When you watch the epic Beatles race, you might point to “Nowhere Man” like a line in the sand. Although John Lennon shouted in despair (“Help!”) On a previous track, the assumption was that he needed the help of a significant other (that is, a woman).
This was not the case for “Nowhere Man”, who arrived on Rubber Soul, the 1965 record, George Harrison called the “first full-fledged album of the group”. On this track, John sang about a character who is “as blind as possible” and who can’t even get a point of view.
Indeed, he could not have walked further after works like “A Hard Day’s Night” and “If I Fell”, which John had written the previous year. And, when John talked about composing “Nowhere Man,” he emphasized how different the songwriting experience was for him.
A Japanese design office has produced a series of humorous infographics to promote social distancing, including one referencing the iconic cover of The Beatles' "Abbey Road" album, with the slogan, "Let's stay one Beatles apart."
The images, also including two kneeling samurais facing each other across a tatami mat, which measures about 2 meters, have been widely shared on social media around the world.
"Using creative designs, we have been able to widely disseminate information that can protect human lives" amid the coronavirus pandemic, said Eisuke Tachikawa, president of Nosigner, based in Yokohama, near Tokyo.
"It's truly the happiest thing for those who made" the images, he said.
Nosigner manages a website called Pandaid to disseminate useful information to cope with COVID-19 through infographics and other content.
Source: KYODO NEWS/english.kyodonews.netdetails
Pink Floyd’s 1973 album Dark Side Of The Moon was a seminal moment in music that would go on to influence countless other artists who, like most at the time of release, were taken aback by the record’s groundbreaking new sound.
The band had a pioneering attitude throughout the process of creating the record and, at one point, even asked Paul McCartney to be interviewed as part of an ambitious contribution. Pink Floyd, at the time of forming their psychedelic sonic creation, were planning to sample Macca on the record. However, despite Beatle founder obliging, they would leave his contribution off the record.
The collaboration came about after McCartney was openly a fan of Pink Floyd’s work and the thriving psychedelic scene which they had played a huge part in curating in London in the late 1960s. Floyd decided to carry out a series of interviews for their record from which they would famously use sporadically on the new material and, a moment’s contemplation, thought the former Beatle would be a perfect fit.
You have to look hard to find a gentler soul than Ringo Starr. The Beatles drummer has been keeping moods light and putting smiles on people’s faces for some six decades in the public eye. And he doesn’t seem ready to stop anytime soon.
When you read about the Fab Four’s darkest days (roughly 1968-69), you can’t help but marvel how Ringo mostly kept his cool as his bandmates had their regular eruptions. (During that stretch, Ringo wrote “Octopus’s Garden” and crooned the impossibly sweet “Good Night.”)
From the very beginning, Ringo became famous for his malapropisms and goofy asides that kept his bandmates laughing. And though the Fab Four rejected Ringo’s title for Revolver (he pitched After Geometry), John Lennon did use Ringo-isms for two classic songs he wrote.
The German photographer shot some of the earliest pictures of the Beatles and helped shape their iconic visual style. Tributes poured in following her death, with Ringo Starr calling her "a beautiful human being."
Astrid Kirchherr, a German photographer famous for her early images of the Beatles in the 1960s, has died at the age of 81.
She died on Tuesday in her hometown of Hamburg just days before her 82nd birthday, her friend and fellow photographer Kai-Uwe Franz said on Friday.
German newspaper Die Zeit reported that she passed away following a "short, serious illness."
Kirchherr took some of the earliest pictures of the band during their time in Hamburg. In addition to her striking images, she's also credited with influencing the style of band's clothes and their infamous mop-top hairdos.
Source: Deutsche Welle (www.dw.com)details
The Beatles and The Rolling Stones are two of the biggest bands to come out of the UK. And it was Mick Jagger who inducted the Fab Four into the Rock and Roll Hall of Fame back in 1988. During his speech, the singer revealed which Beatles song made him sick with jealousy.
