|The Beatles on stage in Manchester, 1963.|
The Beatles Through The Years has been one of the leading internet entertainment sites related to the Beatles since its incarnation in 2011, for one simple reason: we focus on the fans. While we do provide the history of The Band, promote the premier all-inclusive Beatles Tour of Liverpool and London, talk about the latest Beatles-related news in our blogs and on the Tea and a Butty Podcast, discuss their albums and movies, and swoon over pictures of the lads, we also highlight the individuals that make up this particular fandom, because Beatles fans are what keeps the legend of the Beatles alive.
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Friday, 30 September 2016
Tuesday, 27 September 2016
Friday, 23 September 2016
|Eight Days A Week: The Touring Years.|
As many of you know, and have no doubt seen by now, Ron Howard has recently released a Beatles documentary 'Eight Days A Week - The Touring Years' and it is nothing short of a labour of love.
However, the story is one us hardcore Beatles fans have heard and seen before but there are still treats for us in store in watching, such as the Pathe film footage of their 20 November 1963 concert at the Manchester ABC Cinema. This footage has been cleaned up a bit and restored and, for me at least, is a highlight of the film. Also, the colouring of their 1964 JFK Press Conference, their Washington DC and Blackpool concerts was also a treat.
|Shake It Up (Jelly) Baby: The Manchester footage now clearly shows the Jelly Babies that litter the stage, thrown by fans who'd heard George remark they were his favourite sweet.|
|Sigourney Weaver, age 14, captured by TV cameras at the Beatles concert at the Hollywood Bowl in 1964.|
The end of the film was quite poignant, with the decision to stop touring largely due to the pressures of the hectic schedule and the mania that surrounded the group. Their final advertised show being at Candlestick Park, San Francisco in 1966.
|1965's Blackpool Night Out colourized for the documentary.|
Ron and his team did a fantastic job with the whole thing and I hope to see more from them, perhaps a documentary on the studio years? What are your thoughts on the documentary?
Monday, 15 August 2016
PAUL: "I just want the four of us to get together somewhere and sign a piece of paper saying it's all over and we want to divide the money four ways. No one else would be there, not even Linda or Yoko or Allen Klein. We'd just sign the paper and hand it to the business people and let them sort it out. That's all I want now, but John won't do it. Everybody thinks I am the agressor but I'm not, you know. I just want out."
"The Beatles never actually copped for all this money, everyone else did. I wouldn't care but you think we could have a new deal now. You'd think they'd release us. They've made a lot of money and we could shake hands and part company but now we can't. I'm being sued for a million pounds in New York by Northern Songs. It's so complicated."
"There was a bit of hype on the back of the (Let It Be) sleeve for the first time ever on a Beatles album. At the time, the Beatles were very strained with each other and it wasn't a happy time. It said it was a 'new-phase Beatles album' and there was nothing further from the truth. That was the last Beatles album and everybody knew it... (Allen) Klein had it re-produced because he said it didn't sound commercial enough."
"John's whole image now is very honest and open. He's alright, is John. I like his 'Imagine' album but I didn't like the others. 'Imagine' is what John is really like but there was too much political stuff on the other albums. You know, I only really listen to them to see if there's something I can pinch." (laughs)
"'How Do You Sleep'? I think it's silly. So what if I live with straights? I like straights. I have straight babies. It doesn't affect him. He says the only thing I did was 'Yesterday.' He knows that's wrong. (Paul motions to the studio below) I used to sit down there and play, and John would watch me from up here, and he'd really dig some of the stuff I played to him. He can't say all I did was 'Yesterday' because he knows and I know it's not true."
“You know I was asked to play George’s concert in New York for Bangla Desh and I didn’t. Well, listen. Klein called a press conference and told everyone I had refused to do it -– it wasn’t so. I said to George the reason I couldn’t do it was because it would mean that all the world’s press would scream that the Beatles had got back together again and I know that would have made Klein very happy. It would have been a historical event and Klein would have taken the credit. I didn’t really fancy playing anyway. If it wasn’t for Klein I might have had second thoughts about it but I don’t know, really. Allen’s a good talker. The others really dig him, but I’ve made the mistake of trying to advise them against him and that pissed them off. I think they might secretly feel that I am right though."
"John wanted to do a big thing in Toronto (9/13/69 concert, Toronto Rock and Roll Revival) but I didn't dig that at all. I hear that before he went on stage he was sick, and that's just what I didn't want. Like anybody else I have been nervous because of the Beatles thing."
"John and Yoko are not cool in what they are doing. I saw them on television the other night and thought that what they are saying about what they wanted to do together was basically the same as what Linda and I want to do."
"Before John was leaving the Beatles, I was lying in bed at home one night and I thought we could get a band together, like his Plastic Ono Band. I felt the urge because we had never played live for four years. We all wanted to appear on a stage but not with the Beatles. We couldn't do it as the Beatles because it would be so big. We'd have to find a million-seater hall or something."
