A BEATLES' HARD-DIE'S SITE

Their Own Records In Their Own Words - Help! and surroundings


HELP!
(Lennon/McCartney)
JOHN 1965: "We think it's one of the best we've written."

JOHN 1980: "The whole Beatle thing was just beyond comprehension. When 'Help' came out, I was actually crying out for help. Most people think it's just a fast rock 'n roll song. I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help. So it was my fat Elvis period. You see the movie: He -- I -- is very fat, very insecure, and he's completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was. Now I may be very positive... yes, yes... but I also go through deep depressions where I would like to jump out the window, you know. It becomes easier to deal with as I get older; I don't know whether you learn control or, when you grow up, you calm down a little. Anyway, I was fat and depressed and I was crying out for help."

PAUL 1984: "John wrote that... well, John and I wrote it at his house in Weybridge for the film. I think the title was out of desperation."

THE NIGHT BEFORE
(Lennon/McCartney)
JOHN 1965: "'The Night Before' that Paul does is good."

PAUL circa-1994: "I would say that's mainly mine. I don't think John had alot to do with that."

YOU'VE GOT TO HIDE YOUR LOVE AWAY
(Lennon/McCartney)
JOHN 1965: "One I do which I like is, 'You've Got To Hide Your Love Away.' But it's not commercial."

JOHN 1971: "It's one of those that you sort of sing a bit sadly to yourself, 'Here I stand/Head in hand.' I started thinking about my own emotions. I don't know when exactly it started, like 'I'm A Loser' or 'Hide Your Love Away,' or those kind of things. Instead of projecting myself into a situation I would just try to express what I felt about myself which I had done in me books. I think it was Dylan helped me realize that-- I had a sort of professional songwriter's attitude to writing Pop songs, but to express myself I would write 'Spaniard In The Works' or 'In His Own Write' --the personal stories which were expressive of my personal emotions. I'd have a separate 'songwriting' John Lennon who wrote songs for the sort of meat market, and I didn't consider them, the lyrics or anything, to have any depth at all. Then I started being me about the songs... not writing them objectively, but subjectively."

JOHN 1980: "That's me in my Dylan period again. I am like a chameleon... influenced by whatever is going on. If Elvis can do it, I can do it. If the Everly Brothers can do it, me and Paul can. Same with Dylan."

PAUL 1984: "That was John doing a Dylan... heavily influenced by Bob. If you listen, he's singing it like Bob."

ANOTHER GIRL
(Lennon/McCartney)
JOHN 1980: "'Another Girl' is Paul."

PAUL circa-1994: "It's a bit much to call them fillers because I think they were a bit more than that, and each one of them made it past the Beatles test. We all had to like it."

YOU'RE GOING TO LOSE THAT GIRL
(Lennon/McCartney)
JOHN 1980: "That's me."

TICKET TO RIDE
(Lennon/McCartney)
GEORGE 1965: "We are always worried with each record. With 'Ticket To Ride' we were even more worried. There's bound to be a time when we come in at 19 (on the charts). But this 'number one' business doesn't seem to stop-- great while it lasts-- but now we'll have to start all over again and people will start predicting funny things for the next one."

JOHN 1970: "It's a heavy record, and the drums are heavy too. That's why I like it."

JOHN 1980: "That was one of the earliest heavy-metal records made. Paul's contribution was the way Ringo played the drums."

PAUL circa-1994: "I think the interesting thing is the crazy ending-- instead of ending like the previous verse, we changed the tempo. We picked up one of the lines, 'My baby don't care,' but completely altered the melody. We almost invented the idea of a new bit of a song on the fade-out with this song... It was quite radical at the time."

IT'S ONLY LOVE
(Lennon/McCartney)
JOHN 1972: "That's the one song I really hate of mine. Terrible lyric."

JOHN 1980: "'It's Only Love' is mine. I always thought it was a lousy song. The lyrics are abysmal. I always hated that song."

PAUL circa-1994: "Sometimes we didn't fight it if the lyric came out rather bland on some of those filler songs like 'It's Only Love.' If a lyric was really bad we'd edit it. But we weren't that fussy about it, because it's only a rock 'n roll song. I mean, this is not literature."

TELL ME WHAT YOU SEE
(Lennon/McCartney)
PAUL circa-1994: "'I seem to remember it as mine... Not awfully memorable."

I'VE JUST SEEN A FACE
(Lennon/McCartney)
JOHN 1980: "That's Paul."

PAUL circa-1994: "I think of this as totally by me. It was slightly country and western from my point of view. It was faster, though. It was a strange uptempo thing. I was quite pleased with it. The lyric works. It keeps dragging you forward... it keeps pulling you to the next line. There's an insistent quality about it."

YESTERDAY
(Lennon/McCartney)
PAUL 1968: "I just started playing it and this tune came, 'cuz that's what happens. They just, sort of-- they COME, you know. It just came and I couldn't think of any words to it, so originally it was just, 'Scrambled Egg.' It was called 'Scrambled Egg' for a couple of months, until I thought of 'Yesterday.' And that's it. True story."

JOHN 1980: "Paul wrote the lyrics to 'Yesterday.' Although the lyrics don't reslove into any sense, they're good lines. They certainly work, you know what I mean? They're good-- but if you read the whole song, it doesn't say anything; you don't know what happened. She left and he wishes it were yesterday-- that much you get-- but it doesn't really resolve. So, mine didn't used to either. I have had so much accolade for 'Yesterday.' That's Paul's song, and Paul's baby. Well done. Beautiful-- and I never wished I'd written it."

PAUL 1984: "It fell out of bed. I had a piano by my bedside and I... must have dreamed it, because I tumbled out of bed and put my hands on the piano keys and I had a tune in my head. It was just all there, a complete thing. I couldn't believe it. It came too easy. In fact, I didn't believe I'd written it. I thought maybe I'd heard it before, it was some other tune, and I went around for weeks playing the chords of the song for people, asking them, 'Is this like something? I think I've written it.' And people would say, 'No, it's not like anything else, but it's good.'"

PAUL 1986: "The hits are always the ones you thought wouldn't be hits, like 'Yesterday' or 'Mull Of Kintyre.' I didn't want to put them out. We didn't put 'Yesterday' out in England, it was only here (America) that it was a single. We didn't think it was going to be a good idea... so it's crazy how it goes."

PAUL 1988: "We didn't think it fitted our image. In fact, it was one of our most successful songs."
YES IT IS
(Lennon/McCartney)
JOHN 1980: "That's me trying a rewrite of 'This Boy,' but it didn't quite work."

