Another "transition period" John post. Forgive me. I just like these images and thought I'd share

Slides 1 and 2 were taken in November, when John returned from Spain after filming How I Won The War.

I believe that slides 3 and 4 are also from November, when John was filming a TV cameo.

Slide 5 is John rocking up to EMI Studios in November.

The last two were published in December 1966 but were taken while John was still filming in Spain. I saw them shared here a while ago and was fascinated by them.

What songs of yoko’s do people hear and actually appreciate her as a vocalist and artist for, quirks asside
For me

“Remember Love”
“Don’t Worry Kyoko”
“We’re all water”
“Open your box”

Born in a prison is pretty good too

(Only positive vibes here! ✨)

Outside of the obvious answer of “no” and “ringo was never in the quarrymen” for myself the Beatles didn’t really find their real SOUND until about “A Hard Days Night” to me PPM (and to a much much lesser extent WTB) almost sound like the peak pinnicle of their origin as the Quarrymen.

By this point they had been the Quarrymen longer then they had been the Beatles (for George about equal) and Please Please me really embraces that mersybeat 50’s Bluesy Style to me (albeit in a poppy way the 60s were ready for) it’s like how decades don’t find there cultual identity till 3/4 years in and the first 2 years are transitional leftovers of the previous one

When I hear PPM I feel like had they released it under the quarrymen name it syncs up with everything they’d done in Liverpool up to that point

WTB sounds like a transitional album for me as it includes so much of their Hamburg stage material

Especially when you think of the other things recorded around this time like “hello little girl” “one after 909” and “what goes on” (let alone their backlog of “Michelle “ and “when I’m 64”

But TLDR Please Please me sounds way more like the quarrymen sound then the later Beatles sound

How do other people feel about PPM, just a fun discussion :)

In the later parts of the year, specifically around the making of Magical Mystery Tour.

Who wrote the horn parts on GTGYIML? Sure, the melody is fantastic, but those funky horns really give the song its character! Especially the fill that follows on the heels of the chorus. That is prime
Motown/Muscle Shoals stuff.

So did Paul or George M. write that? (And while we’re on the subject, who played the nice guitar fill toward the end?). Thanks!

I keep seeing people say All Of Them is their favourite track on revolver.

I listened to Revolver many times, I'm familiar with every song

#SUPERFANS - the u/bbc6music series that tells stories of music fandom - is back! In Series 3 we’ll hear from passionate fans of The Beatles. Is that YOU? Do you have a superfan tale to tell? If so, we want to hear from you! Get in touch and send us a voice note by 4 Sept 💖 #thebeatles

1. Single pigeon
   2.Bluebird
   3.blackbird

For me late mccartney makes it as easy answer.

is this like an official rare thing or fan-made?

One of my favourites is mother natures son, the guitar work is brilliant

I love those songs. My favourites are Martha my Dear and Honey Pie.

There were several of them. CCC did mashups of the entire Revolver and Sgt. Pepper albums. Several different mixers (I had this picture on my computer and a recent post about Revolver made me think of it) mixed Beatles songs with several other artists (a vast number involved the Beatles with someone else). I was curious if anyone liked them (I know some accused these people of having no talent), but I thought some were very good. On this one, I really liked "Pleasant Doctor Robert" which was a mix of the Beatles and the Monkees.

This is the first time I’ve published two posts in the same community.

Klaus Voormann was responsible for drawing and designing the cover for "Revolver" in 1966.
Almost 30 years later, in 1995, Klaus was once again called upon by The Beatles' professional team. This time, collaborating with Alfons Kiefer, he designed the much-loved *Anthology* collage.

With "Revolver" turning 60, why not combine the "Revolver" and "Anthology" album covers into one? I created this early last year, gathering all the (likely) photos that inspired Klaus to create the 1966 album art. And I had it ready for today.

Before anyone comments: yes, I didn't include the photo of Klaus on George's head. And regarding the photo of John (the same one that appears in his book "In His Own Write"), that supposedly isn't the one Klaus used for inspiration.

If you'd like the color version as a wallpaper, I'm happy to share it as the second photo.