"I wanted to get in a van and do an unadvertised concert at a Saturday night hop at Slough Town Hall or somewhere like that. We'd call ourselves Rikki and the Red Streaks or something and just get up and play. There'd be no press and we'd tell nobody about it. John thought it was a daft idea."
"My best playing days were at the Cavern lunchtime sessions. We'd go onstage with a cheese roll and a cigarette and we felt we had really something going on. The amps used to fuse and we'd stop and sing a Sunblest Bread commercial while they were repaired. I'd walk off down the street playing my guitar and annoying the neighbors. I couldn't do that now, but it's what I want to do with this new group."
"We just don't know how we are going to do. I don't want to start with a Wings concert at the Albert Hall with the world watching and analyzing. I just want to play a small dance, and rock a bit."
"We will start just by turning up at a place we fancy visiting, and just play a straightforward gig. We might use another name to keep it quiet. We have rehearsed and we can play live together. In fact it sounds quite good. It doesn't really matter that much."
"I don't want Wings to become a media group, with our signatures on knickers which are sold for promotion. I don't like that now. I was happy with that situation in the Beatles, but it died in the end. We are starting off as a new band, but if we ever get to be huge like the Beatles it will be very different."
John replied with an open letter, written to Paul, in the pages of Melody Maker.
"Dear Paul, Linda et all the wee McCartney's,
Thanks for your letter.
1. We give YOU money for your bits of Apple.
2. We give you MORE money in the form of royalties which legally belong to Apple (I know we're Apple, but on the other hand we're not.).
Maybe there's an answer there somewhere, but for the millionth time in these past few years I repeat, 'What about the TAX?' It's all very well, playing 'simple honest ole Paul' in Melody Maker but you know damn well we can't just sign a bit of paper.
You say, 'John won't do it.' I will if you indemnify us against the tax man! Anyway, you know that after we have OUR meeting, the fucking lawyers will have to implement whatever we agree on, right?
If they have some form of agreement between THEM before WE meet, it might make it even easier. It's up to you, as we've said many times, we'll meet whenever you like. Just make up your mind! Eg. two weeks ago I asked you on the phone, 'Please let's meet without advisors, etc. and decide what we want,' and I emphasized especially Maclen (Lennon and McCartney's songwriting company) which is mainly our concern, but you refused, right?
You said under NO CONDITION would you sell to us if we didn't do what you wanted, you'd sue us again and that Ringo and George are going to break you John, etc. etc.
Now I was quite straight with you that day, and you tried to shoot me down with your emotional "logic." If YOU'RE not the aggressor (as you claim) who the hell took us to court and shat all over us in public?
As I've said before, Have you ever thought that you might POSSIBLY be wrong about something? Your conceit about us and Klein is incredible. You say you "made the mistake of trying to advise them against Klein and that pissed them off" and we secretly feel that you're right! Good God! You must know WE'RE right about Eastman.
One other little lie in your "It's only Paulie" MM bit: Let It Be was not the first bit of hype on a Beatle album. Remember Tony Barrow? And his wonderful writing on "Please Please Me" etc. etc. The early Beatle Xmas records!
And you gotta admit it was a 'new-phase' Beatle album, incidentally written in the style of the great Barrow himself! By the way, what happened to my idea of putting the parody of our first album cover on the Let It Be cover?
Also, we were intending to parody Barrow originally, so it was hype. But what is your LIFE article? Tony Barrow couldn't have done it better. (And your writing inside of the Wings album [Wild Life] isn't exactly the realist is it?) Anyway, enough of this petty bourgeois fun.
You were right about New York! I do love it; it's the ONLY PLACE TO BE. (Apart from anything else, they leave you alone too!) I see you prefer Scotland! (MM) -- I'll bet you your piece of Apple you'll be living in New York by 1974 (two years is the usual time it takes you -- right?)
Another thing, whadya mean BIG THING in Toronto? It was completely spontaneous. They rang on the Friday, we flew there, and we played on Saturday. I was sick because I was stone pissed. Listen to the album -- with no rehearsal too. Come on Macka! Own up! We'd never played together before! Half a dozen live shows with no big fuss. In fact we've BEEN DOING what you've said the Beatles should do. Yoko and I have been doing it for three years! (I said it was daft for the Beatles to do it. I still think it's daft.) So go on and do it! Do it! Do it! E.g. Cambridge 1969, completely unadvertised! A very small hall. Lyceum Ballroom, 1969, no fuss, great show -- thirty piece rock band! "Live Jam" out soon! Filmore East, 1971, unannounced. Another good time had by all -- out soon!! We even played in the streets here in the Village (our spiritual home!?) with the great David Peel!! We were moved on by the cops even!! It's best just to DO IT.
I know you'll dig it, and they don't even expect the Beatles now anyway!