PAUL circa-1994: "I was there writing it with John, but it was his inspiration that I helped him finish off. 'Yes It Is' is a very fine song of John's."

I'M DOWN
(Lennon/McCartney)
JOHN 1980: "That's Paul... with a little help from me, I think."

PAUL circa-1994: "I could do Little Richard's voice which is a wild, hoarse, screaming thing-- It's like an out-of-body experience. You have to leave your current sensibilities and go about a foot above your head to sing it. Alot of people were fans of Little Richard so I used to sing his stuff, but there came a point when I wanted to do one of my own, so I wrote 'I'm Down.'"


ON CHANGING THE MOVIE TITLE TO 'HELP!'
PAUL 1965: "I don't know. I just don't think anybody will want to hear a song called, 'Eight Arms To Hold You.' So it was a crummy title I think. It was ok... we were getting a bit desperate for titles, and then Ringo said, 'Eight Arms To Hold You' ...and we all said, 'Great!' But then we suddenly realized a couple of days later that we were all sick of it and didn't like it. We thought it was a bit daft."

REGARDING THEIR CHANGING SOUND
JOHN 1965: "If you play our early records and the late-- even though we haven't made all that many-- there's alot of difference. Even recording technique. If you improve that slightly-- your sound changes, basically."

ON THE DIFFERENCES BETWEEN THE ORIGINAL UK AND US ALBUM RELEASE
Q: "Ringo, I understand that the record album, 'Help!' has different numbers in the English version than in the United States version. Is this true, and if so, why?"
PAUL: "Yeah. We're in Capitol (records) now."
RINGO: "The English album is 14 tracks, and they're all our numbers. And on the American one-- I don't know how many tracks are on it, but then you've got some..."
PAUL: "There's seven of ours."
GEORGE: "The thing is, Capitol issue all sort of mad stuff, you know. It's nothing to do with us. We take 14 tracks to be put out, but they keep a couple and put them out later."
PAUL: "But it's a drag, because the album-- We make an album to be like an album, and to be a complete thing."
JOHN: "We plan it, and they wreck it."
(laughter)
PAUL: "No offense, Capitol-- but we send it over here and they put the (movie score) soundtrack on. And, you know, if someone is gonna buy one of our records I think they want to hear us and not soundtrack."
GEORGE: "They even changed the photograph off the front and put something daft on."
PAUL: "Yeah. Either that or they should make it all soundtrack."
JOHN: "As for Capitol-- they'll come 'round after we settle it."

ON SONGWRITING (DURING THE 'HELP!' PERIOD)
PAUL 1965: "We just write songs, and they are fitted into the film. That's what we did last time. We're not like other songwriters who get suggestions from certain lines in a movie script. Often we write the tunes first, without having a title. We'll get that later."

PAUL circa-1994: "John would often have the melody and the lyrics to one verse, and the trickiest thing is making any more of it. The second verse is nearly always the killer because you've often said it all in the first verse, but by pushing yourself you can actually get a second verse better than your first. It's always more difficult because you mustn't repeat yourself-- you've got to take the idea somewhere else, but it has to have the same metre and the same melody. That was often where he or I needed help. There tended to be four verses in our songs, one chorus that repeated endlessly, and a middle-eight. So if it was John's idea, generally I would come in at the second verse. The first verse was always good to finish with-- it was like, 'Remember what I told you at the beginning of this song? I'm going to reiterate it now.' That was always a good little trick."
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Is Paul McCartney dead?...


Did you know that Paul McCartney died in a car crash in November of 1966, was replaced by a look-alike carefully groomed in his musical style to match that of the deceased Beatle. Crazy you say?

In the fall of 1969—shortly after the release of the Beatles’ Abbey Road—a rumor swept America concerning the death of Paul McCartney. While this rumor was very popular on college campuses, the widespread acceptance of this rumor reached such proportions that stories of the phenomenon were subjects of news reports and publications no less respect than the New York Times, Time Magazine, and the cover story of Life Magazine. It was the cover of Abbey Road that started it all.

On Abbey Road Album, why was McCartney barefoot and out of step? Was John Lennon dressed in white to represent a religious person? Was Ringo dressed like a mortician and George dressed as a shabby gravedigger? What about the policeman on the other side of the street? The yellow VW bug license plate that reads 28IF - Was this album cover staged? Shortly after this album was released, The paul is dead rumors started to take off.

The hysteria of this rumor started to spread like wild fire across the country, Could McCartney really be dead? Or is this just a Paul is dead hoax? This rumor was very popular, will spend the next several pages probing some of the clues and theories behind this bizarre story. Read very carefully. You may find that sanity is not quite as easily defined as you thought. You may begin to question your own.

Around this same time frame WKNR-FM DJ Russell Gibb received a phone call from students at Eastern Michigan University who claimed that the Fab Four song Revolution 9 contained a backward message confirming the rumor. Gibb played the song backwards on his turntable, and heard "Turn me on, dead man, turn me on, dead man, and turn me on, dead man “Gibb began telling his listeners about what he called” The Great Cover-up".

To add more fuel to the fire, The Beatles never wanted to talk about the Paul is dead rumors and for years just laugh it off as crazy. Which only added to the mystery of what they were up to, had they created a bunch of Paul is dead Clues to increase record sales.


Paul is dead hoax? The most common tale is that on Wednesday, 9
November 1966 at 5 am, McCartney, while working on the Sgt. Pepper's
Lonely Hearts Club Band album, stormed out of a recording session
after an argument with the other members of the group and rode off in his
Austin-Healey, which he subsequently crashed.

The story was largely pieced together by fans from the lyrics of
several songs. The most common narrative includes the
following pieces of evidence: "He didn't notice that the lights had
changed" ("A Day in the Life") because he was busy watching the pretty
girl on the pavement (the eponymous meter maid of "Lovely Rita") after
narrowly missing her dressed in blue (she's said to be the blur on the
back of Abbey Road) jaywalking ("Blue Jay Way"). He then crashed into
a lamp-post (a car crash sound is heard in "Revolution 9" and "A Day
in the Life"). He was pronounced dead on a "Wednesday morning at 5
o'clock as the day begins" ("She's Leaving Home"), and nobody found
out this because the news was withheld: "Wednesday morning papers
didn't come" ("Lady Madonna"). A funeral procession was held days
later (as supposedly implied in the Abbey Road album cover). Adding
fuel to the legend is the ending of "Strawberry Fields Forever." Some
believed John said "I buried Paul" in a slow deep voice over the final
refrain.

