A BEATLES' HARD-DIE'S SITE


Showing posts with label Stories. Show all posts
Showing posts with label Stories. Show all posts

Beatles 50th Anniversary Concert

Received:

Hi there,

Hope you are well. We love your blog!!

We think that your UK based fans would be interested in this very special Beatles 50th Anniversary Concert which is taking place at The Royal Albert Hall in London on 28th October. It promises to be an amazing and unique event


Kind regards,
Lisa

FOR ONE NIGHT ONLY, A TRULY UNIQUE COMBINATION OF THE ROYAL PHILHARMONIC ORCHESTRA, THE ROYAL ALBERT HALL AND THE MUSIC OF THE WORLD'S GREATEST BAND -THE BEATLES.

Experience The Beatles as never before - with, the sound, the passion and the raw excitement of their timeless music recreated by the one of the most well loved orchestras in the world.

The Beatles Philharmonic Tribute marks the 50th Anniversary of the music of The Beatles. A musical spectacular of inspired classical interpretations from The Beatles' songbook, performed by the world renowned Royal Philharmonic Orchestra, with special, star guest appearances from the legendary Dame Shirley Bassey, Tony Christie, Darius Campbell, Lenny Zakatek, Antony Costa and the UK’s Soul Queen - Beverley Knight

This unique production has got something for everyone, from Beatles’ fans to classical lovers alike. A musical marriage that embodies dramatic orchestral arrangements imaginatively fused together with rock and pop elements, but in keeping with the true spirit and style of The Beatles. A magnificent production that will take you back down memory lane all within the magical atmosphere of the Royal Albert Hall

Under the direction of conductor Alan Chircop and complimented by a 100-piece Chorus, The Royal Philharmonic Orchestra will deliver a magnificent performance of unique Musical Arrangements by Wayne Grima, which will also include a spectacular light show

Further highlights will include performances by Candy Rock, Maria Elena Infantino, Lynn Faure Chircop, Elliott Frisby, Analiza Ching, Maria Abela Manconi, Susan Black, Lou Jordan and Tony Moore. The grand finale will bring the orchestra, chorus and guest soloists together for the climax of a stunning night of music.

Well-known broadcaster and Beatles aficionado Mike Read will be presenting a narrative backdrop to this nostalgic philharmonic tribute, taking the audience on a trip through The Beatles’ musical heritage.

The event will be hosted by Fayon Cottrell and is supporting the Noah’s Ark Appeal, The Malta Community Chest Fund, and Nordoff Robbins amongst others.

70th Anniversary of John Lennon Honored With Music Video From New Movie

Video Clip Depicting Birth of the Beatles Salutes Lennon on his 70th Birthday

The 70th anniversary of John Lennon's birth (October 9th) is being celebrated with multiple events worldwide - including concerts, exhibitions, CD reissues, film festivals, tribute recordings and "Nowhere Boy" - the new Weinstein Company movie opening Friday October 8th, that relates the story of his childhood and that has been endorsed by those closest to Lennon including Yoko Ono and Lennon's closest boyhood pals.

Now comes a brand-new music video based on a re-creation of the first recording made by Lennon, Paul McCartney and George Harrison in 1958 - and on footage from the "Nowhere Boy" movie - to tell the story of Lennon's formation of the band that became the Beatles.

The song is "In Spite Of All The Danger" - a song written by Paul McCartney & George Harrison in 1958 and recorded by them with John Lennon on lead vocals. The recording was the first time the future Beatles ever entered a recording studio. They recorded the song at a private Liverpool recording studio in the summer of 1958.

The recording used for the song features the performance recorded for the movie soundtrack by star Aaron Johnson ("Kick-Ass") who portrays the young Lennon in the film.



The music video - directed by Beatles scholar Martin Lewis (who in 2002 produced the DVD Edition of "A Hard Day's Night") draws on footage from the "Nowhere Boy" movie (directed by Sam Taylor-Wood) to tell the story of the musical evolution of John Lennon from passive young Elvis fan to nascent guitarist to founder of the Quarrymen and future Beatles. All the key scenes in the development of the group are depicted. The first meeting of John and Paul McCartney (the Big Bang that led to the Beatles), Paul's impromptu audition for John, George's audition for John on the top of a bus, the first gigs that Paul and George played with John and many more. Like the movie, the story of the music video ends in August 1960 - the point at which Lennon changes his band's name from the Quarrymen to the Beatles and the group leaves Liverpool to play in Hamburg - the boot-camp that toughens up the band and hones their skills in preparation for their conquering of the world.

Says Lewis: "The story of the birth of the Beatles is one of the most improbable, yet totally true tales in history. One young boy from a provincial city who is wrestling with the consequences of a complex family life develops the drive and determination to escape his background. Music becomes his rock 'n' roll ticket-to-ride out of the nowhere of post-war Liverpool. The film 'Nowhere Boy' tells that story in an authentic and poignant way. It has been an immense pleasure and honor to fashion this music video telling a capsule version of the inspiring odyssey of John Lennon's early years from such great original material."

Seattle Beatles Rooftop Day back by popular demand


Following their 2009 blockbuster performance attended by thousands in Seattle's Pike Place Market, Ken Mansfield, former U.S. manager of The Beatles' Apple Records, and Seattle's favorite Beatles cover band, Creme Tangerine, will again team up to celebrate the anniversary of The Beatles last performance famously known as "the rooftop concert".

In celebration of the historic anniversary of this concert, Creme Tangerine will perform songs from that concert, and a lot more on Friday, January 29th, 2010 on the rooftop balcony of the Copacabana Cafe in the Pike Place Market in Seattle at noon. Following the concert, Mansfield will talk about his work with The Beatles and lead an audience question and answer session.

