A BEATLES' HARD-DIE'S SITE

Memorabilia - Yellow Submarine

ITALIAN MOVIE POSTER

WORKING+FINAL PRINT UK MOVIE POSTER

REEL TO REEL TAPE

FLOOR DISPLAY

NOTE PADS

YELLOW SUBMARINE WATCH

The Apple Boutique Story


This first Apple venture was located at 94 Baker Street, London W1 and was as Paul said "A beautiful place where you could buy beautiful things."
The Apple boutique started life in the 19th century as a four-story house. Over the years it evolved into an office and shops in the busy part of London at the corner of Baker Street and Paddington Street. During the 60's three Dutch designers, Mr. Simon Posthuma, Ms. Josje Leeger, and Ms. Marijke Koeger had an initially successful fashion boutique called the Trend in Amsterdam. It was closed due to financial problems. Simon and Marijke wandered around Europe before moving to London where they met Simon Hayes and Barry Finch. Hayes became the business manager while Finch joined the 3 Dutch designers who became known as the "Fool." Pattie Harrison was familiar with them and even wore some of their designs. How it all started is not clear, but in September 1967 the Beatles gave the "Fool" 100,000 pounds to design and stock the new Apple Boutique.
The "Fool" engaged several dozen art students to paint a huge psychedelic mural across the entire front and side of the store. Instant complaints from local merchants soon had them erasing the mural. The "Fool" also created the psychedelic designs for John's Rolls-Royce and a fireplace for George. Pete Shotton managed the store with Pattie Harrison's sister Jennie. Invitations to the grand opening, on 5 December 1967, read 'Come at 7.46. Fashion Show at 8.16.' John and George were the only Beatles that attended. The only drink available that night was apple juice. The Apple Boutique turned out to be a financial disaster and was closed just 8 months later. On Tuesday morning, 30 July 1968 the staff was told they could give everything away. Paul's "beautiful place" was no more.


Posters

Apple Post Card

Apple Paper Shopping Bag

Apple Bookmarker

Apple Clothing Tag

Memorabilia - Cartoon Inspired Toys


Beatles 1963 Audio Documentary




Beatles 1963 Self Made Documentary

This is a homemade documentary from various interviews, sound bytes, and out takes gathered through the past few years. It deals with the year 1963 in the Beatles' lives. This mini-rockumentary is quite long, as it comes in at 1 Hour and 40 Minutes!!! So, if you are a Beatles fan, sure you will enjoy it. If you are a casual listener to the sixties music scene, it will give you some insight into the hectic lives that Beatles lived during this year. If you have any comments or requests, please write to jwitty@sympatico.ca

Download links:
Mediafire Megaupload Zshare

Many thanks to the original uploader. Go to the original post

Beatles 1966 Last Tour Audio Documentary




A self made 'documentary' on the Beatles last tour of 1966. In this regular episode, you will hear from: The Rolling Stones, The Chantels, The Blue Things, The Problems Of Tyme, Ian & The Zodiacs, Maze, Orpheus, The Troggs, The Collectors, Mirage, and the North Atlantic Invasion Force. If you have any requests or comments, please write to jwitty@sympatico.ca

Download

Many thanks to the original uploader. Go to the original post

Unused Beatles album artwork by Jim Dine up for sale


The graphite and watercolor artwork that you see above was created in 1968 and was destined for eternal rock 'n' roll fame. Hollywood's Capitol Records commissioned Pop artist Jim Dine to create a series of illustrations for a forthcoming Beatles album. But the project fell apart after the band decided to leave Capitol in order to form the Apple Records label.
The unused art ended up in the private collection of former Capitol Records President Sal Iannucci and his wife Aileen. Later this month, it will hit the auction block at Bonhams & Butterfields in Los Angeles where it is expected to fetch between $25,000 to $35,000.