According to believers, that this is not a Paul is dead hoax,
McCartney was replaced with the winner of a Paul McCartney look-alike
contest. The name of this look-alike has been recorded as William
Shears Campbell, Billy Shears (the name of the fictitious leader of
Sgt. Pepper's Lonely Hearts Club Band), William Sheppard (based on the
inspiration for the song "The Continuing Story of Bungalow Bill"), or
some combination of the names.

Then in 1979 Beatle expert Joel Gasiler and Dave Fox produce an in depth radio show called. "Is Paul Dead? Turn me on dead man". Which brought the dead rumors back to life like no other time. The radio program was one hour long and it started with Sgt. Peppers and finished with Let it Be. The show caused a fire storm because it gave clues off each album and played the songs backwards making it very easy for everyone to hear the clues. Beatle fans went nuts with this new program. Here it was all laid out before them, step by step and explained it all in great detail. Who was Billy Shears? That The Beatles sang about? Billy Shears (the name of the fictitious leader of Sgt. Pepper's Lonely Hearts Club Band) and William Campbell, a winner in a Paul McCartney look a like contest in 1965. Is Paul McCartney Dead?

Rolling Stone Reviews: Abbey Road

The Beatles
Abbey Road


Simply, side two does more for me than the whole of Sgt. Pepper, and I'll trade you The Beatles and Magical Mystery Tour and a Keith Moon drumstick for side one.
So much for the prelims. "Come Together" is John Lennon very nearly at the peak of his form; twisted, freely-associative, punful lyrically, pinched and somehow a little smug vocally. Breathtakingly recorded (as is the whole album), with a perfect little high-hat-tom-tom run by Ringo providing a clever semi-colon to those eerie shooo-ta's, Timothy Leary's campaign song opens up things in grand fashion indeed.
George's vocal, containing less adenoids and more grainy Paul tunefulness than ever before, is one of many highlights on his "Something," some of the others being more excellent drum work, a dead catchy guitar line, perfectly subdued strings, and an unusually nice melody. Both his and Joe Cocker's version will suffice nicely until Ray Charles gets around to it.
Paul McCartney and Ray Davies are the only two writers in rock and roll who could have written "Maxwell's Silver Hammer," a jaunty vaudevillian/music-hallish celebration wherein Paul, in a rare naughty mood, celebrates the joys of being able to bash in the heads of anyone threatening to bring you down. Paul puts it across perfectly with the coyest imaginable choir-boy innocence.

Someday, just for fun, Capitol/Apple's going to have to compile a Paul McCartney Sings Rock And Roll album, with "Long Tall Sally," "I'm Down," "Helter Skelter," and, most definitely, "Oh! Darling," in which, fronting a great "ouch!"-yelling guitar and wonderful background harmonies, he delivers an induplicably strong, throat-ripping vocal of sufficient power to knock out even those skeptics who would otherwise have complained about yet another Beatle tribute to the golden groovies' era.
That the Beatles can unify seemingly countless musical fragments and lyrical doodlings into a uniformly wonderful suite, as they've done on side two, seems potent testimony that no, they've far from lost it, and no, they haven't stopped trying.
No, on the contrary, they've achieved here the closest thing yet to Beatles freeform, fusing more diverse intriguing musical and lyrical ideas into a piece that amounts to far more than the sum of those ideas.

"Here Comes the Sun," for example, would come off as quite mediocre on its own, but just watch how John and especially Paul build on its mood of perky childlike wonder. Like here, in "Because," is this child, or someone with a child's innocence, having his mind blown by the most obvious natural phenomena, like the blueness of the sky. Amidst, mind you, beautiful and intricate harmonies, the like of which the Beatles have not attempted since "Dr. Robert."
Then, just for a moment, we're into Paul's "You Never Give Me Your Money," which seems more a daydream than an actual address to the girl he's thinking about. Allowed to remain pensive only for an instant, we're next transported, via Paul's "Lady Madonna" voice and boogie-woogie piano in the bridge, to this happy thought: "Oh, that magic feelin'/Nowhere to go." Crickets' chirping and a kid's nursery rhyme ("1-2-3-4-5-6-7/All good children go to heaven") lead us from there into a dreamy John number, "Sun King," in which we find him singing for the Italian market, words like amore and felice giving us some clue as to the feel of this reminiscent-of-"In My Room" ballad.

And then, before we know what's happened, we're out in John Lennon's England meeting these two human oddities, Mean Mr. Mustard and Polythene Pam. From there it's off to watch a surreal afternoon telly programme, Paul's "She Came In Through the Bathroom Window." Pensive and a touch melancholy again a moment later, we're into "Golden Slumbers," from which we wake to the resounding thousands of voices on "Carry That Weight," a rollicking little commentary of life's labours if ever there was one, and hence to a reprise of the "Money" theme (the most addicting melody and unforgettable words on the album). Finally, a perfect epitaph for our visit to the world of Beatle daydreams: "The love you take is equal to the love you make ..." And, just for the record, Paul's gonna make Her Majesty his.

I'd hesitate to say anything's impossible for him after listening to Abbey Road the first thousand times, and the others aren't far behind. To my mind, they're equatable, but still unsurpassed.

JOHN MENDELSOHN, Nov 15, 1969
©Copyright 2009 Rolling Stone

Lennon's Drawings









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Received: Hard Days Night Hotel recreated iconic bed-in

25 March 2009: To celebrate the 40th anniversary of John Lennon and Yoko Ono’s famous Amsterdam bed-in, Hard Days Night Hotel has recreated the event in the Lennon Suite using two professional lookalikes. This is one of two penthouse suites in the 110 room four-star boutique hotel located just a stones throw from the Cavern Club where the Beatles first rose to fame.
Following their marriage on 20th March 1969, John and Yoko used the hype of publicity to promote world peace. They invited the world’s press into their honeymoon suite at the Amsterdam Hilton Hotel where they staged a week-long bed-in protesting against war.
In celebration of Liverpool’s Beatles heritage, Hard Days Night Hotel is paying tribute to one of the most iconic events in the life of the famous Beatle.
Mike Dewey, general manager, Hard Days Night Hotel, commented: “John and Yoko’s bed-in was a key moment in Beatles history. Our Lennon Suite is a tribute to John and what better way to mark the 40th anniversary than to recreate it? This shows our commitment as a hotel to Beatles fans across the globe. Thanks to a little help from our friends, it certainly won’t be a hard day’s night for our very own Beatles day trippers.”