During his induction speech, Jagger said: “At that point, the Stones were playing at these little clubs in London.
“[We were] doing Chuck Berry songs and blues and things.
“And we [were] a pretty scruffy lot and we thought that we were totally unique animals.
“I mean there was no one like us.”
The Rolling Stones frontman continued: “And then we heard there was a group from Liverpool.
“This group, they had long hair, scruffy clothes but they had a record contract.
“And they had a record in the charts, with a bluesy harmonica on it, called Love Me Do.
“When I heard the combination of all these things, I was almost sick.”
Source: George Simpson/express.co.ukdetails
“The Girl Can’t Help It” is a 1956 film by Frank Tashlin about a young woman, played by Jayne Mansfield, who dreams of being a star vocalist. Some consider it the first rock ‘n’ roll music video ever made; built into the story line were full versions of song performances by Eddie Cochran and Gene Vincent. But Little Richard’s music was the star of the show – so much so that his song “The Girl Can’t Help It” became the movie’s title.
At a small Liverpool movie theater, a 14-year-old Paul McCartney watched the hit film, mesmerized by the energy, talent and charisma of Little Richard, who had a cameo performing “Ready Teddy.”
Source: Clint Randles/theconversation.comdetails
Reasonable visionary that he was, George Martin strongly encouraged the boys to drop the filler, the frivolity and the self indulgence and pare the double album down to a tight single record.
“I really didn’t think a lot of the songs were worthy of release,” Martin famously said. “I said, ‘I don’t want a double album. I think you ought to cut out some of these, concentrate on the really good ones and have yourself a really super album.’”
The boys, or more appropriately The Boys, would hear none of it.
For an album cohesively entitled “The Beatles,” 1968′s “White Album” is by far the most self-centered and disjointed of all the band’s releases.
The majority of the songs were written, individually, while John, Paul, George and Ringo were on meditation retreat in India. And when it came time to commit the creations to tape, rarely were all four Fabs in the studio at the same time.
Source: Jon Pompia/chieftain.com
The Beatles were not one for using real names in their material and, instead, opted to use fantastical sounding names that listeners didn’t need telling were fictional—take, for example, ‘Mean Mr. Mustard’. But even with that said, was ‘Eleanor Rigby’ the exemption to the rule?
The song famously sees Paul McCartney curate the story of a lonely woman named Eleanor Rigby and an inept pastor named Father McKenzie who, as part of the tale, delivers the sermon at Rigby’s funeral after she dies alone to an empty service.
McCartney originally believed that he made up the surnames in the track and decided to use the name ‘Eleanor’ because of Eleanor Bron, an actress who appeared in The Beatles’ film Help!. The surname of the Eleanor Rigby character was originally Bygraves before Macca changed it to Rigby after seeing a Bristol wine merchant called ‘Rigby & Evens Ltd, Wine & Spirit Shippers’.
The priest in the song originally labelled ‘Father McCartney‘ because the name found a perfect fit with the beat. However, the Beatle didn’t want to freak his Dad out so decided to have a look through the phone book and landed o details
Did the Let It Be documentary (1970) portray The Beatles as more unhappy than they actually were? Paul McCartney and Ringo Starr think so, and that’s why the two surviving members of the Fab Four can’t wait for the upcoming The Beatles: Get Back doc by Peter Jackson.
Indeed, if we see the band joyously at work in January ’69, the doc will represent a revelation. After all, George Harrison recalled the Get Back/Let It Be sessions as a “terrible,” “stressful, difficult time.” And he described the film shoot as “very unhealthy and unhappy” for him.
Instead of comparing documentaries to see who’s right (or who has the more sympathetic film editor) you might just look at the music The Beatles recorded in January ’69. In George’s corner, you won’t find much.
If you add up the songs that made it onto Let It Be, you’d only get a total of 4 minutes 6 seconds of music prior to Phil Spector’s enhancements. And you’ll hear John Lennon taking two guitar solos on the record as well.