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THE BEATLES----------1988

JOHN LENNON---------1994




Beatles Picture
The group was originally called the Quarrymen and then changed their name to The Silver Beatles, which at this point the group members were John , Paul, George and Stu Stutcliffe and their drummer Johnny Hutch. The group was from Liverpool ,England  but basically got their start in Hamburg ,Germany in the many clubs. Brian Epstein found the group in the legendary club in London called The Cavern and had the group release a song called My Bonnie as their first single on the MGM record label . The group then went on to release two other songs on the record label Tollie called Twist and Shout  and P. S. I Love You.
The group then moved onto Capitol records for the rest of their years where they meet up with George Martin who became the third creative force in the group. He suggested that Pete Best their current drummer be replaced by a guy from Rory Storm and the Hurricanes called Richard Starkey (Ringo) . At this point the group went on to their success and invaded the USA in 1964 on the Ed Sullivan Show!!

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She Loves You Ya , Ya Ya !!!

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The Beatles
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Paul Mc Cartney

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There were many great groups in the sixty's however there was only one super group,"The Beatles", John,Paul,George,and Ringo and who would not know them. Yes, it all started in 1964 on the Ed Sullivan Show in New York when the Beatles first invaded America. "Love me Do" helped get them started but "She Loves You" is the song which put them on top. Throughout the early sixties they were the group which no one could beat, hit after hit. Then came 1966 with Sgrt Peppers, the album which changed music at the time and still is one of the all time greatest albums. From this point on, the Beatles only seemed to get better each album especially during the Apple years. The one factor of the next era was the group only played three of their songs live again. The song, " All You Need Is Love" was sung live on the first satellite broadcast around the world with this song with such people as Mick jagger and others as backing and the last concert called the concert on the roof was when they sang the songs" Get Back " and " Don't Let Me Down" Anyone who lived through this era can remember saying ,Did you get the new Beatle Album? They seemed to advance music with each album. Finally, in 1971 the greatest group disbanded. All of the members went on to record many solo albums.

                                                                                                       Tom Brady




George Martin was the Capital reprehensive for The Beatles and the man who decided that Pete Best should leave the group and Ringo should join the group.  George Martin was the producer for 95% of the group's music and also was the arranger in many cases. If you ever get a chance to listen to John's Strawberry Fields before George added all the background music you will see the impact George had on the group's music. Another example of George at work was the Sgt Peppers album on the song called A Day In a life which is actually two songs one written by Paul and another written by John but both songs were unfinished ed until George combined them with a large instrumental in between the sections.   George was often referred to as the Fifth Beatle.  The Only album of the group which he did not produce was the Let It be album.  George martin was a major part in bringing us the sound which we know as the Beatles!!

THE AFFECT OF GEORGE--- Listen to the Strawberry Fields recording before George got to it.

Another Example is on the Sgt> Pepper album paul and John both had songs they did not finish so George combine them but left 8 empty seconds orginally. He then took a classical recording cut the tape up and then splice it back to together how it landed to fill the 8 seconds and this was in the middle of the song A Day in the life.





Brian Epstein was a owner of a record store and saw The Beatles one night in the Cavern Club and decided to back the group as they started their recording career . Decca Records turned down The Beatles for a record contract but EMI did take them and this is where the group's world career started.  Brian kept the group in check during their early career but as they stop touring and started recording Pepper things got rough .

Sgt. Pepper, released in June 1967 as the Summer of Love dawned, was the definitive psychedelic soundtrack. Or, at least, so it was perceived at the time: subsequent critics have painted the album as an uneven affair, given a conceptual unity via its brilliant multi-tracked overdubs, sing-along melodies, and fairy tale-ish lyrics. Others remain convinced, as millions did at the time, that it represented pop's greatest triumph, or indeed an evolution of pop into art with a capital A. In addition to mining all manner of roots influences, the musicians were also picking up vibes from Indian music, avant-garde electronics, classical, music hall, and more. When the Beatles premiered their hippie anthem "All You Need Is Love" as part of a worldwide TV broadcast, they had been truly anointed as spokespersons for their generation (a role they had not actively sought), and it seemed they could do no wrong.

Musically, that would usually continue to be the case, but the group's strength began to unravel at a surprisingly quick pace. In August 1967, Brian Epstein -- prone to suicidal depression over the past year -- died of a drug overdose, leaving them without a manager. They pressed on with their next film project, Magical Mystery Tour, directed by themselves; lacking focus or even basic professionalism, the picture bombed when it was premiered on BBC television in December 1967, giving the media the first real chance they'd ever had to roast the Beatles over a flame. (Another film, the animated feature Yellow Submarine, would appear in 1968, although the Beatles had little involvement with the project, either in terms of the movie or the soundtrack.) In early 1968, the Beatles decamped to India for a course in transcendental meditation with the Maharishi; this too became something of a media embarrassment as each of the four would eventually depart the course before its completion.

Many people say the passing of Brian was a major factor why the group split.




The Beatle Which We Usually Do Not Hear About!!


From about early 1960 to mid-1961, Stuart Sutcliffe was the bass player in the Beatles, leaving the group before they even made their first recordings as Tony Sheridan's backing band. Sutcliffe never recorded in a studio with the Beatles (although he is probably on a lengthy bootleg tape of rehearsals from around 1960), and all of the evidence, from recollections of other Beatles and others who saw them in the early 1960s, indicates that his musical talents were marginal at best. He was considered a brilliant and promising young artist, but died of a cerebral hemorrhage at the age of 22, not even surviving to see the Beatles make the charts for the first time in late 1962. However, Sutcliffe did leave an imprint on the band in his sense of visual style and artistic sensibilities, particularly in his combed-down hairstyle, which he was the first member to adopt.

Sutcliffe became close friends with John Lennon when the pair were attending Liverpool Art College in the late 1950s. It was an odd match as Sutcliffe was considered one of the college's best students, and Lennon one of its worst, but they had a lot of mutual intellectual and aesthetic adventurousness. Sutcliffe unexpectedly won a prize for 65 pounds when one of his paintings sold after being shown at an exhibition, and decided to buy an electric bass guitar with the money in January 1960. This was so he could join Lennon's group, known as the Quarry Men, but soon to change their name to the Silver Beatles and, finally, the Beatles.

Sutcliffe was far behind the other Beatles musically, and never did come close to catching up. Such was his lack of proficiency on bass that he would play with his back to the audience (as seen in a frequently published photo of a May 1960 audition). Still, as he was John's friend his place in the band was guaranteed for the time being, and he accompanied them on their first (brief) tour, as a backing group for singer Johnny Gentle in Scotland in mid-1960. Joined by drummer Pete Best, the Beatles went to Hamburg in August 1960, and Sutcliffe was with them for the next few months as they gained experience in the German city's clubs.

Accounts vary as to just how good (or bad) Stuart became on bass. There is a primitive rehearsal tape from (probably) around 1960 that has been bootlegged, but the recording is so technically lo-fi that it's even difficult to hear a bass, let alone determine the virtuosity of the player; a few songs from that tape were officially issued on the Beatles' Anthology 1. The consensus seems to be that he never became good, or even attained a basic professional standard, on the instrument.

He did very occasionally sing onstage. But according to the thorough listing of songs the Beatles performed live in Mark Lewisohn's The Complete Beatles Chronicle, there are just two tunes--the Elvis Presley ballads "Love Me Tender" and "Loving You"--that Sutcliffe is known to have sung lead on. It came to light in the Sutcliffe biography Backbeat: Stuart Sutcliffe: The Lost Beatle that Stuart did actually write some songs, though none seem to have been seriously performed (let alone recorded) by the Beatles. It has sometimes been written that Sutcliffe and Paul McCartney did not get along, perhaps partially due to McCartney's frustrations with Sutcliffe's musical limitations. They did have a fight onstage once (though this apparently didn't have anything to do with music).

While in Hamburg, Sutcliffe met and fell in love with fellow artist Astrid Kirchherr. Kirchherr was the first photographer to take pictures of the Beatles that caught their charisma on film, and also influenced Sutcliffe to change from his James Dean-type hairstyle to a bangs-forward one that had been adopted by some European students. This was the origination of the Beatles hairstyle, and although it was initially ridiculed by some of the other guys in the band, all of them (except Pete Best) eventually took on the haircut too.

Sutcliffe drifted out of the Beatles somewhat earlier than has often been reported. When the Beatles returned to Liverpool from Hamburg in December 1960, Sutcliffe stayed behind in Hamburg, both to be with Kirchherr and to check out the possibility of continuing his art studies at college in Germany. He did come back to Liverpool in early 1961 and played some shows with the Beatles, who were now starting to become a very popular local group. But his heart was now more in other pursuits, and he was for most purposes out of the band when the Beatles came back to Hamburg for another extended stay in April 1961. Paul McCartney assumed the role of Beatles bass player from approximately this point onward. Stuart did sit in with them from time to time, and remained on friendly terms with them, especially Lennon. He did not, according to Lewisohn's The Complete Beatles Chronicle, play on their recording sessions as Tony Sheridan's backup unit in June 1961, although he attended as an observer.

In 1961 Sutcliffe, now engaged to Kirchherr, was studying painting and sculpture under artist Eduardo Paolozzi at Hamburg's State School of Art. As the year progressed he grew seriously ill with a disease that could not be diagnosed, painful headaches being the most alarming symptom. His attacks grew grave by the spring of 1962, and he died after a final collapse on April 10, 1962. The Beatles. by unfortunate coincidence, arrived in Hamburg on April 11 (except George Harrison, who came a day later) to begin an extended engagement at the Star Club. They did not learn of Sutcliffe's death until they were met at the airport by Astrid Kirchherr.

Sutcliffe's influence was not forgotten by the Beatles, particularly Lennon of course. A few years later he said, "I look up to Stuart Sutcliffe--I depended on him to tell me the truth, the way I do with Paul today. Stu would tell me if something was good and I'd believe him." Sutcliffe is one of the many faces pictured on the Sgt. Pepper album cover.

For someone often described as an artist with enormous potential, Sutcliffe's paintings are surprisingly difficult to view, even as reproductions. Many of them are reproduced in the limited edition fine art biography Stuart, issued by Genesis Publications in 1996, although the cost of 250 pounds or so makes it prohibitive even for most Beatlemaniacs. There is also a conventional full-length biography of Sutcliffe, Backbeat: Stuart Sutcliffe: The Lost Beatle, by Alan Clayson and Pauline Sutcliffe (Sutcliffe's younger sister). Sutcliffe's experiences in the early Beatles formed a large part of the movie Backbeat, which took a lot of liberalizations with the facts in its treatment of Sutcliffe and the other Beatles. ~ Richie Unterberger, All Music Guide





For most general rock fans, the Pete Best story ends on August 16, 1962. That's when Beatles manager Brian Epstein told the unfortunate drummer that he was being replaced by Ringo Starr, just weeks before the group would record their first single. Most fans don't know that Best did continue to perform and record for a few years, usually as the leader of his own group, and usually for cheapo companies eager to exploit his notoriety as an ex-Beatle. Certainly these discs are of little interest to anyone besides Beatle/British Invasion obsessives. But if you're on that path already, you might find them -- and indeed the whole Pete Best solo chapter -- more interesting than you would expect.

As the Beatles' drummer, no one could dispute that Best played an important part in their formative years, holding a seat in the band between August 1960 and August 1962. He played with them on most of their crucial Hamburg residencies, and his house was a sort of base for some of their business operations; indeed, Pete's mother, Mona Best, can claim to have done a good deal for their early career as an unofficial promoter. Whether he was the most popular Beatle at this point is still a matter of hot dispute, but he was undoubtedly very popular with the fans, especially the female ones.

Both anecdotal and recorded evidence, however, suggests that his musical talents were not up to par with either the other Beatles or his replacement, Ringo Starr. He did record with the group in Hamburg (for sessions on which they mostly functioned as a backup band for Tony Sheridan), as well as their 1962 Decca audition, a couple of early 1962 BBC sessions, and their June 1962 EMI audition. Some of these tracks are officially available on the Beatles' Anthology 1; many others are included on bootlegs. The scant body of work from this period suggests that Best was no more than a pedestrian drummer.

He also rarely took lead vocals, so when Epstein set him up with a job in another group, it was not as the leader, but as the drummer for another popular Liverpool band, Lee Curtis & the All Stars. Best only recorded one 1963 single with them before Curtis & the All Stars went their separate ways. Decca then renamed the All Stars the Pete Best Four to capitalize on the drummer's fame, although he didn't sing on their one Decca single (from 1964).

Then follows the strangest part of the Best

assist Wayne Bickerton, who wrote the original material and handled the vocals. The results were issued on singles on tiny fly-by-night U.S. labels in the mid-'60s, with many other tracks dribbling out decades later on reissues.

These recordings were kind of generic, but really weren't half-bad. As singers and writers, Waddington and Bickerton were competent (though no more than that), achieving a strange Mersey-meets-mid-'60s-New York-pop-rock hybrid, with a bit of a garage feel. Nothing came of them commercially, of course, especially when Best decided he'd had enough of the charade and went back to Liverpool. The rest of the group followed, but they only lasted a couple of more gigs before falling apart. Best took a job in a bakery before embarking upon a career as a civil servant, recording what basically amounted to souvenir albums in the 1990s, and going on a year-long tour after his retirement from Liverpool's employment service in 1994. ~ Richie Unterberger, All Music Guide

saga, as the group were flown over to the United States by a shady promoter. Using New York City as their base, the Pete Best Combo, as they were now called, recorded quite a bit of studio material there in the mid-'60s. Best, although nominally the group's leader, again did nothing but drum. The real creative forces in the group were guitarist Tony Waddington


Gary Pig Gold




Has it REALLY been four decades already since television’s greatest-ever talent scout took a chance on a brash young musical novelty act from far-off Britain?  Yes, even to those who weren’t extremely tuned into the 2 / 9 / 64 “Ed Sullivan Show,” the look, spunk, and above all SOUND of J, P, G & R continues to ring within eyes and ears this whole world over.  But nobody needs ME to tell them that.


So instead, I thought I’d pick a mere forty of my favorite Beatle tunes of the moment, and tell you all why I think they’re so, well, Fab.  Of course, YOUR mileage – not to mention choices – will differ, but that’s half the fun of listening AND listing, isn’t it? 



Allow me then to kick straight off with the Beatlesong I still find myself humming, playing, and yes, writing about most often than not…..    


 1) PLEASE PLEASE ME …and, with the supreme Beatle ballad “Ask Me Why” on its original flipside, perhaps the greatest one-two career launcher in poppy-rock history.

  2) IT WON’T BE LONG  As you’ll soon realize, John is my unapologetically favorite Beatle, and he was positively on fire throughout my fave Fab album, “With The Beatles.”  Elsewhere upon same, “Not A Second Time” and “All I’ve Got To Do” were pure Smokey Robinson-worthy young Lennon gems, while Paul’s “All My Loving” – not to mention George’s first-ever (!!) ditty “Don’t Bother Me” – also helped make the band’s second album an end-to-end unbeatable beat group classic.

  3) STRAWBERRY FIELDS FOREVER  Arguably the very pinnacle of the band’s studio concoctions …BEFORE they started getting altogether too magically mysterious for their own good, that is.  And STILL the greatest fade-out(s) ever committed to vinyl to boot.


 4) I DON’T WANT TO SPOIL THE PARTY  Both Everlys notwithstanding, The Beatles hear-by invent alt. country and, coupled with “Eight Days A Week,” produce in the process their first of many 1965 North American chart-toppers.

  5) TOMORROW NEVER KNOWS  If you hadn’t already realized during its previous thirteen songs, “Revolver” had just forever re-written musical history right before your very ears.

  6) A HARD DAY’S NIGHT  The undeniable State of the Art, 1964-model.  Listen closely for the driving bed of bongos, not to mention that stellar George M. vs George H. piano-guitar solo (…and not a bad li’l movie they stuck after it either!)


 7) HAPPINESS IS A WARM GUN  Lennon truly was pop’s Picasso, compositionally-speaking, and only The Beatles could’ve made it successfully thru this dizzying mini-History of Rock ‘n’ Roll with the help of only three or four tape splices. 

  8) GOOD MORNING GOOD MORNING  Stripped of all its Pepper down to the rhythm track alone, as the “Anthology 2” version demonstrates, we realize how great a tight little band The Beatles really were …even AFTER a whole year off the road!

  9) EVERYBODY’S GOT SOMETHING TO HIDE EXCEPT ME AND MY MONKEY  …and THIS totally Pepper-free hum-ringer must’ve been even more fun to record than “Birthday,” “Hey Bulldog,” or maybe Lennon’s Ninth (“Revolution”).


10) I’LL BE ON MY WAY  Along with “Hello Little Girl,” the nascent Lennon and McCartney’s keenest Buddy Holly re-write ever …though you must admit Billy J. Kramer, as opposed to them Beatles, recorded the definitive rendering.

 11) I FEEL FINE  The first feedback on record, as John once claimed?  Link Wray might just have something to say about that.  But there certainly was nothing finer to be heard over Christmastime 1964 …and THAT’S the truth.

 12) I SAW HER STANDING THERE  The album-opener to start all album openers ...or, as producer-extraordinaire Sir Big George Martin would so aptly characterize it, “a potboiler.”  Why, even the other George’s wholly-Hamburg-drenched guitar solo lives up to Paul’s proto-Dee Dee count-in!


13) I’LL BE BACK  Add the lads’ always-shimmering three-part barbershop chorale atop John’s loving tribute to the late, very great Del Shannon’s trademark major/minor way with a song structure, and you have the album-closer to end all albums.  At LEAST.

 14) I’M DOWN  Meanwhile, Paul gamely wrestles Little Richard to the studio floor …whilst telling Jerry Lee the news.

 15) THANK YOU GIRL  This raw diamond, which along with “Misery” Squeeze particularly built a whole vocal career after, truthfully deserves much more notice after four decades spent languishing upon the underside of that original “From Me To You” single.


16) BABY YOU’RE A RICH MAN  And on the subject of Great Lost Beatle B-sides, this big-bass and Clavioline-driven sing-along has aged SO much better than its Summer of Love topside, “All You Need Is…” …now what was that word again?? 

 17) COME TOGETHER  Wherein Lennon caps his Fab career with a slyly-subtle slice of Liverpool funk.  And, as always, Ringo positively SHINES.  So much for the rest of “Abbey Road”…

 18) LOVE ME DO  So frequently poo-poohed coz Brian Epstein could only buy its way up to Number 17 on the hit parade.  Yet as no less an authority as Raymond Douglas Davies has always attested, The Beatles’ vinyl debut nevertheless pricked up all the right ears all over Britain during that otherwise uneventful winter of ’62. 


19) IT’S ALL TOO MUCH …and I guess it IS, clocking in as the not-so-quiet Beatle’s long long longest Northern Song ever.  Still, I can so much more easily hear it closing “Sgt. Pepper” rather than that other epic production “A Day In The Life,” can’t you?  No??  oh, well…

 20) THERE’S A PLACE  Somehow telepathically (though monophonically) linked since ’63 with Brian Wilson’s “In My Room” as two of the most deeply touching agoraphobic studies of all time.

 21) I SHOULD HAVE KNOWN BETTER  Here our heroes, lead again by John, toss off one of the greatest deceptively-arcane musical throwaways of the era with one harmonica holder tied behind their backs.  Plus George says it all with the last twelve-strung note of his guitar solo, as usual.


22) I WANT TO HOLD YOUR HAND  The crowning jewel which, rightfully so, took Beatlemania global …and opened B. Dylan’s ears especially to a certain misheard phrase in the bridge, just as importantly it turns out.

 23) MARTHA MY DEAR  The most beloved song ever written to a sheep dog?   Irregardless, it is that most infrequent instance of a McCartney composition which is perfectly, regally understated in both arrangement and execution.  Hence its rare, pure, and SIMPLE (got that, Paul?) charm.

 24) DAY TRIPPER  The boys gamely take on the twin late-’65 titans of the Stones and Stax …and, wouldn’t you know it, cross the line with flying colours.


25) ACROSS THE UNIVERSE (Spector version, btw!!)   So maybe its words do flow out endlessly, but WHAT a tune!  (no doubt inspired by George’s most-melodious “Inner Light” being completed that very same week). 

 26) NOWHERE MAN  The Beatles meet The Byrds.

 27) DEAR PRUDENCE  What happens when you take your guitar, and Donovan, to India with you.  And then one of your playmates won’t come outside.  Superb drumming as well …by PAUL this time though!


28) NO REPLY   Hey!  A Beatle samba, with an actually complete lyrical narrative along the way.  Before John fell off Dylan’s deep-end altogether with “You’ve Got To Hide Your Love Away,” mind you.

 29) THINK FOR YOURSELF  Can you think of any other song, Fab or otherwise, that can employ a word like “opaque” – not to mention a fuzz-toned bass – and get away with it?

 30) GETTING BETTER  Paul’s ever-cute cleverness pretty near capsized the Peppery proceedings in all too many places, but for these two-minutes-forty-seven he’s kept keenly in check (“…can’t get much worse”).


31) TICKET TO RIDE  The first heavy metal song, as John once claimed?  Oh, boy…

 32) YOU KNOW MY NAME (LOOK UP THE NUMBER)  Until Apple Inc. gets around to compiling all of the band’s great goonish Christmas recordings on one shiny disc, there’s always this inspired chunk of Brian Jones-saxed lunacy readily available on a compilation and/or file-sharing trough near you.

 33) AND YOUR BIRD CAN SING  The Beatles BEAT The Byrds!


34) CRY FOR A SHADOW  George was only… HOW old, when he helped create this delightfully mock-Marvin (as in Hank of the Shadows) Hamburg set-stretcher?!!

 35) THINGS WE SAID TODAY  Finally!  The first McCartney effort to hold its own against a Johnsong. 

 36) YES IT IS  Barely-in-tune British doo-wop …and the greatest Beatle backside since its first cousin “This Boy.”


37) HOLD ME TIGHT  Similarly suspect in the vocal pitch dept., but it’s about as close to, yes, heavy metal as these four comparative short-hairs ever got during the once-swinging Sixties. 

 38) SHE SAID SHE SAID  Metal doesn’t even BEGIN to describe the veritable wall of Epiphones which took less than three minutes to raise even Peter Fonda from the near-dead.   

 39) HELP!  Sure, the movie’s a clinker, but the song is as harrowingly autobiographical as anything on “Pet Sounds” …AND you can frug to it!


40) YOU CAN’T DO THAT  When all is said and sung, however:  GOTTA have cowbell !!!




One Era Of Controversy was the Yesterday and Today album cover


Proposed cover and released in Europe

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The album was released in June of 1966 and contain songs which the group had released in England and some new songs hence the name Yesterday and Today. The Cover was a John Lennon idea, where the band would pose with overalls holding chunks of raw meat and the bloody arms and legs of children's dolls. the Photo was taken by Robert Whitaker and was not accepted by the American public and Capitol re-called as many of the 750,000 albums as they could find.

USA Released Cover

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 One first has to realize that there are 6 (six) separate incarnations
   of the Butcher. These are:
    1. First State (never been covered) stereo
    2. First State (never been covered) mono
    3. Paste Over (second state unpeeled) stereo
    4. Paste Over (second state unpeeled) mono
    5. Peeled State (third state) stereo
    6. Peeled State (third state) mono
   Before any attempt is made to peel a butcher cover, one must first
   determine the exact condition of the cover to be peeled.
   Under a bright light look for any stains on the cover that are the
   result of a liquid spilling on it. If you attempt to peel a butcher
   that has had water, coffee, etc,etc spilled on it you will ruin the
   cover. The butcher slick will come right up with the glue. DO NOT
   Check the number on the back lower left on the back cover. You should
   see one of the following:
   1 or 2 - (pressed in Jacksonville, IL) 5 or 6 - (pressed in L.A.)
   12 or 13 - (pressed in Scranton, PA)
   Covers with numbers 1,2,5 and 6 use an alcohol soluble glue. Numbers
   12 and 13 used a different glue that alcohol will not work on. These
   covers must be peeled using saliva (it's the only solvent that I have
   found that removes the glue from #12 & 13 covers). The actual method
   used to peel covers is the same for all covers, it's just that #12 &
   13 covers require saliva instead of isopropyl alchohol. NOTE: The
   solvent used (alcohol or saliva) must be applied SPARINGLY! Too
   much alcohol can leave the cover with a pink tint. Use a LITTLE AT A
   TIME. A syringe with a 26gauge by 1 1/2" needle is a good dispenser
   for alcohol. To use saliva, just keep your fingertip wet with it (more
   on this later).
   Now you are ready to start. The first thing to do is to get as much of
   the `Trunk' cover off as possible (but not too much) until you can see
   the Butcher slick through the white paper and glue covering it. It's
   important to leave a good layer of paper fiber over the glue as this
   provides a backing that the glue will adhere to while you are peeling.
   For this step you will need a roll of 2" masking tape. Tear off an 8"
   strip of masking tape and apply it to the CENTER of the `Trunk' cover
   pressing it down firmly. Next, gingerly lift off the masking tape -
   the `Trunk' cover will come up with the masking tape. Continue to do
   this until all of the trunk cover is removed. NOTE: Be careful not to
   get masking tape on any part of the cover except the
   trunk portion as this will remove parts of the cover that you want to
   keep (e.g. the `File Under: The Beatles' or the `ST 2553' number that
   have been pasted over). Again, be careful not to take too much of the
   `Trunk' paper off, leave a good backing for the glue to stick to.
   Now comes the fun part. Remember, the glue is over 20 years old and
   it's pretty crusty and hard. Don't attempt to peel more than 1 square
   inch at a time. Starting in the upper left gray area, apply enough
   alcohol or saliva to cover about 1 square inch. Saliva is applied
   using the finger tip. Let the solvent soak in for about 1 minute so as
   to soften up the glue.
   Next, use your fingernail to LIGHTLY scrape the paper backing and
   glue. Be careful at first to see how far down the Butcher slick is.
   DON'T GO TOO FAR. If the Butcher starts to come up or if you see a
   `nick' starting to form STOP IMMEDIATELY and move on to a different
   part of the cover letting the trouble spot dry completely. You can
   come back to it later. Nicks of this kind are usually caused by too
   much solvent.
   Continue in this fashion peeling 1 square inch at a time until the
   cover is completely peeled.
   If you do happen to get a nick in the cover, it can usually be taken
   care of by LIGHTLY applying a #3 pencil to it (if the nick is in the
   gray area) or whatever color you need to cover the nick. There's
   something to be said for restoring nicked Butchers like this. It
   covers up the ugly nicks and produces an over all better looking peel
   job which can up the price and make it more valuable.
   This method can be used to `clean' up Butchers that have an excessive
   amount of glue on them from a previous attempt at peeling. Since there
   is little or no paper backing from the `Trunk' cover for the glue to
   stick to on these covers, you must take EXTRA CARE not to nick the
   cover. Cleaning a Butcher after it's been peeled requires more care
   than peeling from scratch, so BE CAREFUL.
   If you do use alcohol and your cover looks like it's starting to get a
   pink tint, try using saliva (as far as I can tell, saliva won't turn
   the cover pink). Don't worry, the pink tint usually fades with time
   (unless you've saturated the cover and left it to sit, but you
   wouldn't do that, now would you?).
   (BTW - store the record separately from the cover. If you store the
   record in the cover, the seams will tend to split with the passage of

When Capitol Records created a new Beatles album by assembling various leftover tracks and releasing them as a record entitled "Yesterday And Today" on June 15, 1966, the phenomenon was nothing new. In the 18-month period between January 1964 and June 1966, Capitol Records (and the United Artists record label) managed to release nearly twice as many Beatles albums in America as had been issued by Britain's EMI Parlophone, the Beatles' home label. Capitol (and UA) had accomplished this feat through a variety of means: issuing fewer songs per album (typically 11, as opposed to 14 on UK LPs), adding tracks released as singles (typically not included on UK albums), and padding film soundtracks with instrumental versions of songs
[ Butcher Photo ]

The "Yesterday And Today" album was typical of this practice, comprising songs excised from the American versions of three other Beatles LPs, plus both sides of an earlier 45. What was *not* typical of this album, however, was its cover. Instead of the usual photos of four happy, smiling moptops, this album's cover offered something quite different indeed: the Beatles, dressed in butchers' smocks, adorned with slabs of raw red meat, glass eyeballs, false teeth, and nude, decapitated dolls, posing with sickly, sadistic leers on their faces. When disk jockeys and others who had received advance copies of the album began to complain about its gruesome sleeve, Capitol quickly withdrew the record. All promotional material for the album was destroyed, and it was reissued five days later with a substitute cover photograph of the Beatles leaning on a steamer trunk. As most every casual Beatle fan knows, many of the 750,000 or so original "butcher cover sleeves went back into record stores with a new cover pasted over the old one, and thousands of unwitting record buyers ended up purchasing albums whose covers could be peeled or steamed off to create what would become one of most sought-after pieces of Beatles memorabilia.

What possessed the Beatles to create such a hideous, repulsive album cover? Over the years, the myth developed that the Beatles, tired of the way Capitol Records had been cutting up and rearranging their albums for the American market, deliberately planned the grotesque "butcher cover" as a means of protesting Capitol's "butchery" of their records. The truth is, however, that the ghastly photograph featured on the "Yesterday and Today" sleeve was not intended as a protest against Capitol Records by the Beatles In fact, not only was the "butcher photo" never intended to be used as an album cover, it wasn't even the Beatles' idea. A single photograph from an earlier photo session, taken for entirely different reasons, was used, unfinished and out of context, for the sleeve of Capitol's new release.
To understand why this tale of a Beatles protest against Capitol Records was believable, one must look at the way their music had been treated by American record companies up until then. Despite the fact that Capitol Records and the Beatle's Parlophone label were both owned by the same company (EMI), the executives at Capitol were decidedly uninterested in Beatles music from the start. As soon as the Beatles' single "Please Please Me" hit #1 in Britain, George Martin sent a copy of the record to Jay Livingstone, Capitol's senior executive in New York, Jay Livingstone. Livingstone refused the single, maintaining that Capitol didn't think the Beatles would "do anything" in the American market. As Livingstone and Capitol also declined to issue the Beatles' next single, the #1 hit "From Me To You", George Martin had no choice but to search for some other American label which would release the discs, even though that meant shopping the records around to EMI's competitors. Both singles, along with the Beatles' first LP ("Please Please Me", retitled "Introducing The Beatles" in America) were finally issued by Vee Jay, a small label based in Chicago. None of the records sold very well: "From Me To You" fared the best, briefly managing to rise to #116 on the Billboard charts. Even When the Beatles scored their third consecutive #1 single in Britain, neither Capitol (nor Vee Jay, by now) thought the Beatles had any prospects in America, so "She Loves You" was given to an even smaller New York label, Swan Records. Not until November of 1963, when Beatles manager Brian Epstein brought a demo of "I Want To Hold Your Hand" to Brown Meggs, Capitol's Director of Eastern Operations, did Capitol Records agree to release a Beatles record in America.
In the crushing success that followed the American release of "I Want To Hold Your Hand" and the Beatles' appearances on "The Ed Sullivan Show", Capitol Records made up for lost time by issuing every piece of Beatles music they could get their hands on. Despite their lack of prescience in rejecting the Beatles' music in the first place, Capitol still insisted on packaging Beatles records the way they thought would best appeal (and sell records) to the American pop music market. Thus began Capitol Records' mutilation of Beatles albums.
The first Beatles album released in America by Capitol Records was actually the Beatles' second British LP, "With The Beatles". Renamed "Meet The Beatles!", it was stripped of five cover versions of songs first popularized by US Motown artists, out of Capitol's fear that the songs would sound old hat to American audiences. To make up for the deletions, Capitol included "I Want To Hold Your Hand" on the album, along with its British and American B-sides. Three months later, the five cover versions deleted from "With The Beatles" were combined with "She Loves You" (now that the Swan 45 was topping the charts), three B-sides, and two newly-recorded tracks to create another record for the American market, misnamed "The Beatles' Second Album". Thus did Capitol manage to transform one UK Beatles LP into two American Beatles albums, a practice they would continue for the next few years.


The Beatles' third LP was "A Hard Day's Night". In the UK, this album included all the songs used in the film of the same name, along with a second side of songs which did not appear in the film. In America, the "A Hard Day's Night" soundtrack album was issued by United Artists, and it contained only the eight songs actually used in the film, filled out with four instrumental versions performed by George Martin & Orchestra (and a single non-film song). A month later, Capitol Records put together some of the film songs with some of the non-film songs, two newly-recorded tracks, and the German language version of "I Want To Hold Your Hand" to produce yet another American LP, "Something New". Even though two American albums had again been produced from one British LP, Capitol wasn't finished milking the American market. Not even the temporary lack of new Beatles material could slow Capitol down: In November of 1964 they released "The Beatles Story'", a double album compiled from various interviews and song snippets. The running time of the two-LP set totalled less than 50 minutes, which meant the entire album could easily have fit on a single record. Four months later, Capitol put yet another album on the market by repackaging the Beatles' first album -- one which they had originally turned down -- as "The Early Beatles". (It still had three fewer songs than the original LP.)
It was business as usual for Capitol when the Beatles produced their fourth LP in late 1964, "Beatles For Sale" (given the circumstances, an album title Capitol should have retained). Instead, Capitol's offering for the 1964 Christmas season was the misnamed "Beatles '65" album, which was really eight of the fourteen "Beatles For Sale" tracks, with both sides of the Beatles' latest single thrown in for good measure. Six months later, Capitol combined the remaining six "Beatles For Sale" tracks with three non-film songs from the "Help!" LP, another B-side, and an unused track to create yet another misnamed album, "Beatles VI". At this point, the Beatles themselves could no longer keep track of which songs had appeared on what albums in America. (A tape of the Beatles' August 1965 performance in Houston reveals John Lennon trying to introduce the song "Dizzy Miss Lizzy" by naming the album on which it appears: "I think the album's called Beatles . . . uh, '5' or '65' or '98' or something.")
When the Beatles' second film, "Help!", was released in the summer of 1965, the accompanying British LP once again included one side of songs used in the film, and another side of non-film songs. And once again, the United Artists soundtrack album issued in America included only the seven songs used in the film, plus six more instrumental tracks, again recorded by George Martin & Orchestra. Not until December of 1965 did EMI and Capitol finally release the same Beatles album -- "Rubber Soul" -- on both sides of the Atlantic. The Capitol Records version of "Rubber Soul" was not the same as the UK version, however, as four tracks were deleted from British LP (in order to withhold the more commercial songs as potential singles), and replaced with two leftover songs from the "Help!" LP.
Since the full force of Beatlemania had hit America in early 1964, Capitol Records, thanks to their continual rearrangement of Beatles LPs, had never gone as long as four months without releasing some sort of new Beatles album. In early 1966, therefore, Capitol had a problem on their hands: Their last release had been the previous December's "Rubber Soul" album, but since the Beatles were now putting more time and deliberation into their studio work, another LP wouldn't be ready until at least late summer. Capitol Records therefore faced the prospect of going a whole eight months with no new Beatles product to release, more than twice their longest previous dry spell. Capitol did have six tracks withheld from the last two Beatles albums, along with both sides of the Beatles' previous single, in the can, but eight songs weren't sufficient to comprise a whole album, even by Capitol's meager standards. It was then that Capitol took the action that was supposed to have finally enraged the Beatles to the point of protest: They gutted the Beatles' as yet unfinished "Revolver" album by rushing three of the completed tracks to America to fill out the album they released as "Yesterday and Today" on June 15, 1966. This new release was supposedly seen by the Beatles as the ultimate in Capitol's "butchery" of their albums, consisting of tracks amputated from *three* different Beatles LPs (one of which wasn't even finished), plus both sides of their previous single. As producer George Martin later elaborated, "Rubber Soul" had been "the first album to present a new, growing Beatles to the world. For the first time we began to think of albums as art on their own, as complete entities." Not only had Capitol deleted four key tracks from the US version of "Rubber Soul", they had now siphoned off three vital songs from a work still in progress. In the years that followed, the rumor was born that the original "Yesterday and Today" butcher cover was a protest against the album itself, made by a group weary of seeing LPs conceptualized as integrated works of art cut up at the whim of an American record company. The truth was quite different, however.


Circumstantial evidence alone tends to indicate that the Beatles did not plan the butcher cover as a protest over the "Yesterday and Today" album. The photo session that produced the cover shot took place on March 25, 1966. As Capitol did not yet have a sufficient number of tracks on hand for a new album at that time (and the three songs eventually used to fill out the album were not recorded until a month later), it is doubtful that they had any definite release plans at that point. Even if they did, it is extremely unlikely that the Beatles -- notoriously ignorant of business affairs, especially where EMI's American subsidiary was concerned -- were aware of them. Moreover, the butcher photos appeared in several places *before* the "Yesterday and Today" album was released: in print ads for the "Paperback Writer" single, in the promotional videos made for "Paperback Writer" and "Rain" (later shown on "The Ed Sullivan Show"), and on the cover of _Disc_ magazine. If the Beatles had truly intended the photo as a protest, there would be little point to their diluting its impact by using it elsewhere, much less employing it to promote one of their own UK single releases! And, if the Beatles were genuinely upset with the way Capitol Records was handling their music, why didn't they simply speak up about it (as they already had about the Vietnam War, religion, and other controversial topics)? Even when the original "Yesterday and Today" album was recalled and re-released with a new cover, the Beatles said scarcely a word about it. There were no indignant howls of protest from the Beatles, no railing against Capitol Records and their policies. John said only that the cover was "as relevant as Vietnam", and Paul merely added that it was "very tasty meat".
Much more than circumstantial evidence exists in this case, however. The notion that the butcher cover was an original idea conceived by the Beatles -- John Lennon in particular -- has generally been taken for granted. Although the Beatles were certainly keen on the idea, and willing participants in the session that produced the bizarre photographs, the man who actually came up with concept behind the pictures was photographer Robert Whitaker. Whitaker, who ran a photographic studio in Melbourne, Australia, accompanied a journalist friend to an interview with Beatles manager Brian Epstein during the the group's trip to Australia in June of 1964. Whitaker shot photos of Epstein during the interview; when Brian saw the resulting prints, he was so impressed with the young photographer's work that he asked Whitaker to come work for him. Whitaker accepted the job three months later, and he spent the next few years traveling with the Beatles and shooting them on their tours, in the recording studio, during private moments, and in arranged photo sessions. (Robert Whitaker was responsible for the steamer trunk photo that replaced the butcher cover on the "Yesterday and Today" album, as well as the back cover of the "Revolver" album.)

What, then, was the point behind the photograph? As Whitaker explains it, the idea for the photo session came about because they "were all really fed up at taking what one had hoped would be designer-friendly publicity pictures". John Lennon, in an interview shortly before his death in 1980, echoed this sentiment: "It was inspired by our boredom and resentment at having to do *another* photo session and *another* Beatles thing. We were sick to death of it." Whitaker had intended the session, of which the butcher photo was only one part, to be "his personal comment on the mass adulation of the group and the illusory nature of stardom". As he later said, "I had toured quite a lot of the world with them by then, and I was continually amused by the public adulation of four people . . ." To that end, what he had planned was to form a triptych of pictures, something resembling a religious icon, to make the point that the Beatles were just as real and human as everyone else. The butcher photos, along with the other pictures from that session, can be seen in Whitaker's book "The Unseen Beatles" The photographs taken, and the reasons behind them, are explained as follows:
  • The first photograph is of the Beatles, facing a woman with her back to the camera, hanging on to a string of sausages. This picture was supposed to represent the 'birth' of the Beatles, with the sausages serving as an umbilical cord. Whitaker explained: "My own thought was how the hell do you show that they've been born out of a woman the same as anybody else? An umbilical cord was one way of doing it."
  • The photograph that would have been used for the other side of the triptych is one of George Harrison standing behind a seated John Lennon, hammer in hand, pounding nails into John's head. Whitaker explained that this picture was intended to demonstrate that the Beatles were not an illusion, not something to be worshipped, but people as real and substantial as "a piece of wood".
  • The center of the triptych (and the only pose taken in color) was to to have been the infamous butcher photo, showing the Beatles surrounded by slabs of red meat and dismembered dolls. This picture was actually titled "A Somnambulant Adventure", and its intent was to present a contrast, something shocking and completely out of line with the Beatles' public image. As Whitaker revealed, the picture used on the "Yesterday and Today" cover was a rough, unfinished version: "If you could imagine, the background of that picture should've all been gold. Around the heads would have gone silver halos, jeweled." The finished picture would have offered a striking contrast between the Beatles' "angelic" image and the reality of the photograph.
  • A fourth picture, apparently not planned as part of the triptych (Whitaker isn't clear about this, mentioning only three pictures in his interview), is also included in "The Unseen Beatles". It features John framing Ringo's head with a cardboard box, on one of the flaps of which is written "2,000,000". Whitaker again: "I wanted to illustrate that, in a way, there was nothing more amazing about Ringo than anyone else on this earth. In this life he was just one of two million members of the human race. The idolization of fans reminded me of the story of the worship of the golden calf."


In a 1991 interview with _Goldmine_ magazine, Whitaker quickly put to rest any notion that the butcher cover was dreamed up by the Beatles as a way of protesting Capitol Record's handling of their albums:
Question Answer
Q: How did that photo, featuring the Beatles among slabs of meat and decapitated dolls, come about? Was it your idea or the Beatles'? It was mine. Absolutely
Q: Why meat and dolls? There's been a lot of conjecture over the years about what that photo meant. The most popular theory is that it was a protest by the Beatles against Capitol Records for supposedly "butchering" their records in the States. Rubbish, absolute nonsense
Q:Were you aware when you shot it that Capitol Records was going to use it as an album cover? No
That's all there is to it. The butcher photo was, as Whitaker says, "snatched away and eventually was pretty well taken out of context". As happened so many other times where the Beatles were concerned, someone retroactively invented an explanation for something that was mere coincidence or happenstance, and to a public largely willing to believe almost anything about the Beatles, it became an accepted truth. As usual, the reality was far different.



The next Controversy for the group was when John Lennon said the group was more popular tha Jesus Christ in a simply statement and it was taken the wrong way and people were burning Beatle albums in the streets.

We're more popular than Jesus now; I don't know which will go first, rock 'n' roll or Christianity.
John Lennon

"I should have said television was more popular than Jesus, then I might have got away with it..." John Lennon



On March 4, 1966, in an interview printed in the London Evening Standard, John Lennon made the following statement:

"Christianity will go. It will vanish and shrink. I needn't argue with that; I'm right and I will be proved right. We're more popular than Jesus now; I don't know which will go first - rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me."

The statement, being part of a two page interview, went unnoticed in Britain at the time.

John had said that the Beatles were more popular than Jesus meaning that Christianity (and religion in general) were getting so weak and unpopular that a rock 'n' roll group (the Beatles) were more popular than it at the time. He just said it as an example to make his point, that Christianity was not popular among young people, and he certainly didn't want to compare the Beatles with Jesus or to show off himself as being better or greater than Jesus. But when the above statement was printed out of context in Anerican teen Magazine "Datebook" a few months later, great uproar broke out.

American radio stations banned Beatles records. Some even went so far as to organize burning of Beatles records and photographs, and there were scenes of boys and girls jumping on Beatles records, holding burning Beatles photographs and grinning and holding banners that said "Jesus died for you John Lennon" and "John Lennon is Satan"!!!(We hear to this day that the Beatles were "antichrists", but it seems like God was more like on the Beatles side, because one of the radio stations that organized the record burnings was hit by lightning the very next morning, which caused great damage to the stations equipment and reportedly knocked their news director unconscious!) A member of the Ku Klux Klan said that the Beatles had probably "been brainwashed by communists". With the Beatles American Tour only days away, Beatles manager Brian Epstein told the American Press that John's statement had been completely misinterpreted. But the people who were burning the records did not, or would not, listen and understand.

As soon as they arrived in America, the Beatles had a press conference. For once there were no daft questions about their haircuts or when they were going to get married. John and the other Beatles sat down and answered questions on John's "Jesus" statement, trying to explain the whole thing to the American reporters. The outraged public still failed to understand (as is proven by religious people's still holding this against John Lennon and considering his statement "blasphemous"), but as the newspapers generally printed that John Lennon had apologised (which he had, in a way), the people calmed down a bit. Still the uproar gave the coup de grace to the Beatles rapidly declining interest in touring.




Maharishi Mahesh Yogi


      Maharishi Vedic University

During the 1960s and early 1970s practitioners of the technique began to be seen as part of the then current "counter-culture" phenomenon. Also during that time, a number of celebrities that included The Beatles,[19] the Beach Boys, (including singer Mike Love,[20] who became a TM teacher) and singer-songwriter Donovan, who befriended Maharishi and put his picture on the back cover of his A Gift from a Flower to a Garden album,  Alot of the Beatles White Album was written in India while with the Maharishi.   The song Back In the USRR was written there by paul but mike love said he gave Paul some ideas on how to make the Beatles song with The Beach Boys sound.  John Lennon said he had heard the Maharishi had made some improper advances towards young girls and left. The other major factor referring to John is that when they were leaving for India his first wife Cynthia did not make it through the crowds and that was the last John saw her. Out of this era the strangest thing is that it Was the Beach Boys who took the Maharishi on tour and they went to the south of the USA  and were boo off of stage with him. The Beach boys did write a few songs on the TM methods throughout the years.

TRIVIA--Paul wrote Back In the USSR when they were in INDIA and Mike Love of the Beach Boys was there with them as it was their version of a Beach Boy song.




Abbey Road is the twelfth official album recorded by The Beatles. Although its release preceded that of Let It Be, the latter was mostly recorded in January 1969. Work on Abbey Road began in earnest in April of that year, making it the last album started by The Beatles. The album was released on 26 September 1969 in the United Kingdom and 1 October 1969 in the United States. It was produced and orchestrated by George Martin for Apple Records. Geoff Emerick was the engineer, then-unknown Alan Parsons was assistant engineer, and Tony Banks[1] tape operator. It is regarded as one of The Beatles' most tightly constructed albums, somewhat ironically, as the band was barely operating as a functioning unit at the time. The Beatles were disappointed in the album Let It Be and did not want togo out on this note so this is why they made Abbey road but why it was still released first is a good question.  Also another trivia of the album LET IT BE was it was originally called GET BACK.  The last single the Beatles would release in the USA was Across the Universe.

The largest Beatle hit came later in their career but was never put onto a official album. The song was called Hey Jude written by Paul McCartney about Julian Lennon and was originally called Hey Julian.




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It was rumored in 1969 that Paul was killed in a car accident in 1966.The Beatles always enjoyed putting some hidden meaning into their album covers and people always enjoyed finding these secrets out but sometimes things went to far. This was so out of hand that it was on the evening news each night with more clues on why Paul was dead. Some of the clues were -- a floral bass  on Sgt Peppers cover/ Hand over Paul's head-same cover/inside cover of Pepper Paul back was turned to the camera/OPD on the sleeve Officially Pronounced Dead/ Magical Mystery Tour clues- He was the walrus/ Paul was the only one with a black rose on/ Abbey Road clues-- The funereal procession with Paul in Bare feet/ Police car by the accident/Volkswagen plate was Paul's age/

Sometime in 1969, around the time of the release of Abbey Road, a rumor started. It was a rather silly rumor claiming that Paul McCartney was, in fact, dead. He had supposedly died in a car accident sometime before Sergeant Pepper's Lonely Hearts Club Band was made in 1967. In normal circumstances this rumor would not have gained popularity but a lot of eerie evidence began to pile up. Remember The Beatles had not been on tour since 1966 and Paul spent most of his time on his farm and in the studio. No one, in the States at least, had seen Paul live in public since '66. The remaining three Beatles supposedly had left clues on every album since Sgt. Pepper's to tell the fans the truth. Paul of course had been replaced by a sound alike and a look alike so The Beatles could continue as a group.

Here, I am listing all of the occurrences known to me of Paul is Dead evidence. I was not around for the rumors but here they are as they were explained to me, by older, wiser Beatlemaniacs. Clues submitted to me since this page's creation will give credit where credit is due. Please bear with me as far as updates are concerned... They are coming slowly but surely.

I hope new Beatle fans get a kick out of it and older fans will enjoy it, too. To get some of the clues you will need the Vinyl version, but for most a CD copy will do. For those without the capability to play the songs backwards I have added sound files of the reversed lyrics where applicable. I want to include better quality copies eventually but for now they are small and poor quality. For simplicity's sake album titles are in all capital letters and song titles are capitalized normally. It all began with:

1. Strawberry Fields Forever (originally it was supposed to appear on Sgt. Peppers but was released early with Penny Lane as a single)
At the end of this song, you hear the by now infamous "I buried Paul" quote by John. John was alternately claimed he was saying "Cranberry Sauce", "I'm very Bored", or that the sound of his guitar had "buried" the sound of Paul's bass. All of the above are likely considering John's love of absurd language but why no consistent answer? Hmmm....
(Also, in the promotional film for this song seen on The Anthology and The Compleat Beatles, there is an extended scene where Paul is alone in a field, runs, around and jumps up a tree, then night falls and the other Beatles enter and Paul looks down on them from the tree. You can read into this scene however you like since possible and plausible metaphors abound.)

Sgt. Pepper's album cover


2. The album cover
If you look closely at the ground in front of the assembled group, it looks like freshly dug earth. It is surrounded by flowers, some of which are in the shape of a bass guitar. It doesn't take much imagination to see this as a gravesite, obviously Paul's because of the bass.
3. The album cover
There is a hand directly above Paul's head (the real Paul not the wax dummy). This may not seem like much but in the Indian culture this is the sign of death!

4. The album cover
Look and see which of The Beatles is tallest. It's Paul. In The Beatles earlier pictures they, except Ringo, are all about the same height. If you want proof look at the wax statues from Madame Tussaud's. They are all about the same height, except Ringo. Obviously there is someone posing for Paul.
5. The album cover
The wax dummy Beatles all look very sad and are looking down at the "grave" obviously in mourning. Special thanks to everyone who sent this one in, especially Jospeh Elder, and Craig (
5. The album cover
This one takes quite a leap of logic but I'll include it anyway. Hold your copy of Sgt. Pepper's at a slight angle in front of a mirror. The letters spelling The Beatles should reverse into 231-1438, a phone number. Supposedly a DJ attempted calling this number repeatedly and got no answer until he discovered the following clue: On the reverse side of the album George is pointing to a particular line from the song She's Leaving Home-Wednesday morning at five o'clock. When the DJ called the number at this time and on this day he got the following message "Paul is dead. You're following the clues. Good." This was all said in an English accent which means it must be true.
6. The reverse side of the album cover
Paul is backwards in line and taller than everyone else, again.

7. The overleaf
On the shoulder patch of Paul's uniform are the letters O.P.D which in real life stands for Ontario Police Department but for the purposes of the conspiracy stands for Officially Pronounced Dead, the English equivalent of the American D.O.A.
...Or not, actually several loyal Canadian Beatlemaniacs have written me to say that the patch actually says O.P.P. (Not O.P.D.) which stands for Ontario Provincial Police. Thanks to all of you who wrote in to correct me on this point!
Apparently also at some point Billy Shears (see below) was supposed to have worked for the O.P.P...
8. Sgt. Pepper's Lonely Hearts Club Band
This song introduces you to the man who is replacing Paul. It even tells you what his name is: Billy Shears. (The singer's going to sing a song/And he wants you all to sing along/ So let me introduce to you/The one and only Billy Shears)
9. A Day in the Life
The car accident in this song is supposed to be Paul's accident.
10. The infinite loop
In the inner grooves of the record, where no normal music is recorded, the Beatles recorded a bizarre message which repeats over and over (if you have the original record, if you have the CD it eventually fades out). If this message is played backwards it seems to say "Will Paul come back as Superman?" Special thanks to Hannah Tenpas for this one!

Magical Mystery Tour cover

MAGICAL MYSTERY TOUR(1967)-You will need the original album for most of these

10. The album cover
Another hand over Paul's head
11. Page 3 of the story of the film
Paul is sitting at a desk. The sign on the desk in front of him says in bold type: "I WAS" (just ignore the pointing man and the "you" also on the sign.
12. Page 8
Apparently when held in a certain light and tilted in the proper way this dinner scene becomes a picture of a skull. I've never seen it though.
13. Page 10
ANOTHER hand over Paul's head

14. Pages 12-13
Look closely at Paul. He's not wearing any shoes. In India the first things they remove from a dead body are the shoes! Then look on page 13, there are Paul's shoes, but look closely at them. They appeared to be covered in something red, like blood. Hmmm.....
15. Pages 12-13
Paul is taller than the others again and this time in bare feet (see clue #26).
16. Page 14
Yet another hand over Paul's head. This one's on the recruiting poster of Lord Kitchener
17. Page 18
In the lower picture, Paul's got a hand over his head.
18. Page 23
Look at The Beatles' carnations. John has a red one, George has a red one, and Ringo has a red one. But, Paul has a black one.
19. Page 24
Another hand above Paul's head
21. Strawberry Fields Forever
See clue #1

Yellow Submarine album cover YELLOW SUBMARINE(1968)

22. The album cover
John's hand is over Paul's head.

The White Album THE WHITE ALBUM(1968)

23. Glass Onion
During the course of the song John sings: You know I told you about the walrus and me/ You know we were as close as can be/But here's another clue for you all/The walrus was Paul. This is of course a reference to the movie Magical Mystery Tour in which the group dresses up while singing I Am The Walrus. Unfortunately, John was the walrus not Paul. But the world clue gives us a hint. The walrus is the Scandanavian animal symbol for Death, ergo Paul is dead. Coincidentally, John was the walrus and he died an early death.
24. I'm so tired
At the end of this song is a segment of reversed lyrics which roughly translated are: "Paul's a dead man, miss him, miss him, miss him."
Listen for yourself:
Lyrics forward Lyrics reversed
25. Revolution 9
The lyric "Number Nine" reverses roughly to "Turn me on dead man". I think it sounds more like "Turn me on Devon" but it could be a personal bias.
Listen for Yourself:
Revolution #9 forwards Revolution #9 backwards!

Abbey road album cover


26. The album cover
Probably the most famous Paul is Dead clue of all. The four Beatles are walking in succession out of what looks like a graveyard. John, in white, is God. Ringo is the undertaker. Paul, without shoes, is the corpse. George is the gravedigger.
27. The Album Cover
And don't forget the 28IF Volkswagon "Beetle" in the back. Paul would have been 28 IF he had lived to 1969. Also on the licence plate, the letters LMW: Linda McCartney Weeps. Thanks to Sarah for reminding me about that one!
27. The album cover
Paul is now as tall as George and John, in bare feet while in clue #15 he was taller. Something is wrong here.

Reverse album cover

28.The reverse album cover
Next to the word Beatles are 8 black dots. Connect these dots and you'll get the number 3. Read it and it says 3 Beatles.

Let It Be cover

LET IT BE(1970)

29. There are no clues on this album because the mystery was solved. Look as hard as you like, you won't find any...

Well, maybe you will. After four years+ of this site's existence, I have finally received many, MANY e-mails stating that the red background around Paul is a clue pointing to his bloody demise... Yes, all right I finally accept this clue. It kind of ruins the fun of the story a bit, but all right there's a clue on Let It Be...

Coincidentally, as far as I know there are no new clues on The Red and Blue collections (songs being reproduced being an exception), Live at the BBC, and Anthology 1 all of which were released after the mystery was solved. Anthology 2 contains a bit of a clue:
Beatles Anthology 2 Cover


30. Strawberry Fields (track 3)
At the end of this song John says "cranberry sauce" or if you prefer "I buried Paul" twice which means this was no accidental phrasing by John...

Another great "clue" is that after his "death" Paul dumped Jane Asher and started dating Linda McCartney. Special thanks to Rachel for that one!

Oh and by the way, the rumors were believed so devoutly that Time magazine ultimately sent a reporter to England to interview Paul and prove he was alive. He did so and a picture of Paul appeared on the cover. If you can track down the issue and you hold the cover up to the light the image of a car from the advertisement on the reverse of the cover shows through and bisects Paul.

But was it all a conspiracy to raise sales? Obviously Paul is alive, so there was no great mystery. Some say it was a conspiracy, pointing to the fact that clues can be found earlier than Sgt. Pepper's. Point in case: Yesterday and Today.

On the cover The Beatles are standing around a steamer trunk while Paul is sitting in it. Does everyone see the coffin metaphor? And then there's the whole issue of the unused "butcher cover". Hannah Tenpas makes note that on the unused cover George is holding up a baby's head to Paul's indicating head injuries (or even decapitation for Paul) and there are also a pair of false teeth on Paul's arm indicating his teeth were knocked out. But then again Yesterday and Today was a collection of songs cut off the US versions of The Beatles' albums and wasn't released until after Revolver which places it between Revolver and Sgt. Pepper's. Hmmm....

Conspiracy theorists also point to the fact that the alleged clues stopped after the announcement that Paul was dead.

Or was it all just a coincidence. Some clues are hard to believe or find. All those pictures of hands above Paul's head are probably just coincidence, but still some clues are so eerie... Well, it's up to you to decide.




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Some Beatles Songs to Remember
Love Me Do

Please , Please Me

She Loves You

I Want to Hold Your Hand

A Hard Days Night



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Yellow Submarine

Penny Lane

With a Little Help From My Friends

Hello Goodbye

Hey Jude

Get Back

Come Together

Let It Be

The Long And Winding Road

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And the White Album!!





Apple Corps Ltd. is a multi-armed multimedia corporation, founded in January 1968 by British rock band The Beatles, to replace their earlier company (Beatles Ltd.) and to form a conglomerate. Its name (pronounced "apple core", as in Peace Corps) is a pun. Its chief division (and the only profitable one) is Apple Records, which was launched in the same year. Other divisions included Apple Electronics, Apple Films, Apple Publishing, and Apple Retail, whose most notable venture was the ill-fated Apple Boutique in London. Apple's headquarters, in the late-1960s, was at 3 Savile Row in London, known as the Apple Building, which was also home to the Apple Studio.

From 1970-2007, Apple's chief executive was former Beatles road manager Neil Aspinall though he did not bear that title officially. The current CEO is Jeff Jones.

    APPLE  TRIVIA--------- The Beatles originally wanted some other major groups like the Rolling Stones to join Apple but the Stones said they could make more money switching record companies.


The Beatles' accountants had informed the group that they had a large amount of capital which they could either invest in a business venture or else lose to the tax man.[1] In addition to providing an umbrella to cover the Beatles' own financial and business affairs, Apple was intended to provide a means of financial support to anyone in the wider world struggling to get 'worthwhile' artistic projects off the ground[2]. It was pitched to the world's media by John Lennon and Paul McCartney as an attempt at 'Western Communism'.[3] The company name originated with McCartney, coming from a René Magritte painting he'd acquired; 'Apple "Core" (Corps)' was a play on words all the Beatles enjoyed. The ubiquitous logo was designed by Gene Mahon, with illustrator Alan Aldridge transcribing the copyright notice to appear on record releases.

The first two years of the company's existence coincided with a marked worsening of the band members' relationships with each other, ultimately leading to the break-up of the band in 1970. Apple quickly slid into financial chaos, which was resolved only after many years of litigation. When the Beatles' partnership was dissolved in 1975, dissolution of Apple Corps was also considered, but it was decided to keep it going, while effectively retiring all its divisions. The company is currently headquartered at 27 Ovington Square, in London's prestigious Knightsbridge district. Ownership and control of the company remains with McCartney, Starr and the estates of Lennon and Harrison.

Apple Corps has had a long history of trademark disputes with Apple Computer (now Apple Inc.). The dispute was finally resolved in 2007, with Apple Corps transferring ownership of the "Apple" name to Apple Inc., and Apple Inc. licencing it back to The Beatles' company. In April 2007, Apple also settled a long running dispute with EMI and announced the retirement of chief executive Neil Aspinall.[4][5] Aspinall was replaced by Jeff Jones.[6]

 Apple Electronics

Apple Electronics was the electronics division of Apple Corps, founded as Fiftyshapes Ltd. and headed by Beatles associate Magic Alex (alias Yanni Alexis Mardas).

Intending to revolutionise the consumer electronics market, largely through products based on Magic Alex's unique (and, as it turned out, commercially impractical) designs, the electronics division did not make any breakthroughs. Even a planned apple-shaped radio could not be produced at a competitive price, and was ultimately beaten out by Panasonic's 'ball and chain' radio.

After the dismissal of Magic Alex in 1969, during Allen Klein's 'housecleaning' of Apple Corps, Apple Electronics fell victim to the same forces that troubled the company as a whole, including the impending Beatles breakup.

While it did not make a dent in the marketplace, Apple Electronics was still considered a viable business entity years later, when Apple Corps and Apple Computer (now Apple Inc.) went into litigation.

The Apple Films logo, from the DVD release of Born To Boogie.

The Apple Films Logo,

 Apple Films

Apple Films was the filmmaking division of Apple Corps. Notable releases included Born To Boogie, Ringo Starr's 1972 documentary about the band T. Rex; The Beatles' Yellow Submarine,; The Concert For Bangladesh by George Harrison And Friends (1972); and Son of Dracula, a 1974 horror-musical which teamed Starr with singer Harry Nilsson.

 Apple Publishing

Apple's music publishing arm predated even the record company. One of the first artists on its publishing roster was the group Grapefruit. Apple published the group's self-penned songs from early 1968, though Grapefruit's records were mostly released on RCA.

Apple Publishing Ltd was also used as a publishing stop-gap by George Harrison and Ringo Starr, as they sought to shift control of their own songs away from Northern Songs, in which their status was little more than paid writers. (Harrison later started Harrisongs, and Starr created Startling Music.)

Probably Apple's greatest publishing successes were the Badfinger hits "No Matter What", "Day After Day" and "Baby Blue", written by group member Pete Ham. "Without You", a song penned by Ham and Badfinger bandmate Tom Evans, became a chart hit for Harry Nilsson in 1972 and Mariah Carey in 1993. In 2005, however, Apple lost the US publishing rights for the work of Ham and Evans.[7]

Apple also undertook publishing duties, at various times, for other Apple artists, including Yoko Ono, Billy Preston, Doris Troy, and the Radha Krsna Temple. Apple received a large number of demo tapes; some songs were published, some were issued on other labels and only Gallagher & Lyle were retained as in-house writers before going on to co-found McGuinness Flint. Many of these demos have been collected on a pair of Cherry Red CDs, entitled 94 Baker Street and An Apple for the Day.