Hard Days Night Hotel is a four star boutique hotel located in the ‘Beatles Quarter’ of Liverpool. The stunning grade II listed hotel features Beatles inspired artwork telling the story of the Beatles ‘from the basement to the roof’. Hard Days Night Hotel houses 110 luxury and deluxe guest rooms with two penthouses, the Lennon and McCartney suites. The hotel is also home to two restaurants, Blakes and The Brasserie which both serve modern British cuisine, two bars – Bar Four and Hari’s Bar, two conference rooms and a unique wedding suite. The hotel was developed by Bowdena Ltd.
Please note that images must be credited to © Karen Julia 2009

Yellow Submarine - Best of Both Versions



There were two versions of the cartoon movie "Yellow Submarine" that differ in the portion from the latter part of "All You Need Is Love" to "Hey Bulldog". Version ONE, which integrates the plot line of "two sets of Beatles" seen in "Hey Bulldog", was used for the DVD release. Version TWO has two sub-versions: (a) includes "Hey Bulldog", and (b) does not. Version 2b was used for the previous videocassette release. Those familiar with the DVD version will see that in version 2, they actually sing some of the LYRICS to "Baby, You're a Rich Man"!
Here is an edit created of the scenes between "All You Need Is Love" and "Hey Bulldog" that encompasses the content of BOTH versions.

The Beatles - All You Need Is Love

The Beatles - All You Need Is Love from Yellow Submarine

The Beatles - All you need is love [with lyrics]

All You Need Is Love Memorabilia














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Music Tabs: All You Need Is Love

All You Need Is Love
(Lennon/McCartney)

Guitar chords

{c:Intro:}
[G]Love, [D]love, [Em]love. [G]Love, [D]love, [Em]love. [D7]Love, [G]love, [D7]love.


[G]There's nothing you can [D]do that can't be [Em]done.
[G]Nothing you can [D]sing that can't be [Em]sung.
[D7]Nothing you can [G]say but you can learn how to [D7]play the game. It's easy.


There's nothing you can make that can't be made.
No one you can save that can't be saved.
Nothing you can do but you can learn how to be you in time. It's easy.


{soc}
[G]All you [Am7]need is [D7]love, [G]all you [Am7]need is [D7]love,
[G]All you [B7]need is [Em]love, [G]love, [C]love is [D7]all you [C]need.
{eoc}

{c:repeat Intro}

{c:Chorus}

There's nothing you can know that isn't known.
Nothing you can see that isn't shown.
Nowhere you can be that isn't where, you're meant to be. It's easy.

{c:Chorus}

All you need is love (all together now)
All you need is love (everybody)
All you need is love, love, love is all you need.


Bass tab

Introduction: No bass

VERSE

(0:26) (0:40)/"It's easy...."
G-------------------------------------------------------------------------------
D--------5---4---2-------5---4---2------7---5---4--2----------------------------
A---5-7-------------5-7-------------5-7-------------3-2---5-5-3-3-2h3\\5---------
E------------------------------------------------------3------------------------

(0:52)
G-------------------------------------------------------------------------------
D---------5---4---2-------5---4---2-------7---5---4--2--------------------------
A---5(h)7-------------5-7-------------5-7-------------3-2---5-5-3-3-2h3\\5--5h7--
E--------------------------------------------------------3----------------------

CHORUS

(1:01)/"All you need is love"
G-------------------------------------------------------------------------------
D--5--5h7--7----------5h7p5---5h-7--7--------5h7p5------------------------------
A--------------5--5h7-----------------5--5h7------------------------------------
E-------------------------------------------------------------------------------

G-------------------------------------------------------------------------------
D--5-5---9-9-9-9-------14/-----14/------------5---------------------------------
A-----------------7---------5--------3-3--5-5-----------------------------------
E-------------------------------------------------------------------------------

VERSE 2

G-------------------------------------------------------------------------------
D--------5-5-4-4--2-2-----5-5-4-4-2-2-----7-7-5-5-4-4-2-------------------------
A---5-7---------------5-7-------------5-7--------------3-2---5-5-3-3-2h3\\5-5h7--
E---------------------------------------------------------3---------------------

FADE

G-------------------------------------------------------------------------------
D--------5-5--------------------------------------------------------------------
A---5h7-------------------------------------------------------------------------
E-------------------------------------------------------------------------------

Song Order:
Verse
Chorus
Verse 2
Chorus
Verse
Fade (play repeatedly)

Only few words...

Only few words to end a story more irrilevant than JBev's list: we do not took critics as aimed to the site, and JBev indicated critics as surely coming since the intoduction... the unfair thing is when people demonstrates no tolerance to other people's opinions... and do not want to be a vehicle for this behaviour anyway... hence our reaction... but we accept apologizes where needed and quietness in other comments, so we took our time to think, too, and we apologize our own way for the rage of yesterday and still go on with this site we really love to build... thanks to everyone for following our site, anyhow, and... thanks God no more JBev's lists are coming...
Beatlesite

The comments to the Final Countdown

8 Comments

Willard said...
An impossible task? Maybe. But, this is an awful series of choices. I read enough to see that the author was born AFTER the Beatles broke up, which means he lacks a certain perspective. It shows in his list.

Anonymous said...
Oooooh that comment was a little harsh Willard, this was a personal list, from Jbev's own perspective. That does mean that this list has no meaning or importance to any other person, but it was important to him. I was born before the Beatles were formed, but if I were to draw up my own list, it would be just as relevant as Jbev's and that is why I have no intention of doing one. RegardsMarcel Marceau

A BEATLES' HARD-DIE'S SITE said...
Say what you want, but the fact is that everytime we try to propose this list it never slips away in silence... and this must be recognized to JBev's bravery...

Anonymous said...
Just because there's nothing you can do that can't be done, doesn't mean you have to do it !MM

Anonymous said...
I think this list is meaningless. I can come up with my own list, but who even cares? Fact is, everybody has their own tastes and opinions. In this case, I think it would've been preferable had the author kept his opinions and critiques to himself... Just my opinion.

A BEATLES' HARD-DIE'S SITE said...
In OOO... if this list is meaningless, why so many people feels the need to say it is?

Anonymous said...
Because they are right ?MM

A BEATLES' HARD-DIE'S SITE said...
DO YOU REALLY THINK SOMEONE HERE IS RIGHT AND SOMEONE IS WRONG? ARE WE IN A COURT? IS THIS WHAT WE ARE DOING HERE SINCE ONE YEAR? DECIDING WHAT IS RIGHT AND WHAT IS WRONG? OOH, WHAT A FOOL WE HAVE BEEN IN WORKING SO HARD... SEE YOU IN ONE MONTH AS A MINIMUM... AND TAKE YOUR TIME TO THINK...

