George Martin, who died in March of 2016, was, of course, the producer of The Beatles. He was not only the man guiding the creation of their records, but also the one responsible for getting them signed to the label at which he was employed, EMI – the UK company of which Capitol is an American wing.
But all labels, both in the UK and the US, initially rejected them, based on the erroneous assumption that solo artists, not bands, were all the record-buying public wanted.
George Martin, a classically-trained musician who was beloved by The Beatles, and others, for his comedy recordings with The Goon Show starring Peter Sellers, usually saw things in accord with the company. Yet he heard something singular in the music of this band.
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John Lennon’s iconic, psychedelic 1965 Rolls-Royce Phantom V is on display in the main lobby of the Royal B.C. Museum in Victoria through mid-March.
The Beatle ordered the car through R.S. Mead Ltd. in Maidenhead in December 1964, without having a driver’s licence. He got his L before the vehicle arrived in June 1965. The custom-made car, with all the bells and whistles of the day, was probably purchased through NEMS Enterprises, the joint management company that their manager Brian Epstein and The Beatles formed to run their business affairs. The same year, NEMS also purchased a Bentley S3 for Epstein and a Beatles “company car,” a 1965 Rolls-Royce Silver Cloud III LWB Limousine known as CEL89.
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When John Lennon wanted to pursue an outlandish vocal sound for the Beatles song “Tomorrow Never Knows,” it presented young engineer Geoff Emerick with the chance to show off what he could do.
The sessions for the group's 1966 album Revolver were Emerick's first interactions with the Beatles. The band decided to give up trying to record music it could perform live and instead explore the full potential of the studio environment, as the late Emerick once told Uncle Joe Benson on the Ultimate Classic Rock Nights radio show.
“We started doing ‘Tomorrow Never Knows,'and John wants this magical Dali Lama vocal sound,” he said. “And there’s the revolving speaker, the Leslie speaker from the Hammond organ. So, ‘Wow, let’s put John’s voice through that!’”
The moment when Phil Collins thought he’d been fired by ex-Beatle George Harrison…
When the Beatles had split following their final album, Let It Be, and each member started to pursue solo ventures, George Harrison started work on his album All Things Must Pass – and Phil Collins was drafted in to help.
At the time Collins was in Flaming Youth – a British rock band from the ‘60s – when their manager got a call from Ringo Starr’s chauffeur who was looking for a percussionist, and Collins was put forward for the job.
“So I went down to Abbey Road and Harrison was there and Ringo and Billy Preston and Klaus Voormann and Phil Spector, and we started routining the song,” Collins recalled in an interview with Classic Rock.
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If you favored bands with a number of lead guitar gamers, The Beatles actually match the invoice within the 1960s. On data as early as A Hard Day’s Night (’64), you possibly can hear John Lennon taking the solo on “You Can’t Do That.”
The following yr, followers of the Fab Four heard Paul McCartney out in entrance along with his piercing work on “Drive My Car.” During the recording of Revolver (1966), Paul once more jumped in to play a imply solo on “Taxman,” a track George Harrison had written for the event.
Though George argued in any other case, these current for Beatles recording periods recalled the band’s lead guitarist being sad about getting solos taken from him. (“I’ll Follow the Sun” was one instance.”)
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The first footage from Peter Jackson’s forthcoming The Beatles documentary has been shown to journalists at a Universal Music showcase in America, and it could change the way we view the Fab Four forever.
The Lord of the Rings director has been working on the film for a year now, remastering hours of unused footage from Michael Lindsay-Hogg’s 1970 documentary film Let It Be, with a process similar to his work on 2018’s WWI doc They Shall Not Grow Old.
Jackson has editing the previously unreleased footage into a new film that promises to bust the myth that the sessions were fraught with tension between band members John Lennon, Paul McCartney, George Harrison and Ringo Starr.
Variety reports that the first clip showed the band in recording sessions for their penultimate album: “joking around, making fun of each other, singing in silly accents and generally indulging in vintage Moptop hijinks.”
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If you have been in search of a political assertion from The Beatles, you didn’t hear something within the band’s early years all over 1967. After coming back from their ’68 journey to India, John Lennon deliberate to vary that.
The first time the Fab Four obtained collectively within the studio, the band ran via John’s new track, which he’d referred to as “Revolution.” After Beatles followers had digested “Hello, Goodbye” and “Lady Madonna,” the track John proposed as the subsequent single was going to be completely different.
“I wanted to put out what I felt about revolution,” he informed Rolling Stone in 1971. “I thought it was time we f–king spoke about it, the same as I thought it was about time we stopped not answering about the Vietnam war.”
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By 1968, The Beatles featured three premiere songwriters vying for space on the band’s records. If you didn’t deliver your best work, there was a good chance your song would get bumped. That happened to George Harrison on Sgt. Pepper a year earlier; then it happened again on The White Album.
Indeed, even on a double album, The Beatles didn’t have room for George’s “Sour Milk Sea” or “Not Guilty.” So it’s safe to say there was some stiff competition at this point in the band’s run. That’s going to happen with Paul McCartney and John Lennon writing songs for the same records.
But the competition didn’t end with songwriting. Since these three Beatles all played guitar, bass, and keyboard, you also had jockeying for who might play what on a particular track. Hence Paul taking a guitar solo on “Taxman” and John doing the same on “Get Back.”
When Paul McCartney looks back at his days in The Beatles, he’ll note the friendly rivalry he and John Lennon had when it came to songwriting. In Paul’s mind, the “amazing competition” he and John had pushed the two to produce their best work in the peak Fab Four years.
“It was a great way for us to keep each other on our toes,” Paul told Uncut in 2004. “I’d write ‘Yesterday’ and John would go away and write ‘Norwegian Wood.’ If he wrote ‘Strawberry Fields’, it was like he’d upped the ante, so I had to come up with something as good as ‘Penny Lane.’”
It didn’t start out that way. Before Paul and John began writing on their own, they often worked together “face to face” and “eyeball to eyeball.” That’s how we got early hits like “I Want to Hold Your Hand” and “She Loves You.”
Most Beatles writers see the competition really kicking off in 1964, around the time the pair composed songs for A Hard Day’s Night. After Paul won the A-side of a single with “Can’t Buy Me Love,” John went on a tear that made him the driving fo details
As time goes by, some songs, some albums, and some bands become legends. So cult that even after decades of 'discovery', they still have an army of people behind them who respect and listen to them. The Beatles, English pop band, founded in 1957 in Liverpool, is one of those bands.
The members included George Harrison, solo guitar and vocals; John Lennon, rhythm guitar and vocals; Paul McCartney, bass and vocals; and Ringo Starr (real name Richard Starkey; born 1940), drums. First, they became famous in England, and after that, they caused the unprecedented hysteria of youth (Beatlemania) all over the world. After the split in 1970, each of the members of the band achieved, with varying success, a separate music career. These are their top 10 highest-grossing albums of all time.