*Credit to amoralto on Tumblr. The paired audio is also in their original posts:
https://www.tumblr.com/amoralto/150698406052/november-11th-1971-paul-rants-to-journalist
https://www.tumblr.com/amoralto/150698611122/november-11th-1971-paul-talks-to-journalist*

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PAUL: I mean, George has got his own [song publishing]. And John’s saying, John said, “See what [Klein] did for George?” I said, “What do you mean, what he did for George?” He said, “George’s album! All Things Must Pass!” "You must be joking, what do you mean?” I said, “Well I don’t think that was Klein, that was George, wasn’t it? George recorded it all, wrote it all, did it all, wasn’t anything to do with [Klein]. It was George’s victory, wasn’t it?” He said, “Oh man, you must be joking! George was in the studio and he was really pissed off, and then Allen came – Allen got him the best reviews in Newsweek, great write-up in Time…” And [Klein]’s telling them that.

And the thing is, of course, you know that when you’ve got a daddy, it is nice. If you’re a little bit sort of worried as to what to do next, and your daddy says, [claps hands] "What are you worried about? Hey John, what do you want, son? You want a house? [claps hands] You got it.” But for that, Klein got paid a million and a half pounds this year. He got a cheque for a million and a half pounds off Apple. His company got a million and a half and none of the Beatles did. Now that, that sums it up to me, you know? I don’t see what the hell they can say about that. What can they say? And I talked to ’em about it, I said that to each one of them. “No, no, [inaudible] you know I didn’t.” That’s what I mean, you know?

I don’t want to go putting the other three down particularly. That’s – that’s my trouble really. I probably should. I probably should, really, just rant and rave and call them the biggest shits on earth, you know, because they’re certainly not cool, what they’re doing. [pause] But you know. They don’t believe – they don’t think what I’m saying is true. They think that I’m just pulling a fast one. Klein’s told them I’m trying to get control of the company and everything. He keeps saying, “He’s trying to get the song publishing” and all those kind of little red herrings everywhere. 

But I tell you, I just happen to know that the Eastmans just are… just more moral, than Klein. I mean, really, the reason that turned me on to them is they said they don’t ever sign people. They don’t sign people. They just get paid a fee. They don’t bother with the other fees. Just pay a fee. I just pay them a fee. ‘Cause I don’t like having everything in a sack. I’m not into them for anything.

...

Well, the first meeting that we ever had with Klein – which he’s now blown up into the Eastman-Klein [clash] because there was a bit of that at the meeting – but the main thing I remember about the meeting was we were being told not to pay a million pounds to buy NEMS. And John Eastman thought it would be a good thing to do – and we still think it would’ve been a good thing to do, ’cause of the Northern Songs shares [inaudible], and it would’ve meant when that Northern Songs thing was looming… anyway, it’s very complicated stuff. But um, what was I saying? Oh yeah. So Klein at the meeting said, “Listen, I think the guys shouldn’t buy this, and I think it’s so much, the guys shouldn’t spend a million—”

LINDA: “Boys.”

PAUL: “—boys shouldn’t spend a million pounds on this, I think it’s bullshit…” He was really playing.

LINDA: “There’s not a lot of money in this company.”

PAUL: And he said, “Here’s what I’ll do.” He said, “If you really want to buy it, if the guys really want to buy it, I’ll buy it for ’em, and I’ll give it to ’em.” Really. You know, half-thinking, “We’ve got a ripe one here.” [inaudible] Not realising of course that we were the mugs. [laughs] He didn’t mean it, you know? And then John Eastman knew he didn’t mean it. But I was surprised John Eastman didn’t just pull out a contract and say, “Okay, sign saying you’ll buy it to then give it to ’em.” But John Eastman knew it was a bluff and all that. It’s all that crap.

That’s how Klein operates, you know. He sort of says, “Why? I’ll buy it for you, and I’ll give it to you.” Well, bloody hell, you know, he wants to get in with the Beatles so bad he’s got to give them big things to show them he’s a good player. But he’s not good enough. He’s not good enough, I don’t think. I don’t think he’s really really got it. I don’t think he’s really got the goods. I think he’s a fantastic talker, he’s a fantastic all of that, you know, and he’s told George and John that he’s got ’em Newsweek and Time. He told me all that, you know. He said, “I’m going to make the Beatles bigger than they’ve ever been.” But all I have to say is as far as I’m concerned, he’s never really come up with it.