Playing The Beatles Backwards: The Final Countdown

By JBev

To most Beatles fans, choosing between the songs of the Fab 4 is a bit like choosing between children. But, on the JamsBio exclusive, Playing The Beatles Backwards, one intrepid fan dares to rank the original songs of The Beatles and give his reasons why in a worst-to-first countdown. Prepare to hit the message boards to defend your favorites, and follow the countdown all the way to Number 1.



AFTER A LOT OF COMPLAINTS...
this is the J Bev's Final Countdown:

185. “Revolution 9”
184. “Honey Pie”
183. “I Want You (She’s So Heavy)”
182. “Yer Blues”
181. “Good Day Sunshine”
180. “Ask Me Why”
179. “Long, Long, Long”
178. “Little Child”
177. “Old Brown Shoe”
176. “You Know My Name (Look Up My Number)”
175. “I Wanna Be Your Man”
174. “Love You To”
173. “Why Don’t We Do It In The Road?”
172. “Magical Mystery Tour”
171. “Wild Honey Pie”
170. “For You Blue”
169. “Don’t Pass Me By”
168. “Doctor Robert”
167. “And I Love Her”
166. “The Word”
165. “You Like Me Too Much”
164. “Maggie Mae”
163. “Tell Me What You See”
162. “Thank You Girl”
161. “I’ll Cry Instead”
160. “Everybody’s Got Something To Hide Except Me And My Monkey”
159. “One After 909”
158. “I Want To Tell You”
157. “Don’t Bother Me”
156. “Sun King”
155. “What Goes On”
154. “Flying”
153. “There’s A Place”
152. “Her Majesty”
151. “Do You Want To Know A Secret”
150. “Dig It”
149. “Maxwell’s Silver Hammer”
148. “Julia”
147. “Day Tripper”
146. “Blue Jay Way”
145. “Birthday”
144. “Baby You’re A Rich Man”
143. “Cry Baby Cry”
142. “Only A Northern Song”
141. “Penny Lane”
140. “Every Little Thing”
139. “When I Get Home”
138. “Run For Your Life”
137. “I’m Happy Just To Dance With You”
136. “Misery”
135. “I Call Your Name”
134. “It’s Only Love”
133. “If I Needed Someone”
132. “Another Girl”
131. “Dig A Pony”
130. “Love Me Do”
129. “The Night Before”
128. “Mean Mr. Mustard”
127. “Get Back”
126. “Michelle”
125. “The Inner Light”
124. “Baby’s In Black”
123. “Think For Yourself”
122. “I’ll Be Back”
121. “I Me Mine”
120. “All I’ve Got To Do”
119. “Polythene Pam”
118. “Hold Me Tight”
117. “Got To Get You Into My Life”
116. “Lucy In The Sky With Diamonds”
115. “Can’t Buy Me Love”
114. “I Want To Hold Your Hand”
113. “Savoy Truffle”
112. “The Continuing Story Of Bungalow Bill”
111. “With A Little Help From My Friends”
110. “Good Night”
109. “All Together Now”
108. “Paperback Writer”
107. “I’ll Get You”
106. “I’ll Follow The Sun”
105. “From Me To You”
104. “Martha My Dear”
103. “Being For The Benefit Of Mr. Kite”
102. “Revolution 1”
101. “Ballad Of John And Yoko”
100. “Girl”
99. “Sgt. Pepper’s Lonely Hearts Club Band”
98. “She Said She Said”
97. “Tell Me Why”
96. “Because”
95. “Yellow Submarine”
94. “I Should Have Known Better”
93. “I’m A Loser”
92. “All My Loving”
91. “Any Time At All”
90. “Ob-La-Di, Ob-La-Da”
89. “What You’re Doing”
88. “I Need You”
87. “You Can’t Do That”
86. “I Will”
85. “Eight Days A Week”
84. “Drive My Car”
83. “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)”
82. “Wait”
81. “She’s A Woman”
80. “I’m Only Sleeping”
79. “You’re Going To Lose That Girl”
78. “Oh! Darling”
77. “She Came In Through The Bathroom Window”
76. “It’s All Too Much”
75. “P.S. I Love You”
74. “Don’t Let Me Down”
73. “Rocky Raccoon”
72. “Your Mother Should Know”
71. “Piggies”
70. “I’ve Just Seen A Face”
69. “It Won’t Be Long”
68. “I’ve Got A Feeling”
67. “When I’m Sixty-Four”
66. “The Long And Winding Road”
65. “Fixing A Hole”
64. “I’m So Tired”
63. “Let It Be”
62. “Happiness Is A Warm Gun”
61. “Lovely Rita”
60. “I’m Down”
59. “Glass Onion”
58. “Hello Goodbye”
57. “While My Guitar Gently Weeps”
56. “Norwegian Wood (This Bird Has Flown)”
55. “Come Together”
54. “Help!”
53. “Helter Skelter”
52. “I Feel Fine”
51. “Yesterday”
50. “A Hard Day’s Night”
49. “Blackbird”
48. “Revolution”
47. “Getting Better”
46. “Hey Bulldog”
45. “Good Morning Good Morning”
44. “Back In The U.S.S.R.”
43. “Mother Nature’s Son”
42. “You Never Give Me Your Money”
41. “Sexy Sadie”
40. “I’m Looking Through You”
39. “Things We Said Today”
38. “This Boy”
37. “Across The Universe”
36. “Octopus’s Garden”
35. “Not A Second Time”
34. “And Your Bird Can Sing”
33. “I Saw Her Standing There”
32. “Taxman”
31. “The Fool On The Hill”
30. “Two Of Us”
29. “Here Comes The Sun”
28. “You Won’t See Me”
27. “Within You Without You”
26. “No Reply”
25. “Ticket To Ride”
24. “She Loves You”
23. “Rain”
22. “I Don’t Want To Spoil The Party”
21. “Yes It Is”
20. “Here, There, And Everywhere”
19. “You’ve Got To Hide Your Love Away”
18. “Tomorrow Never Knows”
17. “Lady Madonna”
16. “Please Please Me”
15. “Nowhere Man”
14. “If I Fell”
13. “For No One”
12. “We Can Work It Out”
11. “Dear Prudence”
10. “Eleanor Rigby”
9. “Something”
8. “Strawberry Fields Forever”
7. “In My Life”
6. “All You Need Is Love”
5. “Hey Jude”
4. “Golden Slumbers/Carry That Weight/The End”
3. “She’s Leaving Home”
2. “I Am The Walrus”
1. “A Day in the Life”