The artwork consists of five individual pieces -- four depicting individual toothbrushes labeled for each member of the band plus a fifth showing all four toothbrushes together. Each item is signed and dated 'Jim Dine 1968' in the lower left corner, according to the auction house.
An acclaimed Pop artist, Dine used graphite and watercolor paints to create the works on vellum. Each piece stands approximately 17 inches by 14 inches.
"It's a lovely representation of how art and music can go together," said Sharon Goodman Squires, a specialist at Bonhams.
"The works have really wonderful signature imagery by Dine."
She said she doesn't know about the timing of the sale. "Like many people these days, the owners may be downsizing, but that's just speculation," she said.
The Dine works are part of Bonhams' fall auction of Modern, Contemporary and Latin American Art. The auction is scheduled to take place Nov. 17 in L.A. with a simulcast to the firm's San Francisco gallery.
The auction will consist of more than 200 lots, including works by Andy Warhol, Frank Stella, Diego Rivera, Alexander Calder and more.

byDavid Ng
Credit: Courtesy of Bonhams & Butterfields - Los Angeles Times

Bookshelf - Garry Berman: Going to See the Beatles

Garry Berman
Going to See the Beatles: An Oral History of Beatlemania as Told by the Fans Who Were There
(Santa Monica Press; US: Apr 2008)

This text is excerpted from the 2008 book, We’re Going to See the Beatles: An Oral History of Beatlemania as Told by the Fans Who Were There by Garry Berman.

The Beatles managed to spend the morning of the next day, Feb. 8th, in relative quiet. John, Paul, and Ringo avoided the mobs of fans awaiting them in front of the Plaza by using a side door, and took a stroll through Central Park (George was stuck in bed with a sore throat). Of course, their “stroll” was really for the benefit of the army of journalists and photographers covering their visit. The streetwise photographers didn’t quite know what to do with the group at first, so they shouted out instructions for poses like “point to the sky!” and anything else that came to mind. Next, the Beatles headed for the CBS theatre on 53rd Street, the home of The Ed Sullivan Show, for rehearsals.

Sullivan had witnessed Beatlemania first-hand during a trip to England back in September, but hadn’t seen or heard the group perform. He was nonetheless impressed with the passion they instilled in their British fans, and in November negotiated with Brian Epstein to have the group perform on three separate Sullivan shows beginning in early February. The group would be paid a total of $10,000 for two live appearances plus a taping of a third performances to be aired later in the year.

The next day, on Sunday afternoon, the group performed a full run-through of the songs they would play on the show that night. They did so in front of a full studio audience, who had the privilege of getting the scoop on the rest of the country by several hours. A different audience was later brought in for the live broadcast. When the program went on the air at 8:00 p.m., it was viewed by an estimated 73 million people—the biggest audience for a television show ever to that date. It was only six weeks after Capitol Records officially released “I Want To Hold Your Hand.”

And it was the night Beatlemania exploded.

June Harvey: My friend’s father worked for an ad agency and it just so happened that he had tickets for The Ed Sullivan Show for that night. A client had given them to him. But he did not want them, so he gave them to us.

Two days before, they came into JFK, and there was quite a bit of fanfare and excitement. I think some of my friends tried to go out to the airport to meet them. I was working on a project for school and couldn’t get off, but I knew we had the tickets. And at that time we thought they were just a passing fad. We had no inkling that they would be some part of music history. It was just so early in their recognition factor. This was February, and their music had only started playing six weeks before. There was some momentum building, but really not any that I thought was over the top, other than when they came into JFK, I remember seeing on the news that there were a lot of screaming fans that had come out there.

The day of the show, my friend and I went down on the subway—we lived in the Bronx—and we’d take the Lexington Avenue line down. We had the tickets, but I do not think they were assigned seats, I think they were just entry tickets into the theatre. We had to wait outside for quite a long time, well over an hour, and it was freezing cold. I do remember that! There were two girls standing right behind us who were British. We struck up a conversation with them. They were on winter holiday, and one of the girls’ brothers went to school with John Lennon, and she knew John. They were from Liverpool, and we talked about their friendship with some of the Beatles, especially John.

It was very electric, it really was, like something exciting was about to happen.

Shaun Weiss: By Sunday I was hooked. Sunday was very interesting for us. My sister and I knew where The Ed Sullivan Show was so we walked down to the theatre with a bunch of friends of ours. As the day progressed, we were trying to find tickets to get in. My sister started to put on crocodile tears, and we had run into these two older people who were standing on line to go in. My sister said, “Do you have any extra tickets?” and they turned around and said, “We actually have tickets for friends of ours, and we don’t know if they’re showing up. But if they don’t show up, you can have them.” So my sister attached herself to them. The friends never did show up, and when it came to getting into the theatre, they only put a certain amount of kids up front. They stuck the rest of us up in the balcony. But it didn’t matter. It was so amazing just to be there and see Ed Sullivan walk out on that stage. We were in the last row of the balcony, by the center aisle. My sister snuck down to the first row of the balcony with one of her friends.