"It was so cool to see the streets of Pike Place Market packed shoulder to shoulder with people celebrating the music of the Beatles - this music truly is a common bond people share together", said Jeff Lockhart, drummer of Creme Tangerine. "We wanted to do another rooftop concert at Pike Place with Ken and highlight the great work the Leukemia and Lymphoma Society does in Washington State."

Ken Mansfield stood bedside Yoko Ono on the rooftop three feet away from The Beatles throughout their famous last performance. Ken was a trusted insider of the Fab Four, managed the U.S. operations of Apple Records and shared in the unique last concert on the rooftop of Apple back in 1969.

The legendary last concert took place on Friday, January 30th, 1969 on the roof of their record company. The impromptu event was performed to a London lunch crowd without prior notice or fanfare as curious by-passers and adjoining office workers watched The Beatles perform what was then their newest songs including hits such as "Get Back" and "Don't Let Me Down" during a cold winter afternoon. It was also to be the last time The Beatles would perform live in public. The legendary concert was immortalized in the documentary Let It Be and fans have cherished this last glimpse of The Beatles together as a key highlight in The Beatles career.

Mansfield, former U.S. manager of Apple Records and former Director at Capitol Records, is a Grammy Award-winning producer and record-label executive who has worked with artists as diverse as The Beatles, Willie Nelson, The Band, Waylon Jennings, The Beach Boys, Judy Garland, Merle Haggard, Lou Rawls, Andy Williams, David Cassidy, Dolly Parton, and the Flying Burrito Brothers. A highly sought-after public speaker (Outreach Events), he is the author of two other books: The Beatles, the Bible, and Bodega Bay and The White Book. His latest book is titled "Between Wyomings".

Creme Tangerine is a dynamic five piece band from Seattle that performs the music of The Beatles for thousands each year. Rather than focusing on the personalities or look of the Beatles, Creme Tangerine focuses on performing their beloved music live for all to enjoy. Their performances have included The Beatles most recognized hits as well as different eras of the Beatles music and "the White Album" and "Abbey Road" in their entireties. Their high energy, quality performances appeal to those already familiar with and new to the music of The Beatles. Having released their debut album, "Creme Tangerine" in 2007, Creme Tangerine will be released their latest record, "The Abbey Road Project" in 2009.

Creme Tangerine is honored to highlight The Leukemia & Lymphoma Society (LLS) at this year's rooftop celebration. LLS is the world's largest voluntary health organization dedicated to funding blood cancer research, education and patient services.

2010 Seattle Beatles Rooftop Day will take place at the Copacabana Cafe in the Pike Place Market, which is located at 1520 1/2 Pike Place in Seattle. This location was voted "Best Rooftop Balcony in Seattle" by Seattle Weekly readers for 2008-09.

The Beatles had the most loyal fans at the Cavern Club

by Pete Price

The other week I was having a clean out and a tidy up. I came across a pile of original Merseybeat magazines all individually wrapped and now bright yellow.

I found myself looking back at the history of music from when I grew up. Those days were so magical to me, queuing outside the Cavern and the Iron Door.

Waiting to listen to the raw music, exciting and vibrant sounds and looking at the bands that would go on to great careers.

My favourites were Gerry Marsden, the Big Three, who Cilla used to sing with, and the Escorts. I wasn’t a great Beatles fan in those days it took me a while to get into their music. First time I ever saw them live was at the YMCA Hoylake. I always remember the tickets didn’t sell well, whereas Gerry Marsden was a sell-out every time.

There were many stories about those days and I am sure all of you have got some. I remember protesting outside the Cavern when Pete Best was sacked from the Beatles.

Here is an interesting story that a lot of people don’t know about. The Beatles’ early fans were very possessive towards the lads. The Beatles had an amazing bond with the fans at the Cavern. The Cavern Club girls idolised and romanticised about the four lads. And at each and every performance they would desperately strive to attract the attention of one or other of the group in the hope of an acknowledgment or perhaps even a date.

Two minutes before the Beatles took to the stage there would be a mass final preening session amongst the girls. The dust of compact powder would clog the air, hair curlers would be removed and frantic back combing took place. Many of these fans formed themselves into little groups of cliques. They of course had strange names. There was the Cement Mixers, the Bulldog Gang and let’s not forget the Wooden Tops. The fans were fiercely loyal and far from being annoyed the Beatles encouraged this kind of attention and yearned for such intimate contact in later years when they were playing venues so vast and cold that they were 200 yards away from their nearest fans.

So partisan and positive of the band were these fans when the Beatles fame began to grow there were many at the Cavern who were angry and resented their success. Wanting to keep them instead as the Cavern’s secret.

This began to manifest itself when the Beatles’ second single Please, Please Me was released. Many of the Beatles’ most dedicated hometown fans, naturally possessive of the group after two years exclusive ownership, realised that buying the record might well take the Beatles out of their grasp.

When the Beatles hit No 1 with Please, Please Me, Bob Wooler announced the news at the Cavern. It was met with a mix of silence and boos. The fans were devastated that they were going to lose their Beatles to the world.

So if it was left to the fans they would have stopped their career purely for selfish reasons. People that live in London don’t appreciate their tourist attractions. I wonder if you realise how good the Beatles Story at the Albert Dock really is? Whatever age you are you can immerse yourself in a real piece of history. But if you ever go down, give yourself a couple of hours and go and live in an era of days gone by.

No room for error

SELF-SERVICE online check-ins for airlines. £1 a minute to complain. Supermarket machines taking your money at the check-outs. Automated voices talking to you about train timetables and apologising if they make a mistake. Time wasted in stores looking for goods as there are no staff to help you.

Each one of these has taken jobs from people and in my mind has changed society for the worse. I remember growing up being told automation will make life easier for people. We didn’t realise we were being conned and many jobs would go.

What jobs are left are now being put to a stopwatch. How long will it take you do that? If you work at a supermarket checkout, how many customers can you get through in the shortest possible time? Doctors’ surgeries are all about footfall, doctors now work to a clock. There is no time now to make mistakes, to be human. Is there something very sinister at work here and is there a greater plan to wipe out all jobs? Where will it all end? It really is quite frightening. How will we make a living?

Courtesy of Liverpool Echo

Latest Beatles News as of Wednesday, December 30, 2009

Aaron Johnson took musical training to play John Lennon
Actor Aaron Johnson has revealed he spent months learning to play the guitar before filming his new movie about John Lennon. "I wasn't a musician or a singer," he told the Daily Record. He also spent lots of time familiarising himself with Lennon's favourite music, including records by Elvis Presley and Buddy Holly.
Source: Gear 4 Music



Pattie Boyd art exhibit draws celebrity crowd
A large celebrity-studded crowd gathered for the opening of a photo exhibit by Pattie Boyd, rock legend muse to George Harrison of the Beatles and Eric Clapton, on Monday night in Barbados. Celebrities in attendance included model and actress Jerry Hall (former wife to Mick Jagger), Heiress Sabrina Guinness, and actor and singer Michael Crawford.
Source: Barbados Advocate

Review: Nowhere Boy has extraordinary drama
The reason Nowhere Boy works so well is that it's not one of those "before they were famous" films; nor does it tackle the birth of pop music in Britain. It's more about a boy than a Beatle. Director Sam Taylor-Wood has opted for a natural realism, free of arty flourishes, a style as sensible and conservative as John's Aunt Mimi.
Source: The Times, London

Video: World gets together to sing All You Need Is Love
To raise awareness to fight AIDS in Africa and around the world, on World AIDS Day, Starbucks launched the Starbucks Love Project. Their first event was a global singalong, in over 156 countries, people gathered together and sang the classic Beatles tune "All You Need Is Love."
Source: PopFi

Music Review: Nowhere Boy Original Soundtrack
The soundtrack to the film Nowhere Boy, which chronicles John Lennon's teenage years, can be easily summed up in one word: raw. Included on this album is rock and roll in its purest, most basic form. The soundtrack compilers clearly studied what the future members of the Beatles were listening to in the early to mid-50s.
Source: Blog Critics

Is Paul McCartney dead? White Album clues...


“Don't Pass Me By” on The White Album is thought to be Ringo's tribute to his late friend. For in this song Ringo’s sings “I listened for your footsteps coming up the drive but they don't arrive. I wonder where you are tonight, don't pass me by.”

I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive
Waiting for your knock dear
On my old front door
I don't hear it
Does it mean you don't love me any more.

I hear the clock a'ticking
On the mantel shelf
See the hands a'moving
But I'm by myself
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more.

Don't pass me by don't make me cry don't make me blue
'Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by don't make me cry

I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.


One of the first signs of dissension in the Beatles: were the fierce arguments between Paul and Ringo. Perhaps it was after one of these, that Paul stormed out of studio on that tragic night and we’re hearing of Ringo’s sad evening at home hoping the Paul would come over to resolve their differences. He never made it, and Ringo tells us why:

John’s death Pan is I'm so tired.

I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
no,no,no.

I'm so tired I don't know what to do
I'm so tired my mind is set on you
I wonder should I call you but I know what you would do

You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind

I'm so tired, I'm feeling so upset
Although I'm so tired I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid git.

You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'd give you everything I've got for a little peace of mind
I'd give you everything I've got for a little peace of mind
(mumbling).


First he describes his mental anguish over missing Paul: “I haven't slept a wink, my mind is on the blink, I'd give you everything I've got for a little peace of mind.”

The real find comes right at the end of the song: a mumbling voice can be heard at the end of this cut and before the next one begins. When this mumbling is played backwards the voice is very clearly saying, “Paul is a dead man miss him miss him miss him.“

(End played backwards 3 times)

Paul is a dead man miss him miss him miss him!

The voice is probably John's, though some people insist it belongs to George.
The granddaddy of all the clues comes elsewhere on The White Album.

One of the more interesting aspects of The White Album is the short little song that appears on the record right before “Revolution Number 9.” It does not appear in the list of song titles nor do its lyrics appear on the lyric sheet.

(Song played)

Can you take me back where I came from?
Can you take me back?
Can you take me back where I came from?
Brother can you take me back?
Can you take me back?

Mm can you take me where I came from?
Can you take me back
?

These allegorical lines leads into the selection which convinces many people that the Paul is dead rumor to be something thought of more than just a series of coincidences. The track is “Revolution Number 9.” In the beginning of the song one can hear two men quietly talking they're saying, “Realize I know all about George I'm sorry do you forgive me, yes.”

Listen carefully.

(First part played)

This is apparently is a conversation with the producer George Martin and could be about placing clues on the track. Then a voice repeats the phrase “Number 9” thirteen times. Listen again:

Number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine.

Why should this phrase be repeated so many times and then again later in the song?

When one plays this phrase backwards, a voice says something entirely different”

Turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man.

In “A Day in the Life” on Sergeant Pepper, Paul sang, “I love to turn you on,” and now, if in answer several years later, we hear a voice saying in a Beatles song “turn me on dead man.”

Continuing frontwards on the cut, many strange sounds can be heard including car horns, a car crashing, fire burning. These clues are very difficult to pick out on the radio, so I will leave it to you to listen to your own version of “Revolution Number 9.” In the middle of the song a man calmly says, “He had a pole, we better get in to see a surgeon. So anyhow he went to the dentist instead. They give him a pair of teeth that weren't any good at all. So my wings are broken and so is my hair I'm not in the mood for words. Find the night watchman, a fine natural and balance, must've got it in the shoulder blades.“

This monologue is not constant and is interrupted by horns, screams and the sound of fire. Other dangling phrases can be heard such as, “take this brother may serve you well.” Some suggest that this might be Paul passing on his fame talent etc. to Billy Campbell the new Paul McCartney.