READ IT OR NOT... and remember that you can post your own list here
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Tony Natsoulas - Beatles Sculptures

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Ludwig revives Ringo's drum kit

Beatles' Ringo launches Liverpool 4 drums. Kit revives 1964 design

Ludwig is reviving the Black Oyster Pearl drum finish that The Beatles' Ringo Starr played in 1964.
The kit was well-known from The Beatles' debut on US TV, on The Ed Sullivan Show in 1964.
The 'new' Liverpool 4 kit hosts the configuration and 3-ply shell of many classic Ludwig kits.
It's the first Ludwig Legacy kit to feature standard-sized Classic lugs along with a new Rail Consolette tom mount.
The first 100 sets will feature Ludwig's 100th Anniversary badge on each drum. Recommended price is $4285, stands not included.
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The Beatles - All My Loving live on Ed Sullivan 1964



"The drum-kit was well-known from The Beatles' debut on US TV, on The Ed Sullivan Show in 1964"

Beatles for sale? ... Not through iTunes

Is the Beatles' back catalogue finally going digital? Possibly, but don't expect it to be available on iTunes. Dhani Harrison, son of George, is proposing a Beatles-only downloads store selling remastered versions of the Fab Four's tunes

George Harrison's son has raised the prospect of an independent, Beatles-specific digital music store that will sell remastered versions of the Fab Four's tunes.
"We're losing money every day," Dhani Harrison said in a recent interview. "So what do you do? You have to have your own delivery system, or you have to do a good deal with [Apple CEO] Steve Jobs."

The Beatles' entry into Apple's iTunes Music Store has been rumoured for almost as long as the service has been around. However, six years on, and with iTunes dominating the digital music landscape, Apple (the computer manufacturer) and Apple (the record label) remain at an impasse.
"[Jobs] says that a download is worth 99 cents, and we disagree," Dhani Harrison told Blender.
Thirty-year-old Harrison, who is himself a musician, plays an increasingly prominent role in managing the Beatles estate. Apart from Paul McCartney's five-year-old daughter Beatrice, Dhani is the youngest of the Beatles' offspring – and is among the most "plugged in" to technological developments.

Harrison says it is he who encouraged the Beatles' stakeholders to pursue the Rock Band: The Beatles video game. "I took the project to Apple [Records] and sort of convinced everybody to have a presentation," Harrison told Billboard. "My job description is ... being enthusiastic. We've been working on it for the past two years. This is the first one that is going to be totally, historically accurate. It's been a real headache, but it's been the most enjoyable work I've done in my life."
While iTunes Music Store is the world's most successful online music service, it's not the only available option. The Beatles could release their songs through Amazon MP3 or eMusic, but they could also do as Prince has done and start own distribution site, selling songs without a middleman.
Of course, it takes some technological nous to compete with iTunes – or great big yellow submarines full of money.

Sean Michaels
guardian.co.uk

Beatles in Lego









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Bookshelf: Lennon Revealed

Lennon Revealed
by Larry Kane

2007
Paperback
US $14.95
CAN $18.00
UK £8.99
ISBN: 9780762429660
ISBN-10: 0762429666
Published by Running Press



Description
A quarter of a century after his death, the questions remain: what was John Lennon really like, what drove him to the heights of creativity and the depths of despair, and why do his music and message still resonate for millions around the world? Now acclaimed broadcast journalist and author Larry Kane uncovers the mysteries of Lennon’s life and implodes the myths surrounding it. Kane definitely has the right credentials for the job. He was the only American reporter to travel in the Beatles’ official entourage to every stop on their history-making first American tours, and he stayed in touch with Lennon until an assassin ended the former Beatles’ life in 1980. Lennon Revealed is filled with revelations about John Lennon’s path from public glory to personal crisis, and ultimately to his inspiring rebirth and the triumph of his spirit. Drawing on extensive personal accounts and extraordinary new interviews with more than 100 confidants-most notably, Yoko Ono-Kane presents stunning revelations and brings the reader closer than ever to the man who, in life and in death, has had an incalculable impact on humanity. Includes an exclusive DVD featuring the final interview with Lennon and Paul McCartney, conducted by Larry Kane.

Editorial Reviews

From Publishers Weekly
In this breezy collection of remembrances, journalist Kane (Ticket to Ride) fondly-if a bit too reverentially-remembers his times with enigmatic Beatle John Lennon. In 1964, Kane, then a radio reporter, was assigned to follow the Beatles in America, beginning a relationship with Lennon that lasted throughout the musician's short life, and one that obviously engendered some real affection. In brisk, entertaining prose, Kane, with a supporting cast of many Beatles associates, assesses the many faces of Lennon from a journalistic yet intensely personal perch. "Was John Lennon a mean bastard? A foolish prankster? An aggressive sex fiend? A musical tyrant? A gay man?" The answers, Kane says, are as complex as Lennon himself. Kane shares his take on the man and the pivotal moments in his life, including Lennon's relationships with his bandmates and Yoko Ono, his involvement in the peace movement, and the infamous "lost weekend" and the Yoko-ordained affair with secretary May Pang. A final chapter of letters written by Lennon fans, however, feels tacked on. There are certainly better books on Lennon, but readers should enjoy Kane's personal, honest recollections. "My reporting of Lennon and his adult life will no doubt vary from others," Kane aptly notes, "but it is mine."
Copyright © Reed Business Information, a division of Reed Elsevier Inc.

From Booklist
Kane met John Lennon when he traveled with the Beatles on their American tours, which he chronicled in Ticket to Ride (2003). Now, 25 years after Lennon's murder, he offers an affectionate but clear-eyed look at the musician's life, based on his recollections and interviews with many of Lennon's friends and associates. Eschewing chronological treatment, Kane proceeds somewhat disjointedly, dividing the book into chapters on such aspects of Lennon as his significant relationships (including with second wife Yoko Ono and paramour May Pang), wild streak, peace activism, love for New York City, and relations with the other Beatles, particularly Paul McCartney. Perhaps because Kane is a reporter rather than a critic, he downplays Lennon the musician; otherwise, he reveals many facets of a complex figure. If the book ultimately doesn't constitute a definitive portrait, it demonstrates why expecting one is probably futile. Yoko Ono told Kane that Lennon "didn't want people to just adore him. He wanted people to know what he [was] made of." Kane's account hews to that wish. Gordon Flagg
Copyright © American Library Association.

