrison established on lead guitar. The Beatlemania years, from 1963 through 1966, were a mixed blessing for Harrison. The Beatles' studio sound was generally characterized by very prominent rhythm guitar parts, and on many of the Beatles' early songs, Harrison's lead guitar was buried beneath the chiming chords of Lennon's instrument. Additionally, he was thwarted as a songwriter by the presence of Lennon and McCartney — the quality and prolificacy of their output left very little room on the group's albums for songs by anyone else. Despite these problems, Harrison grew markedly as a musician between 1963 and 1966, writing a handful of good songs and one classic ("If I Needed Someone"), and also making his first acquaintance of the sitar, an Indian instrument whose sound fascinated him.

In 1966, Harrison finally seemed to find his voice, with two of his songs on the Revolver album, "Taxman" and "Love You Too." In the wake of the group's decision to stop touring, Harrison's playing and songwriting grew
exponentially. The period from 1968 onward was Harrison's richest with the Beatles. He displayed a smooth, elegant slide guitar technique that showed up on their last three albums, and contributed two classic songs, "While My Guitar Gently Weeps" and "Here Comes the Sun," along with "Something," which became the first Harrison song on the A-side of a Beatles single.

Although never known as a strong singer, Harrison's vocals were always distinctive, especially when placed in the right setting — for his first solo record following the group's 1970 break-up, All Things Must Pass, Harrison collaborated with producer Phil Spector, whose so-called "wall of sound" technique adapted well to Harrison's voice. All Things Must Pass and the accompanying single "My Sweet Lord" had the distinction of being the first solo recordings by any of the Beatles to top the charts following their breakup. Unfortunately, Harrison was later successfully sued by the publisher of the 1962 Chiffons hit "He's So Fine," which bore a striking resemblance to "My Sweet Lord."

Harrison followed All Things Must Pass with rock's first major charity event, The Concert for Bangladesh, which was staged as two shows at New York's Madison Square Garden in 1971 to help raise money for aid to that famine-ravaged nation. The second of the two all-star shows was released as a movie and a live triple album. Harrison's next studio album, Living in the Material World, initially sold well, but its leaner, less opulent production lacked the majestic force of All Things Must Pass, and it lacked the earlier album's mass appeal. Subsequent Harrison albums from the 1970s into the '80s always had an audience, but except for Somewhere in England (1981), released in the wake of the murder of John Lennon with the memorial song "All Those Years Ago," none seemed terribly well-crafted or executed. During this same period, Harrison embarked on a successful career as a movie producer with the founding of Handmade Films.

In 1987, Harrison made a return to the top of the charts with his album Cloud Nine, which featured his most inspired work in years, most notably a cover of an old Rudy Clark gospel number called "Got My Mind Set on You," which reached number one on the charts. In 1988, Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison formed the Traveling Wilburys, who have since released two very successful albums.

In 1992 perhaps still smarting from 1974 concert reviews, would make his return to the stage in Japan with Claptons and his band backing him up.

In 1997 Harrison was diagnosed with cancer and had throat surgery. He
considered his cancer to be caused by his 30+ years of smoking so he quit in 1998. In 1999 He was brutaly attacked by a deranged fan whom thought he was a devil worshipper.

In 2001 he re-released All Things Must Pass which included never before heard bonus tracks. He also was working on a new album and released the first single in October called a Horse To Water co-written with his son Dhani.

Throughout 2000 and 2001 Harrison would be treated for his cancer in various countries until November 29th 2001. George Harrison died of cancer at a friends home in Los Angelos around 1:30PM. George Harrison was 58.

Paul McCartney

Posted:
(born June 18, 1942, Liverpool, Eng.) British vocalist, songwriter, composer, bass player, poet, and painter whose work with the Beatles in the 1960s helped lift popular music from its origins in the entertainment business and transform it into a creative, highly commercial art form. He is also one of the most popular solo performers of all time in terms of both sales of his recordings and attendance at his concerts.