When this song is played totally in reverse more interesting phrases can be heard, besides the famous “turn me on dead man.” While the crashes, screams, and fire can still be heard, after about one minute and 10 seconds a faint “let me out” can be heard apparently from someone burning in a car. At two minutes and 30 seconds the fire sounds are very clear and we hear the phrase “there were two there are none now.” Paul and Rita? At five minutes and 35 seconds we hear someone screaming, “Let me out! Let me out!”

Depending on the quality of your stereo headphones, other phrases can be heard such as, “if you want it you can prove it. I'm not in the mood for work or words from John.” This song in the whole White LP became the world's most backwards played album and indeed opened up a whole new way of looking at recorded music. One thing should be mentioned in the context: it should be understood by everyone before a record is finalized and finally pressed and released, it goes through a cleaning and checking by engineers and this involves both frontwards and backwards playing of the tape in order to edit out any stray sounds for noises. All Beatles records went through this process as well; therefore, we can conclude that all the extraneous sounds—words that we have just listed—were checked out, and allowed to remain on the record by someone in control of such matters.

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

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

Beatles' Era - Richard Lester

Richard Lester (director) (born January 19, 1932) is an American-born British-based film director famous for his work with The Beatles in the 1960s.

Early years and television

Lester was born in Philadelphia, Pennsylvania He was something of a child prodigy, and at 15 began studies at the University of Pennsylvania, He started in television 1950, working as a stage hand, floor manager, assistant director, and then to director less than a year, because no-one else was around that knew how to do the work. In 1953, Lester moved to London and began work as a director in independent television, working for the legendary low cost television producers The Danziger Brothers on episodes of Mark Saber, a half-hour detective series.

A variety show he produced caught the eye of Peter Sellers, who enlisted Lester's help in translating The Goon Show to television as The Idiot Weekly, Price 2d. It was a hit, as were two follow-up shows, A Show Called Fred and Son of Fred.

Film career

A short film Lester made with Spike Milligan and Peter Sellers, The Running Jumping & Standing Still Film, was a favorite of The Beatles, and in particular John Lennon. When the band were contracted to make a film in 1964, they chose Lester from a list of possible directors. A Hard Day's Night showed an exaggerated and simplified version of The Beatles' characters, and proved to be an effective marketing tool. Many of its stylistic innovations survive today as the conventions of music videos, in particular the multi-angle filming of a live performance. Lester was sent an award from MTV as "Father of the Music Video." See IMDB for full list of Films.

Lester directed the second Beatles film Help! in 1965. He then went on to direct several quintessential 'swinging' films, including the sex comedy The Knack...And How to Get It (1965), which won the Palme d'Or at the Cannes Film Festival and Petulia (1968) (both with scores by John Barry), as well as the 1967 darkly surreal anti-war movie How I Won the War co-starring John Lennon, which he referred to as an "anti-anti-war movie"; Lester noted that anti-war movies still took the concept of war seriously, contrasting "bad" war crimes with wars fought for "good" causes like the liberation from Nazism or, at that time, Communism, whereas he set out to deconstruct it to show war as fundamentally opposed to humanity. Although set in World War II, the movie is indeed an oblique reference to the Vietnam War and at one point, breaking the fourth wall, references this directly.


In the 1970s, Lester directed a wide variety of films, including the disaster film Juggernaut (1974), Robin and Marian (1976), starring Sean Connery and Audrey Hepburn and the period romance Cuba (1979), also starring Connery. However his biggest commercial successes in this period were The Three Musketeers (1973) and its sequel The Four Musketeers (1974). The films were somewhat controversial at the time because the producers, Alexander Salkind and Ilya Salkind, decided to split the film into two after principal photography was completed. Many of the cast sued the Salkinds as a result, stating that they were only contracted to make one film.

Superman

As the release of Superman neared, production on Superman II was halted to concentrate on getting the first movie completed. After the first Superman film was released in late 1978, the Salkinds went back into production on Superman II without informing Superman's director Richard Donner and placing Lester behind the camera for the completion of the film. Although Donner had shot approximately 75% of the film, Lester jettisoned or re-shot much of the original footage, resulting in Lester receiving sole credit for directing Superman II. Gene Hackman, who played Lex Luthor, did not return, and Lester instead used a stunt double and an impersonator to loop Luthor's lines into footage of Hackman shot during Donner's tenure on Superman II. The footage filmed by Donner was later integrated into television versions of the film with Lester's footage. In November 2006, Donner's footage was reedited into Superman II: The Richard Donner Cut, using mostly Donner footage, with the only Lester footage being that which is necessary to cover scenes not shot during Donner's principal photography. Donner revealed on the new DVD of Superman II: The Richard Donner Cut that he has never heard from Lester since his firing after the completion of the first film.


Lester also directed Superman III in 1983. The third Superman film fared poorly with critics, with fans divided, and did not perform quite as well at the box office as the previous two movies had, although actually, the film still managed to be within the top 10 most successful films of 1983; the number of blockbuster sequels released that year (two 007 movies, Octopussy and Never Say Never Again, Return of the Jedi and Jaws 3) made for stiff competition for Superman III. Despite the competition, naysayers tend to overlook the financial success of the movie and deem it a flop. It is generally seen as the turning point where the series went into decline. As such, Lester is blamed by some fans for helping to ruin the Superman franchise.

Later years

In 1988, Lester reunited the entire Musketeers cast to film another sequel, The Return of the Musketeers. However, during filming in Spain, the actor Roy Kinnear, a close friend of Lester's, died after falling from a horse. Lester finished the film, then retired from directing, only returning to direct a concert film for friend Paul McCartney in 1991, Get Back.

In 1993, he presented Hollywood UK, a five-part series on British cinema in the 1960s for the BBC.