Larry Kane

Larry Kane is the “dean of Philadelphia television news anchors,” having had a 45-year career covering domestic and world events. He previously wrote an account of his tour experiences with the Beatles in his book Ticket to Ride. Kane lives in southeastern Pennsylvania.
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Bookshelf: Ticket To Ride


Ticket To Ride
by Larry Kane

2003
Hardcover
US $22.95
CAN $34.95
UK £14.99
ISBN: 9780762415922
ISBN-10: 0762415924
Published by Running Press



Description
It was 40 years ago -- more or less -- that a 22year-old broadcast journalist from Florida was invited by manager Brian Epstein to travel with the Beatles to every stop on their first North American tours. The only American reporter in the official press party, Larry Kane obtained exclusive, revealing interviews with John, Paul, George, and Ringo. Fortunately, Kane saved his original notes and tapes, and shares them here for the first time. That material provides the basis for his intimate look back at the phenomenon of the Fab Four, and insights into the humor and personality of each group member. Ticket to Ride, illustrated with more than 30 photographs, captures a rare time in history, gracefully melding the story of the Beatles revolution with the changing tenor of the country. Hear John Lennon's early public criticism of the Vietnam War, and learn about the night the Beatles met Bob Dylan. ""We had a crazy party the night we met [Dylan],"" Paul recounts. "" I thought I got the meaning to life that night. Ticket to Ride includes a 60minute audio CD featuring rare interviews.

Editorial Reviews

From Publishers Weekly

John Lennon once said that the Beatles on tour were as debauched as the ancient Romans in Fellini's Satyricon. Outside of a description of a "happy" Lennon urging his band mates to "take your pick" from a group of hookers provided by an Atlantic City concert promoter, this highly entertaining account by broadcast journalist Kane, who covered the tour at the time, is as discreet about the Fab Four's sexual adventures as they were, although Kane notes that "women came and went from the Beatles' floor in most hotels." But in all other respects, from fiery airplanes and rioting fans to encounters with Bob Dylan, Joan Baez and Jayne Mansfield (the latter two seem to spend "quality" time with Lennon), this is a fantastic insider's look at the cultural explosion that was Beatlemania. It helps that Kane was only 21 at the time (the same age as Paul McCartney); unlike "dull-witted" reporters whom the Beatles came to disdain, Kane quickly noted "their indisputable naturalness and, to varying degrees, the depth of their humanity and their lack of phoniness." In turn, the Beatles rewarded Kane with many in-depth interviews through the tour (60 minutes of which are included on an accompanying CD), which Kane skillfully uses throughout provide the Beatles' own insightful view of the ongoing craziness surrounding them, as they travel from one chaotic hotel and concert scene to another. This is the most detailed description yet of the Beatles' American tours, and one of the few books on the band written in the past decade that can be considered indispensable.
Copyright 2003 Reed Business Information, Inc.

From Booklist

Tell-all books by Beatles insiders have become as numerous and indistinguishable as hairs on a Beatle wig. But Kane's journalist's eye--he was the only American reporter to travel with the group for every stop of their 1964 and 1965 tours--sets this one apart. There had never been a cultural phenomenon to match Beatlemania--and nothing has quite equaled it since--and Kane vividly portrays its familiar trappings, from riotous fans whose screaming drowned out the music to chaotic postconcert escapes. More fascinating are Kane's behind-the-scenes views of "the boys," extracted from many interviews (excerpted on an accompanying CD), that disclose, for example, that Kane managed to insult John Lennon during their initial meeting--and wound up eliciting eloquent criticism of the war in Vietnam. Kane gradually fell for the music, and he provides valuable perspective on the performances, which are often neglected in other Beatles tour accounts. Less successful are Kane's attempted pontifications on the band as a harbinger of '60s dissent. Terrific fly-on-the-wall stuff about a unique pop-cultural event.

Gordon Flagg
Copyright © American Library Association.

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Beatles' Wives - 2: Pattie Boyd/Harrison

George and Pattie Harrison: married in 1966




The inside story of George Harrison's marriage to Patti Boyd, as told us by his mother and mother-in-law!
by John Howard
from: Motion Picture Magazine, 1966

I had been told by George Harrison, Sr., to get in touch with the Warrington police to find out the secret location of the 40,000-pound sterling bungalow that Beatle George Harrison had given his parents to celebrate his wedding.
Accompanied by two plainclothes policemen, we drove from liverpool through Lancashire and Warrington to Cheshire.
Alas, the yellow-and-blue eaved bungalow, situated on the rolling Cheshire plain, looked deserted, and the bottles of milk were piling up on the front doorstep. A few telephone calls later, I learned that Mr. and Mrs. Harrison's plane had not been able to leave Heathrow airport because of snow on the runway, and were returning to the Liverpool area by train the following day.
An interview with George's mum-in-law, Mrs. Gaymer-Jones, awaited me at Wimbledon the following morning, so I flew off from Speke Airport.
I expected Diana Gaymer-Jones to be rather dishy from the intriguing wedding photographs I had seen. So my jaw dropped a few inches when the door to the modern, terraced house in Strathmore Road was opened by a youngish version of Honor Blackman (of Pussy Galore fame).
"Come in, Mr. Howard." she said. "You're just in time for coffee - how many sugars?" Diana Gaymer-Jones had just been collating press clippings of her doll-like daughter, Patti's wedding. So minutes later she was relating details of the romance that culminated in the wedding of the second last Beatle.
"George proposed to Patti on the night of their first date. It was love at first sight for both of them. The evening before, Patti had come home from work on the film A Hard Day's Night to tell me that she had met george Harrison and that he had asked her out. She had to refuse him, however, because, up to that point, she had a steady boyfriend and couldn't cancel a date with him just like that. Still, George wasn't to be daunted: He proposed to pat many times after that.
"It was so exciting the day she told me that she would like to bring George home to dinner. The children and I loved him immediately. He's such a fine boy and such a gentleman.
"And it all happened before we knew it. There was never any engagement or engagement ring - both Patti and george just knew they were going to get married eventually, so they felt that an engagement was unimportant. But, I am pleased that my daughter decided not to marry too young. Pat told me a long time ago that she didn't want to get married until she was 21. I was really relieved because, you see, my first marriage took place when I was very young. Unfortunately both my marriages failed. So I was pleased that Pat was so sensible.
"I first learned of the 'engagement' in a very casual way. Two Wednesdays ago, while we were driving to the theater, Pat told me very off-handedly, that she and george had decided to name the day. I nearly died of excitement. But I kept it a secret from all except two or three of my close friends - other than the members of the family, of course.



