Beatles FAQ

The 'Paul is Dead' conspiracy was fuelled by supposed clues hidden in the recordings I told you about strawberry fields ... You know the place where nothing is real...Well here's another clue for you all ... The walrus was Paul.

 It’s a throwaway, a piece of garbage...from a Kellogg’s cereal commercial. I always had the TV on very low in the background when I was writing and it came over ...{ i n this } song .  During his Weybridge years, John Lennon was a British version of Benjamin Braddock in  The Graduate  (1967). Though extraordinarily privileged in material terms he felt alienated: a rich, successful young man angry at the suburban world he found himself in. This anger was largely expressed through petty acts of passive aggression against those surrounding him.   In the conventional Beatles narrative, John Lennon was the wild man, with an artistic bent and a taste for the avant garde.  Paul, in contrast, was the son-in-law choice: cute, sensible and with the common touch.  In reality, the roles were reversed. McCartney spent his Beatle downtime careering around  Swinging London in his Mini Cooper, the pop world's Toad of Toad Hall. He was a fixture of the hip clubs, fashionable parties and talked-abo

Photo by Saubhagya gandharv on Unsplash George Harrison’s first serious attempt at an ‘Indian’ composition had the unpromising working title of “Granny Smith”. George revealed his 'difficulty with words' in an interview with Maureen Cleave for the London Evening Standard in February 1966. He wishes he could write fine songs as Lennon and McCartney do, but he has difficulty with the words. “Pattie keeps asking me to write more beautiful words,” he said. He played his newest composition… ’Love me while you can: before I’m a dead old man…’ George was aware that these words were not beautiful. Evening Standard readers may have had the impression that “Love You To” was a love song celebrating George’s recent marriage to new Pattie (Boyd). The couple had, after all, just returned from honeymoon in the (then) impossibly glamorous Barbados. Perhaps more pertinent, however, was another Maureen Cleave’s observation from the same interview. Indian music and culture, she noted, “has give

Indian restaurant scene from Help! (1965 The first time George Harrison saw a sitar was on the set of Help in April 1965. A group of Indian musicians had been recruited to add an authentic Indian ambience to the restaurant scene. They played a  a Beatles medley ('Another Hard Day’s Night')   using  sitar, flute, tabla, ghunghroo and tanpura.  These session musicians performing Beatles songs in an Indian style were also being employed for comic effect but to his surprise, Harrison found himself entranced by the sound. ‘George was fascinated by the instruments they used,’ John Lennon later reported. He wanted to hear more and over the next few months Harrison began researching traditional Indian music.  Ravi Shankar The Beatles guitarist discussed his new interest with David Crosby, who toured the UK with The Byrds in August 1965. Crosby told him about Ravi Shankar, then virtually unknown outside India. Crosby also lent Harrison a Shankar LP that he ‘carried in his suitcase’.  It