The Beatles kicked off the show with their first set of three songs: “All My Loving,” “Till There Was You,” and “She Loves You.” Later in the show, after performances by the cast of Oliver! (featuring future Monkee Davey Jones), impressionist Frank Gorshin, and other acts commonly seen on Sullivan’s show, the host brought them back to sing “I Saw Her Standing There” and “I Want To Hold Your Hand.”

Shaun Weiss: When they came out to perform, you really lost sight of them onstage. It was just looking around and seeing girls screaming, and girls crying. Being as far up as we were, we really didn’t see them as well as you would on TV sitting in your living room. Being there was a whole different excitement. I was so caught up in this moment, the reality was just being there was the thrill. I don’t even remember the songs that were being played, just that I could not believe these guys from Liverpool were performing, and I was seeing this live. The charm of seeing them for the first time in person, and not really understanding what was happening to me. I was getting caught up in a hysteria that I didn’t understand. Everything else was fogged out.

The theatre had a way of locking you in, so that you couldn’t get out to bother the Beatles leaving. But we just opened the exit door and we all flew out, and tried to get around to the side to see them leave, but obviously they had other ways of getting out that we knew nothing about.

The things I remember about them were just their mannerisms—and how much fun it looked like they were having. But it also looked like they were kind of scared. Just their mannerisms standing there, and Ringo up on the drum set playing and his head shaking… That weekend, walking into it, I was unaware of what I was walking into. For the next five years of my life, I was obsessed with them. And the more I became obsessed with them, the more I geared my life to kind of hang in their corner.

June Harvey: We must have been fairly close-up in line because we were ushered into the balcony and we ended up in the first row. And the Ed Sullivan Theatre was very small, and the balcony hung right over the stage. I think Letterman has taken out the balcony. I was second from the end, and a photographer came in after all of us were seated, and there were a lot of screaming fans directly behind me. We were so close to the photographer that he could not get an angle on us. He leaned in and shot up over us. So all the pictures in the fan magazines were the people sitting right behind us, including the two girls from Liverpool.

The screaming was constant, but I remember hearing them sing, there’s no doubt about it. And we were literally hanging right over the stage so we could see them. It was a memorable experience.
© 1999-2009 PopMatters.com

Their Own Records In Their Own Words - Magical Mystery Tour and surroundings


Magical Mystery Tour

MAGICAL MYSTERY TOUR

(Lennon/McCartney)
JOHN 1972: "Paul wrote it. I helped with some of the lyric."
JOHN 1980: "Paul's song. Maybe I did part of it, but it was his concept."
PAUL circa-1994: "'Magical Mystery Tour' was co-written by John and I, very much in our fairground period. One of our great inspirations was always the barker: 'Roll up! Roll up!' The promise of something-- the newspaper ad that says 'guaranteed not to crack,' the 'high class' butcher, 'satisfaction guaranteed' from Sgt. Pepper... You'll find that pervades alot of my songs. If you look at all the Lennon/McCartney things, it's a thing we do alot."

FOOL ON THE HILL

(Lennon/McCartney)
JOHN 1980: "Now that's Paul. Another good lyric. Shows he's capable of writing complete songs."
PAUL circa-1994: "'Fool On The Hill' was mine and I think I was writing about someone like the Maharishi. His detractors called him a fool. Because of his giggle he wasn't taken too seriously... I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.'"

FLYING

(Lennon/McCartney/Harrison/Starkey)
PAUL circa-1994: "'Flying' was an instrumental that we needed for (the film) 'Magical Mystery Tour' so in the studio one night I suggested to the guys that we made something up. I said, 'We can keep it very, very simple, we can make it a 12-bar blues. We need a little bit of a theme and a little bit of a backing.' I wrote the melody, otherwise it's just a 12-bar backing thing. It's played on the mellotron, on a trombone setting. It's credited to all four (Beatles), which is how you would credit a non-song."