McCartney's father, James, worked in the Liverpool Cotton Exchange, and his mother, Mary, was a midwife, out at all hours on her bicycle to deliver babies. Her death from breast cancer in October 1956, when McCartney was age 14, had a profound effect on his life and was the inspiration for his ballad “Let It Be” (1970). His younger brother, Michael, later changed his name to Mike McGear and had a number of hits in the satirical rock group Scaffold. Like fellow Beatles George Harrison and Ringo Starr (Richard Starkey), McCartney grew up in a traditional north of England working-class society, with an extended family frequently visiting the house at 20 Forthlin Road in the Allerton area of Liverpool (the house is now owned by the National Trust). His father had been the leader of Jim Mac's Jazz Band, and in the evenings the family often gathered around the piano, an experience McCartney drew upon for such sing-along songs as “When I'm 64” (1967).

On July 6, 1957, he met John Lennon at Woolton Village Fete and joined his skiffle group, the Quarrymen, which, after several name changes, became the Beatles. When Lennon's mother was killed by a speeding police car in 1958, McCartney, with his own mother's death still fresh in his memory, was able to empathize with the distraught 17-year-old, creating a bond that became the basis of their close friendship. McCartney and Lennon quickly established themselves as songwriters for the group, and, by the time the Beatles signed with EMI-Parlophone in 1962, they were writing most of their own material. By their third album the group stopped recording covers. Lennon and McCartney's songwriting partnership was very important to them, both financially and creatively; even in 1969, when they were estranged over business matters and supposedly not on speaking terms, Lennon brought McCartney his song “The Ballad of John and Yoko” and they worked together on the “middle eight” (the stand-alone section that often comes midway in a song). Their music transcended personal differences.

JOHN LENNON

Posted:
"If John Lennon had only been one of the four members of the Beatles, his artistic immortality would already have been assured. The so-called "smart Beatle," he brought a penetrating intelligence and a stinging wit both to the band's music and its self-presentation. But in such songs as "Strawberry Fields Forever," "Norwegian Wood (This Bird Has Flown)," "Rain" and "In My Life," he also marshaled gorgeous melodies to evoke a sophisticated, dreamlike world-weariness well beyond his years. Such work suggested not merely a profound musical and literary sensibility - a genius, in short -- but a vision of life that was simultaneously reflective, utopian and poignantly realistic.
  
While in the Beatles, Lennon displayed an outspokenness that immersed the band in controversy and helped redefine the rules of acceptable behavior for rock stars. He famously remarked in 1965 that the Beatles were "more popular than Jesus" - a statement that was more an observation than a boast, but that resulted in the band's records being burned and removed from radio station playlists in the U.S. He criticized America's involvement in Vietnam, and, as the Sixties progressed, he became an increasingly important symbol of the burgeoning counterculture.

But it was only after the breakup of the Beatles in 1970 that the figure the world now recognizes as "John Lennon" truly came into being. Whether he was engaging in social activism; giving long, passionate interviews that, once again, broadened the nature of public discourse for artists; defining a new life as a self-described "househusband;" or writing and recording songs, Lennon came to view his life as a work of art in which every act shimmered with potential meaning for the world at large. It was a Messianic attitude, to be sure, but one that was tempered by an innate inclusiveness and generosity. If he saw himself as larger than life, he also yearned for a world in which his ego managed at once to absorb everyone else and dissolve all differences among people, leaving a Zen-like tranquility and calm. "You may say I'm a dreamer, but I'm not the only one," he sang in "Imagine" which has become his best-known song and an international anthem of peace. "I hope someday you'll join us, and the world will live as one."

Such imagery, coupled with the tragedy of his murder in 1980, has often led to Lennon's being sentimentalized as a gentle prince of peace gazing off into the distance at an Eden only he could see. In fact, he was a far more complex and difficult person, which, in part, accounts for the world's endless fascination with him. Plastic Ono Band (1970), the first solo album he made after leaving the Beatles, alternates songs that are so emotionally raw that to this day they are difficult to listen to with songs of extraordinary beauty and simplicity. Gripped by his immersion in primal-scream therapy, which encouraged its practitioners to re-experience their most profound psychic injuries, Lennon sought in such songs as "Mother" and "God" to confront and strip away the traumas that had afflicted his life since childhood.