In recent years, director Steven Soderbergh has been one of many calling for a reappraisal of Lester's work and influence. Soderbergh wrote a 1999 book, Getting Away With It which consists largely of interviews with Lester.

Personal life

In Soderbergh's Getting Away With It, Lester reveals that he is a committed atheist and debates with Soderbergh (then an agnostic), largely based on the arguments of Richard Dawkins.

Beatles Posters at The Chester Antiques Show




A collection of 1960s original movie posters will be attracting Beatles fans from across the region when they go on sale at The Chester Antiques & Fine Art Show at The County Grandstand, Chester Racecourse, Chester, England, from 15 - 18 October 2009.
Specialist movie poster dealers Quadbod from Birmingham will be showing three rare original posters for the Beatles' movies 'A Hard Day's Night' (1964), 'Help' (1965) and 'Yellow Submarine' (1968). These are full sized posters at 81ins x 41ins and will be priced at £850 each.

Terry Pearson from Quadbod explains, "Interest in Beatles memorabilia has always been high and specially so this year with the re-release of their CDs. Authentic 60s Beatles posters are now very rare, and to find three in such good condition is a revelation. They are very decorative and, course, enormously collectable."

The posters will feature among a range of movie posters, showcards and other memorabilia from Quadbod who are exhibiting at The Chester Antiques & Fine Art Show together with fifty art and antiques dealers from across the country. They will also be showing a rare poster from the famous British movie, The Blue Lamp, (1949) which starred Jack Warner, priced at £750.
The Chester Antiques & Fine Art Show features dealers from across the country offering for sale a wide range of antiques, works of art and objets d'art with prices from less than £500 to more than £20,000. It is widely regarded as the premier event for antiques collectors in the northwest.

The Chester Antiques & Fine Art Show
The County Grandstand, Chester Racecourse, Chester, England
15 - 18 October 2009
Times
Thursday 15 October 10.30am-6pm / Friday 16 October 10.30am-6pm
Saturday 17 October 10.30am-6pm / Sunday 18 October 10.30am-5pm
Admission: £5.00.

Beatles remastered Global chart

The latest global CD chart for the week of Oct. 17 from Mediatraffic shows:

The highest ranking album for the week ending Oct. 17 is "Abbey Road" at #13, down from #9 last week. Then comes "The Beatles (White Album)" (#15, from #13), "Sgt. Pepper's Lonely Hearts Club Band" (#16, from #11), "Rubber Soul" (going up to #18, from #19 last week), "Revolver" (also advancing, from #20 to #19), "Past Masters" (#22, up from #28), "Magical Mystery Tour" (#25, from #32), "Help!" (#27, from #30), "A Hard Day's Night" (#28, from #33), "Let It Be" (#29, from #31), "Please Please Me" (#31, from #35), "With the Beatles" (#33, from #39), "Beatles For Sale" (#34, from #40) and "Yellow Submarine" (back on the chart at #40, after missing a week last week.)

On the U.S. Billboard Catalog Album chart, "Abbey Road" leads the pack at #2 (under Michael Jackson's "Number Ones"), while Hits Daily Double's Budding Album Release chart shows "Abbey Road" the highest ranking album at #26, down from #16 last week. The latest Official UK Charts Company chart (from 10/10) showed "Sgt. Pepper" highest ranking at #52.

Ringo no longer signs...



On October 13, 2008, in this short video, Ringo declares he will no longer sign any autographs dated after October 20, just one week after this announcement, and all future fan mail will be trashed, unread. This was in direct response to an inordinate amount of items which have recently appeared for sale on e-bay, and to those that repeatedly send cards and items to be signed.
This message was not aimed at "real fans" and after over 45 yrs of signing we know they will understand. Ringo has always signed items and is in fact the only Beatle to have been doing so.
Ringo also feels strongly that it is a waste of paper and we all should be mindful of our carbon footprint. At the end of the day Ringo wanted to make a message that was clear and to the point and is confident his real fans understand that.

Ringo signing autographs in Liverpool 08

The Beatles: A Hairy Story

by Bill Harry, Beatles' friend and founder of Mersey Beat


Moptops? What do you mean!
I never noticed anything particular about John, George, Paul, Pete or Stuart's hairstyles in the early days -- apart from the fact that initially some of them sported the traditional Tony Curtis style that was popular in Liverpool in the late fifties. It was a style referred to as a d.a. (duck's arse, because of the way the hair curled at the rear).
I had mine done at Max the Mad Russian's, near the Majestic Cinema in town.
Nor did I notice anything specific about their hair when they returned back from Germany. Looking at the photos of the time, taken by Astrid and by Mersey Beat photographers, I couldn't see anything that was radically different from the style most Liverpool youngsters and group members sported.

Then, when Brian Epstein took them over, I noticed that not only did he spruce them up in mohair suits made by his tailor Beno Dorn in Birkenhead, but he took them to Horne Brothers at the corner of Lord Street and had lots of publicity photographs taken of them enjoying a new coiffeur by the unknown barber there. I say unknown, because no one these days could quote the name of the barber who gave them the style, on the instruction of Brian Epstein, when he took them to the fashionable barbers in April 1963. Dezo Hoffmann photographed them having their hair cut and was to comment, "The hairdresser was a friend of theirs who liked Astrid Kirchherr's idea of longer hair for the Beatles. He would groom and discipline their hair for them every week."
Despite Brian and his Horne Brothers publicity pictures to herald a new Beatles image (he took them to the Empire Theatre to watch the Shadows, in their mohair suits, and pointed out how they bowed to the audience at the end of their act. John and Pete didn't like to abandon their leather gear, but they were outvoted. Once suited in mohair, with tidy shirts and tie, John again tried to rebel by unfastened the top button of his shirt when they went on stage, but Paul always stepped forward to fasten it again. Brian gave them neatly typed sheets instructing them not to swear or smoke on stage - paving the way for the Rolling Stones to adopt the image of 'the savage young Beatles', that Brian had carefully smoothed away), their hair style began to change initially in Hamburg.

The first steps were between the lovers, Astrid and Stuart. Millie Sutcliffe, Stu's mother said, "As for the haircut, it started when Stuart's hair was falling down and sticking out. One night Astrid had been moaning about his hair and then took him into the bathroom and cut it."
Hunter Davies, in his authorised biography, writes: "Stu turned up at the Top Ten that evening with his hair in the new style, and the others collapsed on the floor with hysteria. Halfway through he gave up and combed his hair high. But thanks to Astrid, he tried it again the next night. He was ridiculed again, but the night after, George turned up with the same style. Then Paul had a go, though for a long time he was always changing it back to the old style as John hadn't yet made up his mind. Pete Best ignored the whole craze. But the Beatle hair style had been born."
Although it's the 'authorised biography', this is inaccurate but, as writer Bob Spitz was to recall: "During an interview I did with Paul McCartney in 1997 for the New York Times, he confessed that almost half of the official Beatles bio -- done with Hunter Davies in 1967 -- was made up to spare girlfriends, wives, and family from some of the grittier side of the Beatles' legend. All of the nearly 1000 books on the Beatles were embroidered from that myth."
As a result of the implication that Pete ignored the style, many people over the years suggested that this is one of the reasons that he was kicked out, that he was uncooperative by not adopting the hair-style. Yet Astrid states that she never considered attempting to adapt Pete's hair in that style because she considered it too curly. When I discussed it with Pete he said that he was never asked to try out the new hairstyle -- and he would have done so if he had been asked.



Even Ray Coleman, in his book 'John Winston Lennon' writes, "Stuart, the first to have his hair cut and styled by Astrid faced John's scorn when, one night, he arrived at the club for work with what later became known as the Beatle haircut... Paul, always more conscious than the others about his appearance, was the next to ask Astrid to style his hair... John was the last Beatle to succumb to the Beatle cut. Only Pete Best declined, retaining his quaff and Teddy Boy aura that attracted the girls." As the last sentence about Pete indicates, writers speculate, they make assumptions, which I always think is a dangerous thing for writers to do. What evidence did he have that Pete declined? None, because Pete was never asked and would have tried the style if that was the wish of the other members.
But Ray's claim that Paul and John then followed by getting Astrid to style their hair is also wrong. John and Paul didn't have Astrid fashion their hair. They returned to Liverpool with the same hair style they'd left in.
When John received a sum of money from his aunt Elizabeth for his 21st birthday, he invited Paul to join him on a trip to Spain at the end of September 1961. They set off, but never got further than Paris, where they stayed for two weeks. They discovered that Jurgen Vollmer, a friend of theirs from Hamburg, was now living in Paris. They both decided that they wanted their hair fashioned in the way Jurgen had his hair, which was the way a lot of French youngsters had their hair styled.

He was to say "I gave both of them their first 'Beatle' haircut in my hotel room on the Left Bank" and later confirmed, "I gave them the haircut. It was their idea to have it the same as mine. They left Paris, and never brushed their hair back again. That's the real story of the haircut. Don't let anyone tell you different." And in an interview when George Harrison was asked how the Beatles haircut came about, he said, "I only brushed my hair forward after John and Paul came back from Paris."
In 'The Beatles Anthology,' John is quoted as saying, "Jurgen had a flattened down hair style with a fringe in the front, which we rather took to. We went over to his place and there and then he cut -- hacked would be a better word -- our hair into the same style."
While Paul confirmed, "He had his hair Mod style. We said, 'Would you do our hair like yours? We're on holiday -- what the hell!"

The hair style didn't raise any eyebrows on Merseyside, where it wasn't actually radically different from the hair style of the other local groups. Looking at photographs of the Beatles at the Cavern that I asked Dick Matthews to take for me I notice that John and Paul's hair was off their foreheads, while George's hair covered his forehead -- and John still had his sidies!
In their first interview for a major British publication, London's Evening Standard, journalist Maureen Cleave mentioned their 'weird' hair: "French styling, with the fringe brushed forwards." But it barely raised any attention in the British media.
However, it caused a sensation when the Beatles arrived in America in 1964. The affectionate term 'Moptops' was created and almost every comedian in the country cracked gags about their hair style. Hundreds of thousands of Beatles wigs were manufactured and it eventually led to the American youth growing their hair longer than had been previously acceptable for a young male.
Personally, I thought the wigs were more akin to the hair style of Mo Howard from the Three Stooges.

When the group first arrived in America photographers and journalists kept tugging their hair, asking them if they were wearing wigs.
Wigmania took off! New York radio station WMCA ran a competition for listeners to paint or draw someone in a Beatlewig -- either celebrity pictures clipped from newspapers or photos of friends. The most popular subjects were: Nikita Krushchev, Mayor Wagner, Alfred E. Newman (of Mad magazine), Brigitte Bardot and the Jolly Green Giant.
Capitol Records instructed all their staff to wear Beatle wigs during the working day until further notice and issued a memo: "Get these Beatle wigs around properly, and you'll find yourself helping to start the Beatle Hair-Do craze that should be sweeping the country soon."
On their arrival in February 1964, the New York Herald Tribune reported: "The Beatles' hairstyle is a mop effect that covers the forehead, some of the ears and most of the back of the neck.

During their first American press conference the group was asked questions such as 'Will you be getting a haircut?' and 'What's the greatest threat to your career -- dandruff or nuclear warfare?' Such questions continued throughout the press conferences during their autumn tour: 'What excuses do you have for your collar-length hair?' 'What do you do with your long hair in the shower?' 'Do you have any plans for a hair cut?' 'Does you hair require any special care?' and so on.
When Paul was asked 'Do you ever go unnoticed?' he replied, 'When we take off our wigs.'