BLUE JAY WAY

(Harrison)
GEORGE 1968: "Derek Taylor got held up. He rang to say he'd be late. I told him on the phone that the house was in Blue Jay Way. And he said he could find it okay... he could always ask a cop. So I waited and waited. I felt really nackered with the flight, but I didn't want to go to sleep until he came. There was a fog and it got later and later. To keep myself awake, just as a joke to pass the time while I waited, I wrote a song about waiting for him in Blue Jay Way. There was a little Hammond organ in the corner of this house which I hadn't noticed until then... so I messed around on it and the song came."

YOUR MOTHER SHOULD KNOW
(Lennon/McCartney)
PAUL circa-1994: "I dreamed up 'Your Mother Should Know' as a production number... I've always hated generation gaps. I always feel sorry for a parent or a child that doesn't understand each other. A mother not being understood by her child is particularly sad because the mother went through pain to have that child, and so there is this incredible bond of motherly love, like an animal bond between them. But because we mess things up so readily they have one argument and hate each other for the rest of their lives. So I was advocating peace between the generations. In 'Your Mother Should Know' I was basically trying to say your mother might know more than you think she does. Give her credit."

I AM THE WALRUS
(Lennon/McCartney)
PAUL 1967: "Everyone keeps preaching that the best way is to be 'open' when writing for teenagers. Then when we do we get criticized. Surely the word 'knickers' can't offend anyone. Shakespeare wrote words alot more naughtier than knickers!"
JOHN 1967: "We chose the word (knickers) because it is a lovely expressive word. It rolls off the tongue. It could 'mean' anything."
GEORGE 1967: "People don't understand. In John's song, 'I Am The Walrus' he says: 'I am he as you are he as you are me.' People look for all sorts of hidden meanings. It's serious, but it's also not serious. It's true, but it's also a joke."
JOHN 1968: "We write lyrics, and I write lyrics that you don't realize what they mean till after. Especially some of the better songs or some of the more flowing ones, like 'Walrus.' The whole first verse was written without any knowledge. With 'I Am the Walrus,' I had 'I am he as you are he as we are all together.' I had just these two lines on the typewriter, and then about two weeks later I ran through and wrote another two lines and then, when I saw something, after about four lines, I just knocked the rest of it off. Then I had the whole verse or verse and a half and then sang it. I had this idea of doing a song that was a police siren, but it didn't work in the end (sings like a siren) 'I-am-he-as-you-are-he-as...' You couldn't really sing the police siren."
JOHN 1980: "The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko. Part of it was putting down Hare Krishna. All these people were going on about Hare Krishna, Allen Ginsberg in particular. The reference to 'Element'ry penguin' is the elementary, naive attitude of going around chanting, 'Hare Krishna,' or putting all your faith in any one idol. I was writing obscurely, a la Dylan, in those days. It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem. It never dawned on me that Lewis Carroll was commenting on the capitalist and social system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter...'"

HELLO GOODBYE

(Lennon/McCartney)
JOHN 1980: "That's another McCartney. An attempt to write a single. It wasn't a great piece. The best bit was at the end, which we all ad-libbed in the studio, where I played the piano. Like 'Ticket To Ride,' where we just threw something in at the end."
PAUL circa-1994: "'Hello Goodbye' was one of my songs. There are Geminian influences here I think-- the twins. It's such a deep theme of the universe, duality-- man woman, black white, high low, right wrong, up down, hello goodbye-- that it was a very easy song to write. It's just a song of duality, with me advocating the more positive. You say goodbye, I say hello. You say stop, I say go. I was advocating the more positive side of the duality, and I still do to this day."