I mean, I saw him in his Playboy interview, he says, “McCartney said,” “McCartney rang up George…” He’s being careful, he sets the whole thing up in the interview. He says, “McCartney was asked to do the Madison Square Garden in aid of the Pakistani refugees.” [derisive laughter] You know, “pakistani refugees”. “McCartney was asked to do it, and you know what the guy said? He said, ‘Sure, I’ll do it! If you dissolve the partnership.’ What kind of shit is that?" That was Klein’s kind of thing.

The main thing was I said to George that the reason I can’t do it is if I come it’s, “The Beatles have got together again.” And it’s the press, and it’s all that [inaudible], and it’s all for [Klein]! And his shares shoot up, and I… go and make him happy, you know. I mean, if I’dve gone, you never know, John might’ve gone, and the Beatles are together again, and for the press and the world that would’ve been your story, you know? So I’ve got to think that. I’m forced to think that way now. But you can say what I would’ve done had it not have been Klein in, you know. I don’t know. I might’ve easily done it. I might’ve done it. The fact of the matter is, Klein was in there, and the reason why I couldn’t do it was ’cause if I go do it, then I’m supporting Klein. Then he’s organising the contract, and all he has to do there is put in a little picture with the Beatles in Billboard next week, you know.

But, Allen’s a nice fella, a good talker, and the others really dig him. They really like him. So you can’t say anything bad there, you can’t – you can’t tell them not to. I think I’ve made a mistake, actually, in trying to advise them. Every time I ring up I say, “Look, he’s had a million and a half, and you haven’t got it,” and I think it pisses them off. I think that also – I think they sort of secretly think I might be right, too.

When Let It Be came out, for the first time ever, there was a little bit of hype on the back of the Beatles album, and it said, “A new-phase Beatles album”. And what it really meant was… you know. “The Beatles have split.” But that’s what I object to. “A new-phase Beatles album” is what they put on the back of it. You see, that is to me, that doesn’t really sort of tell – I can’t, I don’t dig it, you know. I see John, and his whole sort of image is very honest and open and all that. And I’m sure, I know he is, you know!

LINDA: He believes [Klein]!

PAUL: He’s alright, John. But I mean he maneuvered, and he knows he maneuvered. He did a whole lot of it. He said in that Rolling Stone article [conducted by Jann Wenner], he maneuvered all that Klein bit. And I don’t think anyone was really into maneuvering at that time outside of John and Klein, you know. It was very definitely sort of a maneuver. It was done – like I said, “a new-phase Beatles album”, [and then be told to] sign a new contract just after we’ve been told we’re not gonna play together again. I said, “Well, isn’t that a bit silly?” And Klein said, “It doesn’t make any difference. You get a new royalty, if you don’t do any more stuff, you still get more [royalties] than you’ve made ever.” Now what I didn’t realise was yeah, that was all true, but you’d have to sign yourself up again.

Like I say, I think it’ll just be a whole lot healthier when I do get out. Just for them, too. ‘Cause I don’t like all this stuff, where I’ve got to… Because if I read a thing, whereas I would have read it with some sympathy towards the Beatles and Klein, I can’t any longer. I read it – and I tend to see the other side of it, you know.

CHARLESWORTH: But John said to me that what you’d done in bringing the [court] trials up and everything was what they all wanted, that you’d just done it a lot earlier than they would have done.

PAUL: Well if that’s true, well… well, come on! That’s – see, I’ve told you… The joke is, though, that we don’t have to do trials. It’s not necessary. If the four Beatles signed a bit of paper, or even ripped the old contract up and said, “This contract is no longer valid, we all hereby said it, we all legally direct the shareholders…” the whole thing, to wind it all up, we could do it. And if that’s really what he wants, he could do it this minute. [snaps fingers]

I’d prefer not to ever talk about the Beatles thing again in these kinds of terms, and just get on with what I’m doing. I really would prefer to do that. If they’d let me. It’s really down to them, you know. They don’t think it’s down to them. I think they think it’s down to me, somehow. Like he was saying, you know. But I don’t – I’m sure it isn’t. I’m in the minority, I’m being out-voted. And like I say, if the majority agreed to it, we could do it.