So you think 'Imagine' ain't political? It's 'Working Class Hero' with sugar on it for conservatives like yourself!! You obviously didn't dig the words. Imagine! You took 'How Do You Sleep' so literally (read my own review of the album in Crawdaddy.) Your politics are very similar to Mary Whitehouse's -- 'Saying nothing is as loud as saying something.'
Listen, my obsessive old pal, it was George's press conference -- not 'dat ole debbil Klein' -- He said what you said: 'I'd love to come but...' Anyway, we basically did it for the same reasons -- the Beatle bit -- they still called it a Beatle show, with just two of them!
Join the Rock Liberation Front before it gets you.
Wanna put your photo on the label like uncool John and Yoko, do ya? (Aint ya got no shame!) If we're not cool, WHAT DOES THAT MAKE YOU?
No hard feelings to you either. I know basically we want the same, and as I said on the phone and in this letter, whenever you want to meet, all you have to do is call.
All you need is love
Power to the people
Free all prisoners
Jail the judges
Love and peace
Get it on and rip 'em off
P.S. The bit that really puzzled us was asking to meet WITHOUT LINDA AND YOKO. I thought you'd have understood BY NOW that I'm JOHNANDYOKO.
P.P.S. Even your own lawyers know you can't "just sign a bit of paper." (or don't they tell you?)"
In hindsite, both John and Paul regretted the "feud" and admitted that through it all, the still loved each other. Or, maybe that's just this author's opinion. ;-)
PAUL circa-1994: "When John did 'How Do You Sleep?' I didn't want to get into a slinging match. Part of it was cowardice. John was a great wit, and I didn't want to go fencing with the rapier champion of East Cheam -- But it meant that I had to take shit -- It meant that I had to take lines like 'All you ever did was Yesterday.' I always find myself wanting to excuse John's behavior, just because I loved him. It's like a child, sure he was a naughty child, but don't you call my child naughty. Even if it's me he's shitting on, don't you call him naughty. That's how I felt about this and still do. I don't have a grudge whatsoever against John. I think he knew exactly what he was doing and because we had been so intimate he knew what would hurt me and used it to great effect. I thought, 'Keep your head down and time will tell,' and it did because in the 'Imagine' film (Imagine John Lennon, documentary) he says it was really all about himself."
JOHN 1974: "It's not about Paul, it's about me. I'm really attacking myself. But I regret the association... well... what's to regret? He lived through it. The only thing that matters is how he and I feel about these things and not what the writer or commentator thinks about it. Him and me are okay."
JOHN 1974: "When I slagged off the Beatles thing, it was like divorce pangs and, me being me, it was 'Blast this! Fuck the past!' I've always had a bit of a mouth and when a thing begins that way you have to live up to it. Then Paul and me had that fight in the pages of MM. It was a period I had to go through. I sort of enjoy the fight at the time -- that's the funny thing. Now we've got it all out and it's cool. I can see the Beatles from a new point of view."
Source: Transcribed by www.beatlesinterviews.org from original source material
Thursday, 11 August 2016
|Tom Murray's Mad Day Out with The Beatles.|
During 1968, The Beatles were entering their final phase of being a group. With the death of Brian Epstein a year before, they had started to fight amongst themselves, tensions came to a head during the sessions for the White Album and things were never the same again. Still, photo shoots were a necessity to keep their evergreen image in the public eye and in July, they set up a photo shoot that became known as the 'Mad Day Out' shoot, as they constantly kept changing locations in London due to fans overrunning them. Tom Murray was the photographer and he took 23 fabulous shots of the band over the course of the day.
New York, NY – Tom Murray left his house on July 28th 1968 not knowing he would step into the most memorable photo shoot of his early career. Waiting for him were John, Paul, George & Ringo, of The Beatles, along with hurdles of screaming fans that pushed the group to move constantly from location to location and unknowingly inspiring the name of the famous collection of 23 photographs: The Mad Day: Summer of ’68. Almost fifty years later Tom Murray’s mad day has come back to life in a visual book, created by Paul Skellett and Simon Weitzman, that dives into the details, backstage, culture of the 60’s and anecdotes, that made the last publicity photoshoot done by the group before it split up, so glorious: Tom Murray’s Mad Day Out With The Beatles.
Published by Archivum, Tom Murray’s Mad Day Out With The Beatles, draws from the legendary impact that the band had-and continues to have- on society. Through Tom Murray’s photographs, memories and tales the book tells a visual story of how the Beatles weren’t only a music sensation but a phenomenon that influenced generations.
Murray retraces the locations that made the backdrop of the Mad Day photoshoot: The Docklands, Old Street Station (where Paul McCartney nearly fell off the roof), Regents Park, Paul McCartney’s house in St. John’s Wood, St. Pancras Church Garden and Wapping Pier Head. For each image shot Murray tells the story of how it came to be, depicting the playful and unexpected characters of each member of the band and recreating the energy of that moment.
To buy the book, head here: