Back in 1968....
The Beatles were working on "Revolution"
Back in 1968....
The Beatles were working on "Revolution"
Back on this day in 1963...
BBC Paris Studio, London and Granada Cinema, Mitcham Rd. Tooting, London
Another hectic day for the Beatles eight hours inside a BBC radio studio followed by two separate "House" at the Tooting Granada with the Roy Orbison package tour.
The BBC session was for both the second and third editions in their own series "Pop Go The Beatles". Curiously, Program 3 was taped first, between 9:30 am and 1:30 pm, Number 2 was then recorded between 1:30 and 5:30. (A rehearsal element was included in these timings). The Beatles' guests in Program 3 were Carter-Lewis and the Southerners, and in Program 2 the Countrymen.
Before the series began, the Beatles let it be known that they would use the privileged BBC airtime to broadcast songs that had formed the backbone of their pre-fame live repertoire. An article in the New Musical Express of May 24, 1963 stated, "The Beatles will sing 5 or 6 numbers in each presentation. R&B material will be strongly featured. It was an interesting decision, for although they did play a few Lennon-McCartney numbers, they certainly could have featured them much more. Instead, the Beatles opted for versatility, letting the British public hear the songs they could no longer perform in live concerts now restricted to 20-25 minutes and hit material.
It was because of this decision that people have been able to hear - and preserve - studio environment, often live in-one-take recordings of rare Beatles performances, a huge cache of remarkable material.
In Program 3, broadcast in the Light Programme between 5:00 and 5:29 pm on Tuesday, June 18th, the group sang "A Shot Of Rhythm And Blues", "Memphis, Tennesse", "A Taste Of Honey", "Sure To Fall In Love With You", "Money, That's What I Want", and "From Me To You".
In Program 2, transmitted in the Light Programme between 5:00 and 5:20 pm on Tuesday, June 11th, the Beatles performed "Too Much Monkey Business", "I Got To Find My Baby", "Youngblood", "Baby, It's You", "Till There Was You", and "Love Me Do".
Back in 1965
Prince of Wales Theatre, London
A return visit to the scene of their Royal Variety Show triumph the previous November 4th. This concert was the fifth in a series of seven consecutive "Pops Alive!" Sunday night pop shows at this theatre promoted by Brian Epstein. There were six support acts for each of the two "houses" this evening: Kenny Lynch, Cliff Bennett and the Rebel Rousers, the Vernon Girls, the Lorne Gibson Trio, the Chants and the Harlems.
The Beatles repertoire comprised "Can't buy me love", "All my loving", "This boy", "Roll over Beethoven", "Till there was you", "Twist and Shout", and "Long tall Sally".
The Complete Beatles Chronicle, Mark Lewisohn
Number One Song on this date
"The Long & Winding Road"
Back in 1965
In UK Ticket To Ride by The Beatles was in the top 5 hits.
Back in 1963
The Beatles - Gaumont Cinema, Foregate St. Worcester, Worcs
George Harrison begins recording his All Things Must Pass album. Ringo Starr plays drums on the album.
On this day in 1965...
The Beatles were in Cannes, France
At some point during the day John gave a brief interview to US television reporter Martin Ogronsky, screened a week later - June 1st (Tuesday) on the CBS program The Merv Griffin Show. The interview was filmed close to the sea-front in Cannes during a short and scarcely publicized visit that John and his wife Cynthia made to the town's annual film festival. In fact, this was their last day on the Riviera and they returned to England during the afternoon.
As for lyrics, “Let It Be” takes rock and the Beatles into a new era. They (and this includes Harrison al though his lyrics tend to be more blunt and obvious than those of Lennon‐McCartney) seem now to be assembling many lyrics, not linear‐ration ally as the professional lyri cist might, but by the logic of music‐making processes, roughly, through free associ ations which take off from the intended sentiment. The texts to “Let It Be” are uni formly apt and occasionally brilliant and strange from “Let It Be” the mini‐theatri cal evocativeness of “I wake up to the sound of music/ Mother Mary comes to me.” Or from “Across the Uni verse”—“...like the restless wind inside a letter box/ They tumble past...” Or from the same song the set of sounds which close the tune and are totally unrecognizable, at least in English, as language. A logical stream like that from the songlet “Dig It” (Yoko ‐ Cage influenced?) which says “F.B.I., C.I.A., B.B.C.,” veers off from the anti ‐ Establishment implica tions to “B. B. King” and then on to “Doris Day” for the rhyme.
Interestingly enough, from all the wealth of choice im plied in this free‐association music, the core sadness of this album lies in its refer ences to being lost, trains, travelling and, as in the blues poetry of early 20th‐century North‐bound blacks, long roads. Even the harmonies to “Winding Road” wander tell ingly along like water down a pane to resolve home at last on the words “...your door.” Though this music may be said to illuminate the root lessness of the Woodstock generation, the advice of fered by two of the songs, “Let It Be” and “Get Back,” probably can't be heeded by the young at this time of strife. The Rolling Stone's “You Can't Always Get What You Want” from “Let It Bleed,” their latest album, falls into the same category. The affluence and physical isolation of these two super groups has, perhaps, begun to separate them from their peo ple's lives. At any rate, John, Paul, George and Ringo seem in no hurry to “get back to where they once belonged” on Mersey's side. It was months after, on “Abbey Road,” that the ensemble was to sing, “Once there was a way to get back home.”
Perhaps this will be the last new Beatles album. I don't believe it, but it's pos sible. Already each of them has made at least one rathei weak solo album, and all are planning more. Three of them —John, Paul and George—are excellent composer ‐ perform ers and, once used to going loner, may make some mighty music. George Harrison's progress has been especially formidable, and he is used to composing alone. At any rate, together they have changed a part of the world but without forgetting where they come from.
Woodstock Nation will be served — and by musician sages who come from there. What needs to be recorded and advised will be done. Floating, harassed and un nerved though not necessari ly unhappy, that Nation lives in the streets, dormitories, communes and long winding roads, driven there much more out of necessity than any outsiders will believe. Ragged and emancipated by choice—since they “can't go home this‐a‐way,”—they will have to make a new home. Perhaps at such a time and place the four Mersey indi viduals will find their own answer as the reconstituted Beatles. Perhaps “Get Back” will be relevant there. Until then, let be.