And those traumas were considerable. Lennon's mother, Julia, drifted in and out of his life during his childhood in Liverpool - he was raised by Julia's sister Mimi and Mimi's husband, George - and then died in a car accident when Lennon was seventeen. His father was similarly absent, essentially walking out on the family when John was an infant. He disappeared for good when Lennon was five, only to return after his son had become famous as a member of the Beatles. Consequently, Lennon struggled with fears of abandonment his entire life. When he repeatedly cries, "Mama, don't go/Daddy come home," in "Mother," it's less a performance than a scarifying brand of therapeutic performance art. And in that regard, as well as many others, it revealed the influence of Yoko Ono, whom Lennon had married in 1969, leaving his first wife, Cynthia, and their son Julian in order to do so.

The minimalist sound of Plastic Ono Band was significant too. Lennon had come to associate the elaborate musical arrangements of much of the Beatles' later work with Paul McCartney and George Martin, and he consciously set out to purge those elements from his own work. Co-producing with Ono and the legendary Phil Spector, he built a sonic environment that could not have been more basic - guitar, bass, drums, the occasional piano -- whatever was essential and absolutely nothing more. Lyrically, he turned away from the psychedelic flights and Joycean wordplay of such songs as "I Am the Walrus" and "Lucy in the Sky With Diamonds" - as well as his books, In His Own Write and A Spaniard in the Works -- and toward a style in which unadorned, elemental speech gathered poetic force through its very directness.
 
On his next album, Imagine (1971), Lennon felt confident enough to reintroduce some melodic elements reminiscent of the Beatles into his songs. Working again with Ono and Spector, he retains the eloquent plainspokenness of Plastic Ono Band, but allows textural elements such as strings, to create more of a sense of beauty. The album's title track alone ensured its historical importance; it is a call to idealism that has provided solace and inspiration at every moment of social and humanitarian crisis since it was written.

From there Lennon turned to a style that was a sort of journalistic agit-prop. Sometime In New York City (1972) is as outward-looking and blunt as Imagine was, for the most part, soft-focused and otherworldly. As its title suggests, the album reflects Lennon's immersion in the drama and noise of the city to which he had moved with Yoko Ono. And as its cover art suggests, the album is something like a newspaper - a report from the radical frontlines on the political upheavals of the day. His activism would create enormous problems for Lennon, however. The Nixon administration, paranoid about the possibility that a former Beatle might become a potent leader and recruiting tool of the anti-war movement, attempted to have Lennon deported. Years of legal battles ensued before Lennon finally was awarded his green card in 1976.

Lennon's political struggles unfortunately found their match in his personal life. He and Ono split up in the fall of 1973, shortly before the release of his album, Mind Games. He moved to Los Angeles and later described the eighteen months he spent separated from Ono as his "lost weekend," a period of wild indulgence and artistic drift. Like Mind Games, the albums he made during this period, Walls and Bridges (1974) and Rock N Roll (1975), are the expressions of a major artist seeking, with mixed results, to recover his voice. None of them lack charm, and their high points include the lovely title track of Mind Games; Walls and Bridges' "Whatever Gets You Through the Night," a rollicking duet with Elton John that gave Lennon his first number-one single as a solo artist; and the sweet nostalgia of Rock N Roll, a covers album that was Lennon's tribute to the musical pioneers of his youth. But none of those albums rank among his greatest work.

In 1975, Lennon reunited with Ono, and their son Sean was born later that year. For the next five years, Lennon withdrew from public life, and his family became his focus. Then, in 1980, he and Ono returned to the studio to work on Double Fantasy, a hymn to their life together with Sean. The couple was plotting a full-fledged comeback - doing major interviews to support the album's release, recording new songs for a follow-up, planning a tour. Then, shockingly, Lennon was shot to death outside the apartment building where he and Ono lived on the night of December 8, 1980.

Lennon's death broke hearts around the world. In the U.S., it recalled nothing so much as the assassination of John Kennedy in 1963, an event for which, ironically, the arrival of the Beatles a few months later had provided a welcome tonic. In the twenty-five years since, Lennon's influence and symbolic importance have only grown. His music, of course, will live forever. But he has survived primarily as a restless voice of change and independent thought. He is an enemy of the status quo, a bundle of contradictions who insisted on a world in which all the various elements of his personality could find free, untrammeled expression. Innumerable times since his death Lennon has been sorely missed. And just as many times and more he has been present - evoked by all of us who find ourselves and each other in the music he made and the vision that he articulated and tried to make real."