A 60's joke picture: The Beatles "as we'd like to see them"

The American fervour about the hair style swept the world and in Sweden it was referred to as the 'Hamlet' cut and in Germany it was described as the 'mushroom.'
So far I haven't found out who was the first person, or publication, to coin the phrase 'moptop.'
I was intrigued many years ago when I noticed a full page feature in a major British women's magazine which claimed that the Beatles hair style was based on a photograph of Agnes Flannery, mother of Joe Flannery, a Liverpool manager who was a close friend of Brian Epstein.

Joe claimed that when the Beatles visited him at his Aintree flat early in their career they noticed a picture of his mother when young. Apparently, John fell in love with it.
Joe says, "John picked up the photo, admired the hairstyle and said to Paul McCartney, 'That's the way I want my hair to look.'"
Joe continued, "Compare the photo of my mother and John Lennon and the hairstyles are remarkably similar. I have spoken on a number of occasions with Astrid and she has told me that she never ever said she created the hairstyle. In fact the group went to a barber's at Horne Brothers at the corner of Paradise Street and Lord Street."
Agnes said, "The picture that intrigued John was taken at a studio in Bold Street, Liverpool, when I was just sixteen, two years before I married... I'm sure many folk will be thrilled to learn the true story of how the Beatles came by their distinctive hairstyle which, incidentally, I'd created for myself by washing and trimming my own hair in that particular way."
Pull the other one! Virginia and I used to go to Joe's flat when the Beatles were there, but I can't give any credence to this story.

'Lucy in the Sky with Diamonds' Dies At 46

LONDON — Lucy Vodden, who provided the inspiration for the Beatles' classic song "Lucy in the Sky with Diamonds," has died after a long battle with lupus. She was 46.
Her death was announced Monday by St. Thomas' Hospital in London, where she had been treated for the chronic disease for more than five years, and by her husband, Ross Vodden. Britain's Press Association said she died last Tuesday. Hospital officials said they could not confirm the day of her death.

Vodden's connection to the Beatles dates back to her early days, when she made friends with schoolmate Julian Lennon, John Lennon's son.
Julian Lennon, then 4 years old, came home from school with a drawing one day, showed it to his father, and said it was "Lucy in the sky with diamonds."
At the time, John Lennon was gathering material for his contributions to "Sgt. Pepper's Lonely Hearts Club Band," a landmark album released to worldwide acclaim in 1967.
The elder Lennon seized on the image and developed it into what is widely regarded as a psychedelic masterpiece, replete with haunting images of "newspaper taxis" and a "girl with kaleidoscope eyes."

Rock music critics thought the song's title was a veiled reference to LSD, but John Lennon always claimed the phrase came from his son, not from a desire to spell out the initials LSD in code.
Vodden lost touch with Julian Lennon after he left the school following his parents' divorce, but they were reunited in recent years when Julian Lennon, who lives in France, tried to help her cope with the disease.
He sent her flowers and vouchers for use at a gardening center near her home in Surrey in southeast England, and frequently sent her text messages in an effort to buttress her spirits.
"I wasn't sure at first how to approach her," Julian Lennon told the Associated Press in June. "I wanted at least to get a note to her. Then I heard she had a great love of gardening, and I thought I'd help with something she's passionate about, and I love gardening too. I wanted to do something to put a smile on her face."

In recent months, Vodden was too ill to go out most of the time, except for hospital visits.
She enjoyed her link to the Beatles, but was not particularly fond of "Lucy in the Sky with Diamonds."
"I don't relate to the song, to that type of song," she told the Associated Press in June. "As a teenager, I made the mistake of telling a couple of friends at school that I was the Lucy in the song and they said, 'No, it's not you, my parents said it's about drugs.' And I didn't know what LSD was at the time, so I just kept it quiet, to myself."

Vodden is the latest in a long line of people connected to the Beatles who died at a relatively young age.
The list includes John Lennon, gunned down at age 40, manager Brian Epstein, who died of a drug overdose when he was 32, and original band member Stuart Sutcliffe, who died of a brain hemorrhage at 21.
A spokeswoman for Julian Lennon and his mother, Cynthia Lennon, said they were "shocked and saddened" by Vodden's death.
Angie Davidson, a lupus sufferer who is campaign director of the St. Thomas' Lupus Trust, said Vodden was "a real fighter" who had worked behind the scenes to support efforts to combat the disease.
"It's so sad that she has finally lost the battle she fought so bravely for so long," said Davidson.

The Beatles 'bigger than Jesus' on Google


Of course, it's only a bit of fun, but simply because there were more searches for "Beatles" than "Jesus" on Google for a couple of daysdoesn't mean that "the Beatles were bigger than Jesus. Mainly because people don't type the things they like into a search box. Otherwise I'd be constantly harrying Google for coffee and kisses.
And because The Beatles had something new-ish out, you'd probably expect that to have happened. If Jesus had just issued a remastered version of The Bible, or a computer game ("feed 5,000 people using your Wii..."), maybe he'd be doing better.

Not to mention that doing a Google search on one term doesn't mean you have to forswear your love of the subject of another possible search term. Searching on "King Kong" doesn't mean you'd have to abandon your love of "Godzilla".
Still, the Telegraph report does have this interesting paragraph:
Though the graph clearly shows that The Beatles caught the imagination of more people during September than Jesus did, video games experts point out that The Beatles Rock Band has not fared as well in the shops as expected with rival music game Guitar Hero 5 outselling the Fab Four's version.
So, the albums sold nowhere near as well as expected - for all the excuses we keep hearing - and the computer game didn't sell well, either. Perhaps all those searches were people trying to work out what all the fuss was about?

(Graph above showing the relative popularity of the search terms Beatles and Jesus on Google over the past 30 days)

Beatles For Sale?

After all that fuss last week, how have The Beatles re-releases done in their second sales stretch? (And their first full-week sale)?