 Apple Records and Zapple Records

From 1968 onwards, new releases by the Beatles were issued by Apple Records, although the copyright remained with EMI, and Parlophone/Capitol catalogue numbers continued to be used. Apple releases of recordings by artists other than the Beatles, however, used a new set of numbers, and the copyrights were held mostly by Apple Corps Ltd. Unlike a mere 'vanity label', Apple Records developed an extremely eclectic roster of their own, releasing records by artists as diverse as Indian sitar guru Ravi Shankar, Welsh easy listening songstress Mary Hopkin, the power-pop band Badfinger, classical music composer John Tavener, soul singer Billy Preston, the Modern Jazz Quartet, and even London's Radha Krsna Temple. A short-lived subsidiary, Zapple Records, was intended to release spoken word and avant garde records, but folded after just two releases: Lennon's and Yoko Ono's Life with the Lions, and Harrison's Electronic Sound.

Apple Retail

The Apple Boutique was a retail store, located at 94 Baker Street in London, England, and was one of the first business ventures by the fledgling Apple Corps. The store opened on December 7, 1967, and closed its doors for the last time on July 30, 1968. The boutique was never profitable, largely due to shoplifting. Perhaps bowing to this, the store's remaining stock was liquidated by giving it away.

 Apple Studio

Apple Studio was a recording studio, located in the basement of the Apple Corps headquarters at 3 Savile Row.

Originally designed by Magic Alex (of Apple Electronics), the initial installation proved to be unworkable, with almost no standard studio features (such as a patch bay, or a talkback system between the studio and the control room, let alone Alex's promised innovations), and had to be scrapped. The Beatles recorded (and filmed) portions of their album Let It Be in the Apple Studio, with equipment borrowed from EMI, and during takes they had to shut down the building's central heating (also located in the basement), because the lack of soundproofing allowed the heating system to be heard in the studio.

Redesigning and rebuilding the basement to accommodate proper recording facilities took eighteen months, and necessitated ‘floating’ the townhouse; a difficult engineering task. The work was completed in 1970 and 1971, and the rebuilt studio (including its own natural echo chamber) offered a wide range of recording and mastering facilities, and could turn out mono, stereo and quadrophonic master tapes and discs. In 1971, it would have cost £37 an hour to record to 16 track, £29 an hour to mix to stereo, and £12 to cut a 12” master.

The studio became a second home for Apple Records artists (though they also used Abbey Road and other studios) and other artists such as Harry Nilsson, Wishbone Ash, Viv Stanshall, Lou Reizner, Clodagh Rodgers, Kilburn and the High Roads, the Sensational Alex Harvey Band and Marc Bolan (as shown in the movie Born To Boogie) also worked there; the existence of acetates by numerous performers is evidence the studio was widely used.
When the disbanded Beatles finally moved their offices away from Savile Row in the mid-1970s, the studio was
closed permanently. Many reasons were given why the group broke up and the main reason you usually hear is john and Paul 's spouses but Apple Corp was a major reason also.  Due to a early contract between John and Paul all songs written by them would say Lennon-McCartney but the boys most likely did not write a song together since 1967 if not earlier.


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Apple Records

Apple Records was the groups own label but was distributed by Capitol/EMI . The green side of the record was the A side and the White side was the B side.  The White Album was the first album to be on Apple records. Some other artist did appear on the label such as Badfinger , Mary Hopkins, and Billy Gibson.. The company did go into other areas such as stores where they gave everything away for free !! Apple was one of the main reasons which the group admitted helped break them up .




A Beatles Fan Page

Custom Beatles Page

Internet Beatles Album

Beatles Tribute

Sgt Pepper section

Also visit our Sgt Pepper Website at:

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The Beatles album "Sgt Peppers " released in 1966 . The album was the first theme albums released and changed music   Forever!! It Contains many great songs ,such as : With A Little Help From My Friends, Lucy In The Sky With Diamonds, When I'm Sixty-Four, Lovely Rita, Good Morning Good Morning, A Day In The Life , and many many more great songs!

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Srgt Peppers Trivia

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#1---  Paul came up with the idea of the Pepper Band.

#2--- Brian Wilson's Pet Sounds album influence John/Paul/and George Martin to make the Pepper Album.

#3--- Help from my friends was Ringo's standard single song on each album by John and Paul.

#4--- Good Morning was made by John due to his love the Corn Flakes commercial.

#5--- Strawberry Fields was originally to be on the album.

#6--- Lucy In The Sky was taken from a photo which Julian Lennon had drawn and was not about drugs.

#7--- When I 64 and Love Rita were both un-finished songs one by John and one by Paul which George Martin left 28 bars in between and later filled in with music.

#8--- John and Paul were not present during the recording of Georges song.

#9--- Capitol Records/EMI did not want to release the cover originally.

#10---Mr. Kite  lyrics were  taken from a poster which John owned.

#11--- Sgt Peppers was the first album to have a folding cover

#12--- Sgt Pepper was the first album to put the words of the songs on the album cover .

-45_Strawberry_Fields-Penny_Lane_a.jpg (19621 bytes)-------The Song was almost part of the Sgt Pepper Album

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Abbey Road

This album was recorded after the Let It be Album and was the last recording by the group however the Let It Be album was released after the Abbey Road album in the USA.

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This was the last album which the Beatles recorded and is definitely one of their best works!  This album includes such songs as: "Come Together" , "Something, "Maxwell's Silver Hammer," " Octopus's Garden," " Here Comes The Sun," "Sun King," "Mean Mr. Mustard,"   "The End," and many other great songs

Abbey Road

Abbey Road was the eleventh official album released by The Beatles. Although its release preceded that of Let It Be, it was the last to be recorded, and is therefore widely considered as the band's swan song. It was released on September 26, 1969 in the UK and October 1, 1969 in the US. It was produced and orchestrated by George Martin for Apple Records. Geoff Emerick was the engineer and Tony Banks, tape operator. It is considered one of the Beatles' most tightly constructed albums, although John Lennon dismissed the album in later years, possibly because its focal point—"The Long Medley" (which Lennon disliked anyway — was designed almost entirely by Paul McCartney. The album has a sunny, optimistic feel to many of its tracks, which is ironic since it was recorded in an atmosphere of often open hostility between all the band members. For this reason it is on Abbey Road, of all The Beatles albums, that the steadying influence of George Martin can perhaps be felt at its strongest.

Genesis of the album

After the near-disastrous sessions for the proposed Get Back album (later retitled Let It Be for release), Paul McCartney suggested to producer George Martin that The Beatles get together and make an album "just like the old days... just like we used to", free of the conflict that began with the sessions for The Beatles (aka the White Album). Martin agreed to this if the band would be "the way they used to be", and the final result was this album.

The two album sides are quite different in character, designed to accommodate the differing wishes of McCartney and John Lennon. Side one (to please Lennon) is a collection of single tracks, while side two (to please McCartney) consists of a long suite of compositions, many of them being relatively short and segued together. Some might argue that this is essentially McCartney's album.


Song information


John Lennon

"Come Together", the album opener, was written by Lennon originally for Timothy Leary's 1969 campaign for governor of California, with the original title "Let's Get It Together". A rough version of this can be heard in outtakes from Lennon's second bed-in event in Canada. "Come Together" was released as a double A-side single with "Something". It was the subject of a lawsuit brought against Lennon by Morris Levy due to the fact that one line in "Come Together" is similar to a line of Chuck Berry's "You Can't Catch Me". It has been suggested that each verse of "Come Together" is about one of the Beatles: respectively George ("He one holy roller"), Ringo ("he wear no shoe-shine"), John ("He got Ono sideboard") and Paul ("Got to be good looking").

"I Want You (She's So Heavy)", conceived in part with Yoko Ono, is a combination of two somewhat different recording attempts; the first occuring almost immediately after the "Get Back" sessions in February 1969 and featuring Billy Preston on keyboards. This was combined with a second version made during the "Abbey Road" sessions proper and when edited together ran at over 7 minutes long, making it the second-longest released Beatles song ("Revolution 9" being the longest). It also features one of the earliest uses of a Moog synthesiser to create the white-noise or "wind" effect heard near the end of the track. During the final edit, as the repetitive guitar riff continued on and on, John told the engineer to "cut it right there", creating a sudden, jarring silence which concluded side one of "Abbey Road". The final overdub session for "I Want You (She's So Heavy)" would be the last time all four Beatles worked in the studio together.

"Because" also features a Moog synthesizer (which was played by Harrison). The chords in "Because" were inspired when John heard Yoko playing Ludwig van Beethoven's "Moonlight Sonata", on the piano after which, according to Lennon, he played the notes backwards. "Because" features three-part harmonies by John, Paul and George which were then triple tracked to sound like nine singers. As remembered by Geoff Emerick, during the recording of the harmonies, they sat on a bench around the mic and Ringo sat there along with the others, perhaps in a subconscious display of love and brotherhood, despite their increasing differences at the time.


Paul McCartney

Paul's first song on the album, "Maxwell's Silver Hammer", is about a hammer-wielding murderer and was originally from the Let It Be sessions as seen in the Let It Be documentary. When recording "Oh! Darling", McCartney attempted recording only once per day, so that his voice would be fresh on the recording. He would practice the song when in the bath.


George Harrison

George Harrison was rapidly growing as a songwriter, and with Abbey Road, he gave what's perhaps his most significant contribution to a Beatles album. He wrote and sung lead on two of the most famous songs of the album, including the first number one single by The Beatles that was not a Lennon-McCartney composition.

"Something" was George Harrison's first A-side single with The Beatles. Originally written during the White Album sessions, the first line is based on the James Taylor song "Something in the Way She Moves" (Taylor was signed to Apple at the time). After the lyrics were refined during the "Let It Be" sessions (tapes reveal John giving George some songwriting advice during its composition), "Something" was originally given to Joe Cocker, but then recorded by The Beatles for Abbey Road. "Something" was Lennon's favourite song on the album, and McCartney considered it the best song Harrison had written. Frank Sinatra once made the comment that "Something" was his all-time favourite Lennon-McCartney song—the joke being it was not written by them at all, but by Harrison.

"Here Comes the Sun" is Harrison's second song on the album and one of his best-known songs, written in Eric Clapton's garden while George was "playing hookey" from one of Apple's tedious board meetings. It was influenced by the Cream song "Badge" (which was co-written by Harrison, Eric Clapton, and Ringo Starr).

Ringo Starr

Ringo wrote and sang one song for the album, "Octopus's Garden", his second Beatles' composition. It was inspired when Starr left the band for two weeks during the sessions for The White Album and went to Sardinia with his family. While there, he composed the song, which is arguably his most successful writing effort. While Ringo had the lyrics nearly pinned down, the song's melodic structure was partly written in the studio by Harrison (which can be seen in the Let It Be film), although Harrison gave full songwriting credit to Starr. (A similar occurrence took place nearly a year later with Starr's "It Don't Come Easy".)

The medley

Many consider the climax of the album to be the sixteen-minute medley consisting of several short songs, both finished and unfinished, tagged together by McCartney. Most of these songs were written (and originally recorded in demo form) during sessions for The Beatles (also known as the White Album) and Let It Be. McCartney's "You Never Give Me Your Money" (based loosely on The Beatles' financial problems with Apple) leads off the long suite, followed by three Lennon compositions, "Sun King" (which, along with "Because" from earlier on the album, showcases Lennon, McCartney, and Harrison's overdubbed harmonies), "Mean Mr. Mustard" (written during The Beatles' trip to India), and "Polythene Pam", followed by four McCartney songs, "She Came in Through the Bathroom Window" (written after a fan came into Paul's residence literally through the bathroom window), "Golden Slumbers" (based on Thomas Dekker's 17th-century poem), "Carry That Weight" (one of the few Beatles' songs to feature vocal harmonies from all four band members), and the fitting climax, "The End". This features the first and only Starr drum solo to make it to tape (in its original album form), and the three extended guitar solos performed in turn by Paul McCartney, George Harrison, and John Lennon, in tandem for nine measures. Each had a distinctive style which McCartney felt reflected their personalities. An alternate version with Harrison's lead guitar solo played against Starr's drum solo appears on the Anthology 3 album. The final line, "And in the end, the love you take is equal to the love you make", in the view of many fans, captures the essence of the Beatles' message.

The song "Her Majesty", tacked on the end, was originally part of the side two medley, appearing in between "Mean Mr. Mustard" and "Polythene Pam". McCartney did not like the way the medley sounded with "Her Majesty" included, so he had the medley re-edited to remove it. However, second engineer John Curlander had been instructed never to throw out anything the Beatles created, and he placed it at the end of the medley after 20 seconds of silence. The Beatles liked this effect and left it on the album. On the first printing of the LP cover, "Her Majesty" is not listed; however, it is shown on the record label. Upon listening, you can hear the last crashing chord of "Mean Mr. Mustard" at the start while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". Some consider it to be the first hidden track on an album.