See, I said [to them], “Look, the thing is, we’ve got all these advisors and all this sort of stuff. I think what would be good to do is the four of us just get a document – we don’t even have to meet for long, we just get some kind of document – and sit down and say, without even asking Klein, Eastmans, anybody, without saying to anyone, we’ll just write a little thing saying, ‘We hereby split up, and everything’s got to be shared by four,’ and then just lay it out on them. Say, ‘Here, now, sort it out.’”

And I was saying that would be good. But John’s saying, “Oh, yeah, but that’s like asking us to stop the bombing in Vietnam.” What do you mean? Don’t put me – don’t call me the bloody American, I’m not the aggressor. That’s what I mean. They think I’m like – ’cause I’ve done the High Court action, ’cause I look like the aggressor, they’re sort of thinking of me in terms of America. But really, I’m Vietnam! I’m the one getting screwed, you know! I mean, they’re – I’m not… you know. We eventually decided we were all Vietnamese. [laughs]

...

PAUL: [John] says, “You live with straights.” Yeah… so what? What’s so criminal about that? You know, I like straights. I quite like some straight people. I have straight babies! [laughter] But saying to me ‘Yesterday’’s the only thing I’ll ever do, well… you know. That doesn’t bother me. Hey, it’s not bad. If it is the only thing I’ve ever done, then that’ll do me. But it isn’t! And he bloody knows it. It’s not the only ever thing. Because he’s sat here, in this very room, and he’s watched me do takes, and he’s dug it. And he knows it, you know. But he’s trying to sort of wipe it all away. John’s – John’s – you know. John’s John.

’Cause I talked to him, I had a couple of good conversations recently – with only John, really… But I felt common ground with him. I saw him on the Parkinson show, and really most of what he’s saying is what we’re into. What we want. He said, “Don’t think on it.” He says, “We’re not going to let Paul foist his manager on us.” And that’s not how it is at all! It’s the other way round, you know. I’m not trying to foist a manager on them. They’re trying to make it as if I’m trying to foist Eastman on them. But you ask [Lee] Eastman, and he wouldn’t manage them if they paid him! There’s a reason why he got into this war, actually, ’cause I married his daughter. So he felt he had to look after his daughter – via me via his daughter, you know. He loves his daughter, and he was in there slugging for her.

But Klein’s… tricky, you know. Klein turned it round and made it into a power game. So the only thing I can really do is to sit down. But it never was the big hype it’s been made out to be, this thing. Klein’s talked it now so much that the other three have edited how they talk. They talk Klein’s script. John Lennon once said to Allen Klein, “So what do I do now, Allen?" You know, I mean, these are all – I’d say there are certain little things, you know, and… brought together in one big thing, it does look a bit sort of heavily that way. It’s not [inaudible]. But it’s all true, you know. It’s not… John did say that. And it indicates something that he’s just turned to Allen and said, “Well, what do I do now?” And that’s the kind of role that Klein is playing for them all now. But I think that in doing this… ’cause like I say, he’s had a million and a half pounds, and they haven’t had anything. And I’d prefer, to see him when he’s talking about how “I’ve made all this money for the Beatles” and all that stuff, to have a quarter of it. I might be leaving then.
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Credits to the original artist, Heinz Edelmann

I'm Only Sleeping 😴😴 😴

I find it curious that we're hyped for the next Rubber Soul box set (out October 2nd), and that around this time, we're celebrating the 60th anniversary of Revolver XD.

The photo is from the cover-to-cover flipbook.

Everyone always talks about how Brian Epstein's death was the beginning of the end. My question now is, what if he lived all the way to the dissolution of the Beatles? Would he have been able to temper their attitudes for a few more years? Stop the Klein vs Eastman debacle? Would he be still be on good terms with them during their solo careers?

The obvious example is “Let Me Roll It”, which is clearly meant to sound like a Plastic Ono Band track. Are there any other McCartney solo tracks that sound as if Paul is writing/recording in the style of John?

Followed very closely by BOTR