STRAWBERRY FIELDS FOREVER
(Lennon/McCartney)
JOHN 1968: "Strawberry Fields was a place near us that happened to be a Salvation Army home. But Strawberry Fields-- I mean, I have visions of Strawberry Fields. And there was Penny Lane, and the Cast Iron Shore, which I've just got in some song now, and they were just good names-- just groovy names. Just good sounding. Because Strawberry Fields is anywhere you want to go."
PAUL 1974: "That wasn't 'I buried Paul' at all-- that was John saying 'Cranberry sauce.' It was the end of Strawberry Fields. That´s John´s humor. John would say something totally out of sync, like cranberry sauce. If you don´t realize that John´s apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, 'Aha!'"
JOHN 1980: "Strawberry Fields is a real place. After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs... not the poor slummy kind of image that was projected in all the Beatles stories. Near that home was Strawberry Fields, a house near a boys' reformatory where I used to go to garden parties as a kid with my friends Nigel and Pete. We always had fun at Strawberry Fields. So that's where I got the name. But I used it as an image. Strawberry Fields Forever. 'Living is easy with eyes closed. Misunderstanding all you see.' It still goes, doesn't it? Aren't I saying exactly the same thing now? The awareness apparently trying to be expressed is-- let's say in one way I was always hip. I was hip in kindergarten. I was different from the others. I was different all my life. The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius-- 'I mean it must be high or low,' the next line. There was something wrong with me, I thought, because I seemed to see things other people didn't see. I thought I was crazy or an egomaniac for claiming to see things other people didn't see. I always was so psychic or intuitive or poetic or whatever you want to call it, that I was always seeing things in a hallucinatory way. Surrealism had a great effect on me, because then I realized that the imagery in my mind wasn't insanity; that if it was insane, I belong in an exclusive club that sees the world in those terms. Surrealism to me is reality. Psychic vision to me is reality. Even as a child. When I looked at myself in the mirror or when I was 12, 13, I used to literally trance out into alpha. I didn't know what it was called then. I found out years later there is a name for those conditions. But I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete. It caused me to always be a rebel. This thing gave me a chip on the shoulder; but, on the other hand, I wanted to be loved and accepted. Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician. But I cannot be what I am not."

PENNY LANE

(Lennon/McCartney)
PAUL 1966: "I like some of the things the Animals try to do, like the song Eric Burdon wrote about places in Newcastle on the flip of one of their hits. I still want to write a song about the places in Liverpool where I was brought up. Places like The Docker's Umbrella which is a long tunnel through which the dockers go to work on Merseyside, and Penny Lane near my old home."
JOHN 1968: "We really got into the groove of imagining Penny Lane-- the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there. It was just reliving childhood."
JOHN 1980: "Penny Lane is not only a street but it's a district... a suburban district where, until age four, I lived with my mother and father. So I was the only Beatle that lived in Penny Lane."
PAUL circa-1994: "John and I would always meet at Penny Lane. That was where someone would stand and sell you poppies each year on British Legion poppy day... When I came to write it, John came over and helped me with the third verse, as often was the case. We were writing childhood memories-- recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us. All the places were still there, and because we remembered it so clearly we could have gone on."

BABY YOU'RE A RICH MAN
(Lennon/McCartney)
JOHN 1968: "In 'Baby You're a Rich Man' the point was, stop moaning. You're a rich man and we're all rich men, heh, heh, baby!"
JOHN 1980: "That's a combination of two seperate pieces, Paul's and mine, put together and forced into one song. One-half was all mine. (sings) 'How does it feel to be one of the beautiful people/ Now that you know who you are...' Then Paul comes in with, (sings) 'Baby you're a rich man,' which was a lick he had around."

ALL YOU NEED IS LOVE
(Lennon/McCartney)
PAUL 1967: "We had been told we'd be seen recording it by the whole world at the same time. So we had one message for the world-- Love. We need more love in the world."
JOHN 1971: "I think if you get down to basics, whatever the problem is, it's usually to do with love. So I think 'All You Need is Love' is a true statement. I'm not saying, 'All you have to do is...' because 'All You Need' came out in the Flower Power Generation time. It doesn't mean that all you have to do is put on a phoney smile or wear a flower dress and it's gonna be alright. Love is not just something that you stick on posters or stick on the back of your car, or on the back of your jacket or on a badge. I'm talking about real love, so I still believe that. Love is appreciation of other people and allowing them to be. Love is allowing somebody to be themselves and that's what we do need."
PAUL circa-1994: "'All You Need Is Love' was John's song. I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot."