Vanished completely from the Top Ten, and struggling. Rubber Soul is bested by the 42-weeks-on-chart James Morrison album; Help barely able to outsell Robbie William's Greatest Hits.

They're still selling, but in nothing like the numbers the shipping figures suggest EMI was expecting.

Opinions: Our own one ten days after...


According to our own experience, remasters are not the big thing the whole world seems to say they are.... so the whole boxes do not worth the price, evspecially for those who own yet the 1987 CDs...

Our own check results:
- 1987 MONO CD are better than the remastered ones;
- Help, Rubber Soul and White Album's STEREO remasters are better than the 1987 ones:
all the rest of the remasters consists mainly in a bass frequencies augmenting with a loss of clearliness: the 1987 mixes are more similar to the original LP's sound, in the end....
- ...and - last but not least - the STEREO digipacks are very far from the original folders, (see the left side bar with the Apple logo!!!!): MONO edition's graphic rendition is surely better.

In the end: be careful not to easily give away your money in return of a big advertising operation...

This is our own opinion, but anyone of you can have his own one, and each one does not affect the other one...

Cheers.... Beatlesite

The Beatles' Albums: Mono Vs. Stereo after the remasters

by Bob Gendron

Every Beatles album through The White Album was mixed with the purpose of being heard in mono. Capitol’s remasters mark the initial occasion of Please Please Me, With the Beatles, A Hard Day’s Night, and Beatles for Sale being available on disc in a stereo mix; the converse is true for Help!, Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, and The Beatles.

Specifically, the group’s early records tend to sound unnatural in stereo, as the hard panning seems forced and artificial—which, in actuality, it is. In mono, the Beatles’ music thrives from ultra-dynamic front-to-back layering that, intentionally or not, often gives the impression of a stereo mix. The changes wrought by the remasters are dramatic.

Please Please Me is distinguished by a previously vacant fullness, richness, and enormity. There’s discernible air and echo around the swooping vocals on “Misery,” and resolute imaging on “I Saw Her Standing There”—quite a thrill. And the bottom end—quite possibly the single-biggest enhancement on all of the remasters—registers with a forceful thump rather than a dull, empty thud. No longer an undefined aural morass, “Twist and Shout” explodes with a clean yet musical clarity, the singing more distinctive and immediate, the instruments possessing true timbres and resonant clatter. And who ever notices the expressive “Yeah!” at the end of the take?

Similarly, the mono With the Beatles unfolds with ear-bending vibrancy and liveliness. The rolling vocal harmonizing on “All My Loving” astounds. Across-the-board upgrades in airiness, dimensionality, depth, size, and Paul McCartney’s vastly underrated bass lines are detectable on every song. And whether it’s the now-noticeable presence of the piano or the wonderfully rattling chords on “Money,” or discernible rhythmic rumble on “Hold Me Tight,” the record has received a startling facelift that even Hollywood’s most expensive plastic surgeon wouldn’t be able to configure. With the band long faulted for being too sweet, the mono remasters open up space for the argument that the Beatles possessed an edge—if not a slight mean streak (witness the 3-D imaging of “No Reply” off Beatles for Sale).

Vocal precision, smoothness, and extension become even more pronounced on Help! and Rubber Soul. Ditto for the realistic bottom end, long absent on most Beatles recordings. McCartney’s bass and Ringo Starr’s percussion ride side-by-side, and smart albeit illuminating shades and accents—the tambourine on “You’ve Got to Hide Your Love Away,” the twangy pitch of the guitar strings on “Ticket to Ride,” the breathlessness of Lennon’s singing on “Dizzy Miss Lizzy,” the natural fade-out on “I’ve Just Seen a Face,” Lennon’s sucking of air through his teeth on “Girl,” the barbershop-quartet swoons during “Michelle”—emerge with breathtaking clarity. Enmeshed with the song as a whole, Starr’s Hammond organ playing on “I’m Looking Through You” now comes across as an integral part of the arrangement.

Revolver marks the point at which the mono-versus-stereo debates begin to get interesting. Admittedly, the backward tape loops on “Tomorrow Never Knows” sound cooler in stereo. In addition, stereo is how most listeners are accustomed to hearing music; for some, mono seems bare. Yet all that’s sacrificed with the latter versus stereo is a larger soundstage, a perceived sense of “hugeness,” and the security of familiarity; mono mixes exhibit an organic presence, naturalness, purity, and outright musicality that render moot any tradeoff. The horns on “Got to Get You Into My Life” have never emitted such boldness or pizzazz; the transparency of the chords during “Here, There and Everywhere” and movement of the bounding piano in “Good Day Sunshine” are utterly staggering. Pure genius.

And yet, the mono version of Sgt. Pepper’s trumps the stereo in several regards. In stereo, “She’s Leaving” runs slower and lower in pitch; the laughter in “Within You Without You” is quieter at the end; McCartney’s scatting is hardly audible on “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)”; the psychedelic phrasing on “Lucy in the Sky With Diamonds” isn’t as clear. Such discrepancies owe to the time lapses that occurred between the mono and stereo mixes as well as the full (or partial) participation of the band and George Martin, both of which favored mono.

Accordingly, the stereo version of The White Album boasts life-size images and discerningly more pronounced frequency extension than its mono counterpart. The immersive experience gives birth to underexposed intricacies (the single snare drum strike that parallels the “shot” in “Rocky Raccoon”), defined footprints (McCartney’s bass purrs and growls), and completely new sounds (“Revolution 1” has what seems to be a horn—who knew?). Differences still abound. The mono version of “Helter Skelter” is shorter, sped up, and without Starr’s renowned “blisters on my fingers” comment. The aircraft effects during “Back in the U.S.S.R.” vary, and there are fewer grunts in “Piggies.” Due such distinctions—and no clear-cut winner between the two versions, although stereo does seem to have the edge—both versions are considered “authentic.”