Production notes

Abbey Road was the only Beatles album exclusively recorded on an 8-track Studer reel to reel, as opposed to 4 track. This is noticeable by the better sound separation and micing of the drum kit. The album was also the first to be recorded and mixed entirely on a solid state sound board, giving the album's sound a noticeably different "feel" from its predecessors—Harrison once remarked that the new sound was too "harsh" for his liking. Also, the burgeoning Moog synthesizer features on the majority of tracks, not merely as a background effect, but sometimes playing a central role, such as in Because; where it's used for the middle 8. It is also prominent on Maxwell's Silver Hammer and Here Comes the Sun. The instrument was introduced to the band by George after a stay in Los Angeles where he was introduced to the instrument. (The first song to employ the Moog was "Daily Nightly" by the Monkees.) Harrison released Electronic Sound on Apple's short-lived experimental label Zapple in 1968, an album featuring dissonant sounds entirely made from a Moog. George had anticipated, if not set trends before with the introduction of the sitar on Rubber Soul in 1965.

Also of note, one of the assistant engineers working on the album at the time was a young then-unknown apprentice named Alan Parsons. He later went on to engineer Pink Floyd's landmark album The Dark Side Of The Moon and produce many popular albums himself as The Alan Parsons Project.


The famous photograph

"At some point, the album was going to be titled Everest, after the brand of cigarettes I used to smoke," recalls Geoff Emerick. The idea included a cover photo of The Beatles in the Himalaya, but by the time the group had to take the photo, they decided to call it Abbey Road and take the photo outside the studio on August 8, 1969. The cover designer was Apple Records creative Director Kosh. The cover photograph was taken by photographer, Iain MacMillan. MacMillan was given only ten minutes around 10 that morning to take the photo. That cover photograph has since become one of the most famous and most imitated album covers in recording history, including a second version by Iain MacMillan that was used on Paul McCartney's album Paul Is Live.

Paul Is Dead" clues

The cover also supposedly contains clues adding to the "Paul Is Dead" phenomenon: Paul is barefoot, with eyes closed, out of step with the others, and holds a cigarette in his right hand, though he is left handed, and the car number plate "LMW 281F" supposedly referred to the fact that McCartney would be 28 years old if he was still alive. (While the "I" in "28IF" is actually a "1," it is hard to tell on the cover. As an aside, Paul was only 27 at the time of Abbey Road's release, though some take this to mean he would have been 28 "if" he had lived despite the fact that McCartney has supposedly been dead for years at this point.) "LMW" is said to stand for "Linda McCartney Weeps." Paul had married Linda Eastman in March of 1969, though strangely, the rumor suggests he was already dead several years before this time. Therefore, Linda would never have even met Paul. The four Beatles on the album cover, according to the "Paul is Dead" myth, represent the priest (John, dressed in white), the Mourner (Ringo in a black suit), the Corpse (Paul, in a suit but barefoot—like a body in a casket), and the Gravedigger (George, in jeans and a denim work shirt). The man standing on the pavement in the background is Paul Cole, an American tourist who was unaware that he was being photographed until he saw the album cover months later.

Imitations and Parodies

One imitation cover came with a unique tribute. Booker T. & the M.G.'s, famed soul combo, covered most of the songs on the Abbey Road in their 1969 album McLemore Avenue, named after the street address of the Stax records studio. The Red Hot Chili Peppers have also imitated the album cover, on their The Abbey Road E.P., with the band appearing nude, apart from tactfully placed socks. McCartney himself revisited the famous album cover for his live album Paul Is Live and at the end of the video for the theme to Spies Like Us with Chevy Chase and Dan Aykroyd.

The Beetle

The Volkswagen Beetle parked next to the intersection belonged to one of the people living in the apartment across from the recording studio. After the album came out, the license plate was stolen repeatedly from the car. In 1986, the car was sold at an auction for $23,000 and is currently on display at the Volkswagen museum in Wolfsburg, Germany. Originally, the Beatles wanted to move the Beetle, but as the owner was away on holiday, they were unable to do so.

Side one

  1. "Come Together" – 4:20
  2. "Something" (Harrison) – 3:03
  3. "Maxwell's Silver Hammer" – 3:27
  4. "Oh! Darling" – 3:26
  5. "Octopus's Garden" (Starkey) – 2:51
  6. "I Want You (She's So Heavy)" – 7:47

Side two

  1. "Here Comes the Sun" (Harrison) – 3:05
  2. "Because" – 2:45
  3. "You Never Give Me Your Money" – 4:02
  4. "Sun King" – 2:26
  5. "Mean Mr. Mustard" – 1:06
  6. "Polythene Pam" – 1:12
  7. "She Came in Through the Bathroom Window" – 1:57
  8. "Golden Slumbers" – 1:31
  9. "Carry That Weight" – 1:36
  10. "The End" – 2:19
  11. "Her Majesty" – 0:23


.I am the Walrus , , EVERYBODY IS F___K UP , PAUL IS DEAD


U.S. albums

In the United States, as noted above, The Beatles albums were rearranged, retitled and remixed. Some of the U.S. releases were nearly identical to their UK counterparts, often only varying by one or two songs. Most releases contained songs that were also found on other records, which made things difficult for the American Beatles fan trying to purchase the band's entire catalogue. By 1967, beginning with Sgt. Pepper's Lonely Hearts Club Band, all U.S. releases matched the UK releases exactly (with the exception of the UK double EP Magical Mystery Tour (1967), which was released as an LP in the U.S. and included extra tracks not found on the UK release).

Introducing... The Beatles (#2 for 9 weeks; 49 weeks on chart) (2/15/1964)
Label: Vee-Jay VJLP 1062 (Mono)/VJSR 1062 (Stereo)
Released: 1963-07-22, and 1964-01-27 (Versions 1 and 2 respectively)
Meet the Beatles! (#1 for 11 weeks, plus another 2 weeks at #2; 71 weeks on chart) (2/8/1964)
Label: Capitol T 2047 (Mono)/ST 2047 (Stereo)
Released: 1964-01-20
The Beatles' Second Album (#1 for 5 weeks; 55 weeks on chart) (4/25/1964)
Label: Capitol T 2080 (Mono)/ST 2080 (Stereo)
Released: 1964-04-10
A Hard Day's Night (#1 for 14 weeks; 51 weeks on chart) (7/18/1964) {The Movie Soundtrack}
Label: United Artists UAL 3366 (Mono)/UAS 6366 (Stereo)
Released: 1964-06-26
Something New (#2 for 9 weeks; 41 weeks on chart) (8/15/1964)
Label: Capitol T 2108 (Mono)/ST 2108 (Stereo)
Released: 1964-07-20
Beatles '65 (#1 for 9 weeks; 71 weeks on chart) (1/9/1965-)
Label: Capitol T 2228 (Mono)/ST 2228 (Stereo)
Released: 1964-12-15
The Early Beatles (#43; 35 weeks on chart)
Label: Capitol T 2309 (Mono)/ST 2309 (Stereo)
Released: 1965-03-22
Beatles VI (#1 for 6 weeks, plus another 2 weeks at #2; 41 weeks on chart) (7/10/1965)
Label: Capitol T 2358 (Mono)/ST 2358 (Stereo)
Released: 1965-06-14
Help! (#1 for 9 weeks, plus another week at #2; 44 weeks on chart) (9/11/1965) {The Movie Soundtrack}
Label: Capitol MAS 2386 (Mono)/SMAS 2386 (Stereo)
Released: 1965-08-13
Rubber Soul (#1 for 6 weeks, plus another 2 weeks at #2; 59 weeks on chart) (1/8/1966-)
Label: Capitol T 2442 (Mono)/ST 2442 (Stereo)
Released: 1965-12-06
Yesterday… and Today (#1 for 5 weeks, plus another 2 weeks at #2; 31 weeks on chart) (7/16/1966)
Label: Capitol T 2553 (Mono)/ST 2553 (Stereo)
Released: 1966-06-20
Revolver (#1 for 6 weeks, plus another 2 weeks at #2; 77 weeks on chart) (9/10/1966)
Label: Capitol T 2576 (Mono)/ST 2576 (Stereo)
Released: 1966-08-08
Sgt. Pepper's Lonely Hearts Club Band (#1 for 15 weeks, plus another 6 weeks at #2; 175 weeks on chart) (6/24/1967) "Grammy Award Winner for the Album of the Year in1967"
Label: Capitol MAS 2653 (Mono)/SMAS 2653 (Stereo)
Released: 1967-06-02
Magical Mystery Tour (#1 for 8 weeks; 91 weeks on chart) (12/30/1967+) (1/6/1968-) {The Movie Soundtrack & 1967 singles}
Label: Capitol MAL 2835 (Mono)/SMAL 2835 (Stereo)
Released: 1967-11-27
The Beatles (#1 for 9 weeks, plus another 2 weeks at #2; 155 weeks on chart) (12/14/1968)
Label: Apple/Capitol SWBO 101 (All albums in stereo only from this point on)
Released: 1968-11-25
Yellow Submarine (#2 for 2 weeks – kept off the top spot by The White Album; 25 weeks on chart) (2/15/1969)
Label: Apple/Capitol SW 153
Released: 1969-01-13
Abbey Road (#1 for 11 weeks, plus another 7 weeks at #2; 129 weeks on chart) (10/25/1969)
Label: Apple/Capitol SO 383
Released: 1969-10-01
Let It Be (#1 for 4 weeks, plus another 4 weeks at #2; 59 weeks on chart) (6/6/1970) {The Movie Soundtrack}
Label: Apple/United Artists AR 34001
Released: 1970-05-18


NOTE:  LET IT BE ALBUM was recorded first before ABBEY ROAD  but released last in the USA


Beatles Number 1 Hits in America



01/25/64   14 I WANT TO HOLD YOUR HAND CAPITOL 7 02/01/64
02/01/64   14 SHE LOVES YOU SWAN 2 03/21/64
03/28/64   9 CAN'T BUY ME LOVE CAPITOL 5 04/04/64
05/02/64   11 LOVE ME DO TOLLIE 1 05/30/64
07/18/64   12 HARD DAY'S NIGHT CAPITOL 2 08/01/64
12/05/64   11 I FEEL FINE CAPITOL 3 12/26/64
02/27/65   9 EIGHT DAYS A WEEK CAPITOL 2 03/13/65
05/01/65   9 TICKET TO RIDE CAPITOL 1 05/22/65
08/14/65   12 HELP! CAPITOL 3 09/04/65
10/02/65   9 YESTERDAY CAPITOL 4 10/09/66
12/18/65   11 WE CAN WORK IT OUT CAPITOL 3 06/25/66
06/11/66   10 PAPERBACK WRITER CAPITOL 2 06/25/66
03/04/67   9 PENNY LANE CAPITOL 1 03/18/67
07/29/67   9 ALL YOU NEED IS LOVE CAPITOL 1 08/19/67
12/09/67   10 HELLO GOODBYE CAPITOL 3 12/30/67
09/14/68   19 HEY JUDE APPLE 9 09/28/68
05/10/69   12 GET BACK APPLE 5 05/24/69
10/18/69   16 COME TOGETHER APPLE 1 11/29/69
10/18/69   16 SOMETHING APPLE 1 11/29/69
03/21/70   13 LET IT BE APPLE 2 04/11/70
05/23/70   10 THE LONG AND WINDING ROAD APPLE 2 06/13/70




Please Please Me (#1 for 30 weeks, plus another 20 weeks at #2; 74 weeks on chart)
Label: Parlophone PMC 1202 (Mono)/PCS 3042 (Stereo)
Released: 1963-03-22 and 1963-04-26 (Mono and stereo respectively)
With the Beatles (#1 for 21 weeks, plus another 10 weeks at #2; 53 weeks on chart)
Label: Parlophone PMC 1206 (Mono)/PCS 3045 (Stereo)
Released: 1963-11-22
A Hard Day's Night (#1 for 21 weeks; 43 weeks on chart)
Label: Parlophone PMC 1230 (Mono)/PCS 3058 (Stereo)
Released: 1964-07-10
Beatles for Sale (#1 for 11 weeks, plus another 11 weeks at #2; 48 weeks on chart)
Label: Parlophone PMC 1240 (Mono)/PCS 3062 (Stereo)
Released: 1964-12-04
Help! (#1 for 9 weeks – debut at #1, plus another 6 weeks at #2; 41 weeks on chart)
Label: Parlophone PMC 1255 (Mono)/PCS 3071 (Stereo)
Released: 1965-08-06
Rubber Soul (#1 for 8 weeks, plus another 11 weeks at #2; 47 weeks on chart)
Label: Parlophone PMC 1267 (Mono)/PCS 3075 (Stereo)
Released: 1965-12-03






John Lennon meet Yoko Ono at a art show where she had a exhibit which was a 6 ft ladder which you climb up and looked into a telescope and saw the word YES -- John said if the word had been NO he would have not gone with Yoko.