LADY MADONNA

(Lennon/McCartney)
RINGO 1968: "It sounds like Elvis, doesn't it? No, it doesn't sound like Elvis... it IS Elvis. Even those bits where he goes very high."
JOHN 1980: "Paul. Good piano lick, but the song never really went anywhere. Maybe I helped him on some of the lyrics."
PAUL 1986: "'Lady Madonna' is all women. How do they do it? --bless 'em. Baby at your breast, how do they get the time to feed them? Where do they get the money? How do you do this thing that women do?"
PAUL circa-1994: "The original concept was the Virgin Mary, but it quickly became symbolic of every woman-- the Madonna image but as applied to ordinary working-class women. 'Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. It reminded me of Fats Domino for some reason, so I started singing a Fats Domino impression. It took my voice to a very odd place."

THE INNER LIGHT

(Harrison)
PAUL 1968: "Forget the Indian music and listen to the melody. Don't you think it's a beautiful melody? It's really lovely."

ON SONGWRITING

PAUL 1988: "We knew we were good. People used to say to us, 'Do you think John and you are good songwriters?' and I'd say-- "Yeah it may sound conceited but it would be stupid of me to say 'No, I don't,' or 'Well, we're not bad' because we are good." Let's face it. If you were in my position, which was working with John Lennon, who was a great, great man-- It's like that film 'Little Big Man.' He says, 'We wasn't just playing Indians, we was LIVIN' Indians.' And that's what it was. I wasn't just talking about it, I was living it. I was actually working with the great John Lennon, and he with me. It was very exciting."

Bookshelf: The Beatles Paperback Writer

2009, 350 p., Plexus Publishing (UK)

"The Beatles: Paperback Writer" collects the most illuminating interviews, articles, reviews, and essays on the rock icons, from contemporary accounts of the group's rise in 1962 to recent analyses of their enduring cultural legacy. The band's influence on the Baby Boomer youth culture and its descendants is discussed by figures from all places on the pop culture spectrum: mainstream reporters, rock journalists, cultural commentators, performers, and the band's acquaintances and friends. Provocative articles cover the Beatles' pop-redefining experimentation with song structure and recording techniques and their embracing of psychedelic drugs, hippie utopianism, and pacifism -- all set against the dramatic backdrop of the counterculture. Editor Mike Evans includes penetrating pieces on such fascinating byways as the right-wing claims that the group was communist and the "Paul is dead" myth. The band's acrimonious split and each member's disparate, post-Beatles path are also profiled in this book that's a must-have for any serious Beatles fan.

Arguments included:
John Lennon 1940-1980
Ray Connolly
A Twist of Lennon
Cynthia Lennon
The Arty Teddy Boy
Mike Evans
Art into Pop
Simon Frith and Howard Horne
John Lennon 1940-1980 (2)
Ray Connolly
A Cellarful of Noise
Brian Epstein
Beatle! The Pete Best Story
Pete Best and Patrick Doncaster
Why the Beatles Create All That Frenzy
Maureen Cleave
The Sound of the City
Charlie Gillett....

and many more...

The Beatles on Bravo 1964

Groupie lifts the lid on the excesses of the Beatles and Rolling Stones

A groupie who was granted access to the inner sanctums of the Beatles and the Rolling Stones has lifted the lid on their hedonistic lifestyles in a new memoir.

Chris O'Dell had affairs with Sir Mick Jagger, Ringo Starr and Bob Dylan during the 1960s and 1970s while working as a personal assistant in the music business.
Now 62, she has written an autobiography in which she charts her years as a rock and roll hanger-on, which she describes as "like being given the keys to Disneyland".
She gained her first entry into the music world aged 20, after arriving in London from her home in Tuscon, Arizona with $100 in her pocket. She landed a job as an office assistant at Apple Records, at the height of Beatlemania.
Within months, O'Dell had hit it off so well with George Harrison that she moved in with him and his wife, Pattie Boyd, at their home in Henley-on-Thames.
In her book, she recalls the day that Harrison admitted he had been sleeping with Starr's wife, Maureen. "You know, Ringo, I'm in love with your wife," Harrison said as they sat at Starr's kitchen table. "Better you than someone we don't know," Starr shrugged.

O'Dell had her own three-month affair with Starr and claims that the band lived a drug-fuelled lifestyle. "We all drank and took coke, pot, amphetamines all the time," she said.
On one occasion, she shared a plane journey with John Lennon and Yoko Ono.
"The plane started hitting some turbulence and then John and Yoko started singing the Hari Krishna chant. So we just chanted our way to the earth, basically, until we landed. And I thought, well, if I die here at least I'll be on the front page."


