Beatles FAQ

Wimpole Street  “I woke up with a lovely tune in my head.  I thought, ‘That’s great, I wonder what that is?’  There was an upright piano next to me, to the right of the bed by the window.    I got out of bed, sat at the piano, found G, found F sharp minor 7th – and that leads you through then to B to E minor, and finally back to E.  It all leads forward logically.  I liked the melody a lot but because I’d dreamed it I couldn’t believe I’d written it. 

Graphic designer Viktor Hertz has created a remarkable tribute to The Beatles. Each pictogram represents a song.  How many Beatles songs can you identify?

In 1962 Capitol Records, the sister company of EMI, were offered the opportunity to release the first Beatles singles in the USA. But because British acts typically had little success in the American market Capitol turned the opportunity down.  It was two small  companies Vee-Jay Records and Swan who saw some potential for American sales.  Vee-Jay Records? Vee-Jay Records were a small Chicago label, specialising in soul records. They signed The Beatles in order to secure a bigger star: Frank Ifield. As part of the deal Vee-Jay released Please Please Me in February 1963.  With promotion on local radio stations Please, Please Me crept up to number 35 in the Chicago chart. But the song did not register nationally Cold Feet Despite this Vee-Jay scheduled the release of the first album ('Please Please Me' in the UK) for July 1963. With Beatlemania building in Britain, This seemed a very shrewd move until the release was suddenly cancelled without warning. It transpire

In June 1966 the great Indian musician Ravi Shankar visited George Harrison at his Surrey home - and played for the assembled Beatles. Two months later they recorded George's composition I WANT TO TELL YOU.  Harrison later explained that the song expressed 'an avalanche of thoughts that are so hard to write down or say' and Ian Macdonald spots the 'underlying Hindi outlook in the lyric - a karmic reference to time in the final lines ... confirmed by a descending melisma in the fade out'.  Neil Innes - who later collaborated with George Harrison on the celebrated Beatles spoof mockumentary  The Rutles   - happened to be in Abbey Road Studio as they were recording. He tells the story here:

George Martin was initially unconvinced that Lennon & McCartney could consistently write hit songs. For their second single John Lennon put forward Please Please Me - his attempt to channel Roy Orbison. Again the verdict was a resounding thumbs down: I listened to it and I said: 'Do you know that's too boring for words? It's a dirge. At twice the speed it might sound reasonable.' They took me at my word. I was joking and they came back and played it to me sped up and put a harmonica on it. Impressed by the dramatic improvement, George Martin agreed to give the song a second chance. He was not to regret his decision:  We worked for ages on their new version of 'Please Please Me', and I said: 'Gentlemen, you're going to have your first #1. Source: Interview with George Martin, The Observer Music Monthly, 2006

On October 22 1969 Paul McCartney tried to end a month of fevered press speculation started by  a story published in a tiny Des Moines student magazine on September 17 .

According to the delightful May Pang (John's girlfriend during his 'lost weekend') they did:

On August 27 1965 in The King's Bel Air mansion. 

Saturday. "Friday Night arrives without a suitcase/Sunday morning creeping like a nun." Perhaps its part of that eight-day-week the Beatles introduced. Lady Madonna was McCartney's 'come-back' single after critics savaged Magical Mystery Tour. Musically, it's an impressive response, the boogiewoogie piano and handclaps combining to create an infectious driving sound.  Lyrically, it is less successful. The title was inspired by a magazine photograph of an African mother and child captioned Mountain Madonna. This image immediately runs into trouble with a very British reference to paying the rent. Then it turns bizarrely accusatory ('Did you think that money was heaven sent?') before losing all coherence in what Ian MacDonald calls 'acid tinged unreality'.  Macdonald particularly disapproves of the 'pointless allusion to I Am the Walrus' suggesting that this 'wanton self-mythologising ... in the context of the developing 'Pa