Beatles Trivia

#1---Orginal name of the group was , The Quarrymen and then The Silver Beatles.

#2---Pete Best is sometimes called the fifth Beatle due to he was in the original group.

#3---In 1966 for approximately six months ,everyone believed that Paul was dead . This story even made the six o'clock  news. Some of the clues for this story included the picture above , Abbey Road Cover , Paul did not have shoes on ,  If you played the song I Am The Walrus , backwards it would say Paul is Dead! . There were many other clues also on this subject.

#4---The Beatles started their own record label which was called "Apple" but was still distributed by Capitol Records. They started the label in 1968 and the Beatles double album was the first album released on this label.

#5---The Beatles broke up in 1972 ,however all the members continued on with their solo careers.

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The Beatles had 49 top 40 hits on the Billboard charts. The first song which was on the charts was "I want To Hold Your Hand" in 1/25/64. The groups was known as the Quarrymen ,Johnny & the Moondogs ,The Rainbows and The Silver Beatles .Names The Beatles in 1960. The original group members were John Lennon, Paul McCarthy , George Harrison ,Stu Sutciffe (bass)and Pete Best (drums) Stu left in April of 1961 died 4/10/62 and Paul Moved to Bass. Pete was replaced by Ringo in August 1962. Group Manager Brian Epstein died in 8/27/67  George Martin was the group's producer . The first US tour was in 2/64 . The group's Apple label was created in 1968.  The group disbanded in 4/17/70 and was inducted into the Rock Hall of Fame in 1988. Only Elvis Presley had more top 40 singles than the group however the Beatles did have the most #1 singles.




It was rumored that he was hired by the CIA to get rid of Lennon due to the US Government did fear Lennon and it was rumored that he was a fan who just lost it. That Evening thousands stood in Central Park with Candles and singing Give Peace A Chance to honor their lost hero.!!!!

John Lennon was killed by a
deranged fan on Dec. 8, 1980, as he returned to his New York apartment from a recording session.

At 22:49 the Lennon's limousine pulles up outside the Dakota and Jose Perdomo the doorman leaves his post to open the car doors for them. Yoko gets out first. She is followed closely by her husband, who is carrying a tape recorder and some cassettes. As Yoko passes him the killer says "Hello". Lennon gives the guy a long, hard look. As John passes him, the man steps back and pulles a snubnosed .38 revolver from his pocket. He drops into combat stance, with knees flexed, arms outstreched and one arm supporting the other at the wrist and says:

Mr. Lennon?


As John turnes, the guy fires two shots into him. They catch him in the back, spinning him round. Blood already starts spurting from Lennon's wounds as the assassin takes aim again. He fires three more shots. Two bullet smashes into John's shoulder, the other goes astray. There's a crash of shattering glass as the slugs, that had passed through John's body smash into the Dakota's glass frontage. Mortally wounded John staggers up the steps into the Dakota's front lobby, his face horribly conturted.

I'm shot, I'm shot


he moans as he fells to the floor. John's been shot! screams Yoko, who follows her husband into the hotel.Jay Hastings the security man reaches under his desk and presses the alarm button, which summones the police from the nearby 20th Precinct Station. After this, he rushes to John's side and removes his shattered glasses. Then he takes off his uniform to cover the victim.He wants to use his tie as a tourniquet, but can not decide where to apply it. John is dying, blood pours from his chest and mouth, his eyes are open but unfocused, he is gurgling and vomiting blood.

*** ALERT *** SHOTS FIRED *** 1 WEST 72nd STREET ***

is the terse dispatch that summones New York Police Officer Tony Palma and his partner Herb Frauenberger to the scene of the crime.From the sidewalk Palma sees Hastings and shouts up anxiously: "Is someone shot in there?" He runs up the steps with Frauenberger. In Hasting's office they find a man lying face down with a small woman standing over him crying. Palma turns the body over.He sees that the victim is badly injured and tells his partner: "Grab his legs and let's get him out of here!" As they lift him, Hastings hears as John's bones crack.Bythe time they lay him in the back of a squad car, John loses all control over his limbs. As the car takes off, the driver Officer James Moran yells at John:"Do you know who you are?". Lennon is unable to speak, but nods.The car jumps the red lights on Colombus Avenue.It speeds down Ninth Avenue into 58th Street and swings into the entrance of Roosevelt Hospital. The hospital's major trauma team is already alerted.The rapidly fading John is carried to the emergency room. He has virtually no pulse.The two bullets which had hit him on the back had both pierced a lung and passed through his chest. A third bullet had shattered his left shoulder bone, and a fourth had hit the same shoulder and ricocheted inside his chest, where it severed his aorta and windpipe.After an unsuccessful attempt at cardiac massage, a medical team of seven people laboures to save John using every device and technique available. Nothing works. The official cause of death is shock produced by massive haemorrhaging ... he lost 80% of his blood.





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July 7, 1940: Ringo Starr was born.

October 9, 1940: is born at Oxford Street Maternity Hospital in Liverpool, England, to Julia Stanley and Alfred Lennon.

June 18, 1942: James is born in Liverpool, England.

February 25, 1943: was born.

1956: Julia, ’s mother, bought him his first guitar through a mail order ad. His incessant playing prompts John’s Aunt Mimi to say, “The guitar’s all very well as a hobby, John, but you’ll never make a living out of it.” John forms his first group, the Quarrymen.

July 6, 1957: meets at the Woolton Parish Church in Liverpool during a performance by John’s group the Quarrymen. Impressed by Paul’s ability to tune a guitar and by his knowledge of song lyrics, John asks him to join the group.

February 1, 1958: introduces to the Quarrymen at a basement teen club called the Morgue. George joins the group.

August 1, 1960: The Beatles make their debut in Hamburg, West Germany, with Stu Sutcliffe on bass and Pete Best on drums.

January 1, 1961: The Beatles make their debut at the Cavern Club in Liverpool.

November 1, 1961: Local record store manager Brian Epstein is introduced to the Beatles. He soon signs a contract to manage them.

March 7, 1962: The Beatles make their radio debut performing three songs, including Roy Orbison’s “Dream Baby,” on the BBC.

April 10, 1962: Stu Sutcliffe dies of a brain hemorrhage.

June 1, 1962: The Beatles audition for at Parlophone/EMI Records. He agrees to sign the group, but insists that Pete Best be replaced. Within months, Richard “Ringo” Starkey joins the group.

September 4-11, 1962: The Beatles record their first sessions at EMI Studios in London, with as producer.

December 1, 1963: “I Want to Hold Your Hand,” the Beatles’ first American single, is released by Capitol Records.

January 26, 1964: I Want To Hold Your Hand (The Beatles) was a hit.

February 7, 1964: The Beatles arrive in America

February 9, 1964: The Beatles make their first appearance on ‘The Ed Sullivan Show’.

February 11, 1964: The Beatles begin their first U.S. tour at the Coliseum in Washington, D.C.

March 15, 1964: She Loves You (The Beatles) was a hit.

March 29, 1964: Can’t Buy Me Love (The Beatles) was a hit.

April 4, 1964: The top five slots on the ‘Billboard’ chart are held by the Beatles, a feat never before or since matched.

May 24, 1964: Love Me Do (The Beatles) was a hit.

July 6, 1964: The world premiere of The Beatles’ ‘A Hard Day’s Night’ takes place in London.

July 26, 1964: A Hard Day’s Night (The Beatles) was a hit.

August 14, 1964: The Beatles cut Little Willie John’s “Leave My Kitten Alone” at EMI Studios in London. Intended for album ‘Beatles For Sale’ (’Beatles ‘65’ in the US), it was left off and remained unreleased until ‘Anthology 1’ in 1995.

1964: The Beatles release “This Boy” from their first American album ‘Meet the Beatles’.

December 20, 1964: I Feel Fine (The Beatles) was a hit.

March 7, 1965: Eight Days a Week (The Beatles) was a hit.

1965: The Beatles release “Yes It Is”.

April 1, 1965: composes “Help!” the title song for the Beatles’ second film. He later confides that the lyrics are a cry for help and a clue to the confusion and despondency he feels.

May 16, 1965: Ticket to Ride (The Beatles) was a hit.

July 29, 1965: The Beatles release their second film, ‘Help!’.

August 15, 1965: The Beatles play in front of almost 60,000 fans at Shea Stadium in New York City.

August 27, 1965: The Beatles spend the evening talking and playing music with at his Bel air home.

August 29, 1965: Help! (The Beatles) was a hit.

October 3, 1965: Yesterday (The Beatles) was a hit.

October 9, 1965: The Beatles reach #1 with “Yesterday”.

October 26, 1965: The Beatles are awarded England’s prestigious MBE (Members of the Order of the British Empire). John comments, “I thought you had to drive tanks and win wars to get the MBE.”

January 2, 1966: We Can Work It Out (The Beatles) was a hit.

March 1, 1966: London’s ‘Evening Standard’ publishes an interview with in which he states that the Beatles are “more popular than Jesus now.” The comment provokes several protests, including the burning of Beatles records.

June 19, 1966: Paperback Writer (The Beatles) was a hit.

July 31, 1966: ’s comments on the state of Christianity – made in March, but only lately picked up in the U.S. - spark protests and record burnings on the eve of the Beatles’ 1966 American tour.

August 29, 1966: After their concert at San Francisco’s Candlestick Park, the Beatles declare this to be their final concert tour.

September/October 1966: makes his first appearance away from the Beatles in the role of Private Gripweed in Richard Lester’s film ‘How I Won the War’. He writes “Strawberry Fields Forever” during the filming.

March 12, 1967: Penny Lane (The Beatles) was a hit.

March 18, 1967: The Beatles reach #1 with “Penny Lane”.

June 1, 1967: ‘Sgt. Pepper’s Lonely Hearts Club Band’ is released in Britain.

August 1, 1967: Beatle and his wife, Patti, stroll through the streets of Haight-Ashbury, bringing more international attention to the scene.

August 13, 1967: All You Need Is Love (The Beatles) was a hit.

August 19, 1967: The Beatles reach #1 with “All You Need Is Love”.

September 1, 1967: writes “I Am the Walrus” while under the influence of LSD. He also anonymously sponsors Yoko Ono’s Half a Wind Show (subtitled Yoko Plus Me) at London’s Lisson Gallery.

December 24, 1967: Hello Goodbye (The Beatles) was a hit.

December 30, 1967: The Beatles reach #1 with “Hello Goodbye”.

February 15, 1968: The Beatles depart for Rishikesh, India, for an advanced course in transcendental meditation.

May 1, 1968: Apple Corps, Ltd. begins operating in London. It is the Beatles’ attempt to take control of their own creative and economic destiny. Later that month, John invites Yoko to his house in Weybridge. They make experimental tapes all night.

September 22, 1968: Hey Jude (The Beatles) was a hit.

September 28, 1968: The Beatles reach #1 with “Hey Jude”.

January 30, 1969: The Beatles make their last performance as a group on the roof of the Apple building during the filming of ‘Let It Be’.

May 18, 1969: Get Back (The Beatles) was a hit.

May 24, 1969: The Beatles reach #1 with “Get Back”.

November 23, 1969: Come Together (The Beatles) was a hit.

November 29, 1969: The Beatles reach #1 with “Come Together”.

April 5, 1970: Let It Be (The Beatles) was a hit.

April 10, 1970: announces that he is leaving the Beatles due to “personal, business and musical differences.”

June 7, 1970: The Long and Winding Road (The Beatles) was a hit.

January 2, 1975: John and Yoko are reunited. The Beatles’ final dissolution takes place in London.

December 8, 1980: is shot by a deranged assailant as he and Yoko return to the Dakota after a recording session. He is pronounced dead at Roosevelt Hospital.

1988: The Beatles inducted into the Rock and Roll Hall of Fame.

November 19, 1995: “Free as a Bird,” the first new Beatles single in 25 years, is premiered on the televised Beatles Anthology. The song, a 1977 demo by completed in 1995 by the three surviving Beatles, reaches #6 on the singles chart in early 1996.

March 23, 1996: “Real Love,” a 1979 demo finished in 1995 by the other Beatles, becomes the second new Beatles single to chart in less than three months. Released as part of ‘The Beatles Anthology’ recordings and TV special, it reaches #11 – not bad for a band that broke up in 1970.

November 29, 2001: dies at the age of 58 after a long battle with cancer.

Must Have  Recordings

I Want to Hold Your Hand
Hey Jude
Strawberry Fields Forever
A Hard Day’s Night
Paperback Writer
Can’t Buy Me Love
She Loves You
All You Need Is Love




Lennon Anthology Page----

Lennon in NYC in 1999---


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