Chris O'Dell and Keith Richards backstage in Nashville


After the Beatles broke up, O'Dell became a personal assistant to the Rolling Stones and joined them on their infamous 1972 tour. Of her fling with Jagger, she said: "If there had been a job description being employed by the Stones back then, I'm pretty sure it would have included a proviso that went something like this: sleep with Mick whenever he asks."
Two years later she was hired as a tour manager for Dylan and began an affair with him. She went on to marry the Hon Anthony Russell, son of the fourth Baron Ampthill. Starr is godfather to their son. Now married for a second time, O'Dell has retrained as a drugs counsellor.

The book is entitled Miss O'Dell: My Hard Days and Long Nights with the Beatles, the Stones, Bob Dylan, Eric Clapton, and the Women They Loved. O'Dell kept diaries of her rock star days but waited until Harrison's death in 2001 before beginning work on it.
She claims that Starr has given the book his blessing.
"We're in our sixties now, some of us are even creeping towards our seventies," she said. "Everybody is grown up enough to realise this is what happened. We're well past it. Ringo's attitude today is, fine, as long as you tell the truth."

By Anita Singh, Showbusiness Editor
© Copyright of Telegraph Media Group Limited 2009

Wirral songwriter completes George Harrison Beatles song 40 years on


It's not every day you find yourself writing a song with a former Beatle.
But Wirral singer/songwriter Dean Johnson found himself doing just that when he was asked to complete a fragment of a song originally written by George Harrison at the height of Beatlemania.
The original 10 lines were given to biographer Hunter Davies by George for inclusion in his Beatles biography published in the late 1960s, but were put aside and forgotten until recently.
They were picked up by BBC Radio Merseysides Spencer Leigh, who suggested that maybe a contemporary songwriter could make the fragment into a song. He approached Dean.
Spencer called me out of the blue and left a message saying he had an interesting proposition for me, explained Dean, from Oxton. I called him back and when he said he would like me to work on Georges unfinished song I found it unbelievable, tremendously exciting and above all a complete honour.
My brief was to follow Georges sentiment through to its conclusion. The words were both brutally honest and compassionate and Harrison was obviously writing from the heart.
I just tried by my best ability to get into the mind of someone in Georges position and I am so pleased that most people who have heard it, think I achieved a credible continuity with the original lyrics.
The original fragment was written by George when Hunter had asked each Beatle to submit a sample of their handwriting. It was then discarded as scrap paper from the floor of Abbey Road studio, where it is almost certain that it would have been thrown out by the cleaners if he had not picked it up.

When re-examining these papers he came upon the remarkable discovery.
The lyrics are of a personal nature and were first thought to be a song of unrequited love but in hindsight they seem to allude to Georges uneasy relationship with John Lennon.
On the reverse side of the lyric are instructions on how to reach Beatles manager Brian Epsteins country house in Sussex, written in Epsteins hand.
It is now in the British Librarys Beatles collection, along with more material loaned by Hunter who plans to donate everything to the library after his death.
The collection ranges from a fan club membership card to the lyrics of A Hard Days Night, written by John Lennon on the back of a birthday card to his son Julian.
Hunters biography, entitled The Beatles, is republished this month, containing the lost lines with the blessing of Georges estate.
The finished song, entitled Silence (is its own reply), was performed live during an interview with Hunter Davies on Spencer Leighs On The Beat programme.

Silence (is its own reply)

I'm happy to say that it's only a dream
When I come across people like you,
It's only a dream and you make it obscene
With the things that you think and you do.
You're so unaware the pain that I bear
And jealous for what you can't do.
There's times when I feel that you haven't a hope
But I also know that isn't true.
Every time I ask you why
Silence is its own reply
Its so hard to prove what I can do
Compared to someone like you
You make it look easy but you still tease me
When you have got nothing better to do
When the tears are falling and its dawning
The truth will ring out so clear
That no-ones above you and nobody can love you
Until all that pain disappears
Every time I ask you why
Silence is its own reply
By the time we have talked it over
Itis time to say goodbye