"The children were really marvelous about keeping the secret too. Patti was originally going to have a short white fox fur by Mary Quant, but then decided on the red one. And she bought me a lynx fur hat for Christmas, which I wore to the wedding. Later on at the reception, though, I took off the hat and let my hair down. The suit I wore - I'm wearing the skirt right now, incidentally - was from Ely's, a store here at Wimbledon where I worked, as a temporary before the Christmas rush.
"The morning of the wedding, the 'Princess' pulled up to the front door, Patti, her brothers and sisters, and I, were as excited as we could be. We drove to Epsom, arriving there before George, and were ushered inside. My brother, John Drysdale, who is managing director of Africa Research Ltd., was there to give the bride away. Two of our relatives were still expected. Brian Epstein, Beatle manager, started to get a bit nervous and suggested we get on with it.
"It all went so swiftly. There was no music - I'm sure I would have cried if there had been. When the rest of our relatives arrived, we all drove off to george and Patti's new home at Esher to celebrate."



"What did it feel like to have a daughter married to a millionaire?" I asked curiously. Diana replied, "We've never even thought of George like that. I never did believe money meant much at all. After having so many children, though, I realised that money is a necessary part of life. (Diana's other five children are, Colin, 20; Jennise, 18; she's a model, has visited the United States with Patti, and as a result gets lots of Beatle mail addressed to her; Paula, 16; David, 12, and Robert, 10.)
"I must admit I am pleased to know that Pat will be comfortable and won't have to coo and scrub the floors. Of course, George and Patti have this wonderful housekeeper of George's, Margaret, to look after them. Margaret is a treasure. She doesn't live in but comes by each day to do the housework and prepare meals. Patti will plan the meals and cook the special delicacies for things like dinner parties.
"I must tell you, the wedding presents are piling up. The children and I gave Patti and George a silver dressing-table set. My brother gave them two Chinese vases that are about three feet high and have been in the family for generations, and Patti gave George two silver goblets. They are George III 1700 circa, I think. 'Mummie,' Pat said to me wonderingly, 'they mst have been awfully expensive.' "
The mother of the bride is always happy when her daughter has made a good match - but it's sometimes sad for the mother of the groom. And Mrs. Louise Harrison in Warrington was no exception.
That evening I was finally able to reach her by phone, "Mrs. Harrison" I felt compelled to say, "you sound so sad. Don't tell me you're feeling a little down in the dumps about losing a son?"
"Well," replied george's motherly Mum. "I have got to admit it, John, I do feel a little sad right now, now that the excitement of the wedding has died down. Then, too, I had a fall and hurt my arm just a few days before the wedding, and I really haven't been so well since." "I'm sorry to hear that." I said. "You see, I'm doing a story on the wedding. Would you mind terribly if I asked you a few questions?"
"Not at all, John, go ahead."

"Do you mind if I do the story based on our telephone call?"
"Certainly," she said. "Go right ahead." And she began.
"The wedding happened so quickly. George told us it was going to take place, but we didn't know when. Then only four days in advance, we got word of the exact date. It's a shame our daughter, Louise, couldn't come over from America, but we couldn't cable or phone her for fear the news would leak out. No celebration was planned for after the wedding, and we couldn't tell george's two brothers Harry and Peter and their wives about it ahead of time, either.
"Nothing happened exactly the way it was planned. Mr. Epstein thought there would be a brief ceremony and that would be all. Harry and peter didn't know about it until the last moment, and by then it was too late for them to come down.
"But George is planing a second wedding celebration, just for family, when he comes home to Liverpool with his bride. George is very thoughtful. It was so generous of him to give us this lovely home as a surprise. It's very much like his own bungalow. he has one large living room, which we don't have, and an extra bathroom, but the main difference is we have a room upstairs as well. But most important, george has got himself a lovely bride who will look after him well. Patti's a great cook, too. George likes good English cooking - like roast chicken and legs of lamb - and patti knows how to cook for him.
"They are an ideal pair and I'm sure they'll be so happy together. They have had lots of cables from fans saying how pleased they are about the wedding, and there was loads and loads of mail from the fans waiting when they got home from London.
"George and Patti wanted to keep the wedding a secret, and John and Ringo's going away served as a cover-up. Mr. Epstein and Paul were both best men, but it was Mr. Epstein and my husband who actually signed the register as witnesses.

"We were a bit worried before the wedding, because a reporter came out to george's place at 6 A.M. and waited there for us to come out. George had to deny that he was getting married. Then the reporter's car followed us through the fog all the way up to the place at Epsom." (Luckily for the wedding party, the reporter took his photographer along, and Brian Epstein allowed him to take shots inside the Registry Office to supplement photographs taken by the Beatles' official photographer. Just as well, because none of the official photos of the actual ceremony turned out).
"We're pleased that everyone has been so happy about the wedding," said Mrs. Harrison. Meanwhile on the first days of their honeymoon as Esher two people were very happy for the sake of George's fans.
"The fans have been just wonderful to us," said Patti. "They are used to it all by now. Fans are more sensible and sensitive than most people realise, and they've showed us they love George and the other Beatles for themselves." To a query about the possibility of future Beatle babies, George replied, "We have got some definite ideas on how to bring up children." "In a year or so we shall probably start a family," he added. "and we'll try to keep our children with us as much as possible. But at the same time we wouldn't want them to be mixed up with any publicity lark.
"But there's plenty of time to think about that," he concluded. "In the meantime, we are expecting to slip away on our honeymoon shortly."

Pattie Boyd's "Letter from London"
from: 16 Magazine, February 1965


HI THERE!
It's super to be writing my first column for 16 - my first column for ANY magazine, come to that! I'd best start by telling you something about myself. My full name is Patricia Anne Boyd. I am 20 and was born on a farm in Somerset, which is one of the prettiest counties in the west of England. I don't remember anything about our farm except playing with the animals. When I was three, the family moved to Nairobi, in East Africa. SIx years later we returned.
We're a big family, we Boyds. I'm the eldest. After me comes Colin (18), Jenny (16), Paula (14), David (10) and Robert (8). With all those older sisters, Robert has been hopelessly spoiled! We all look like one another, but Jenny and I favor most. She is still in school, but hopes to be a fashion wroter one day. Paula has started training for an acting career and has already some little bits on TV.
I left home about 18 months ago to live on my own and model in London. Touch wood, I've been busy ever since - mainly working for fashion magazines. I share a mews (that is a little private street off a main street) cottage with a girl friend called Mary Bee. We used to go to the same boarding school, then we teamed up again to share our first flat in Chelsea. That was a horrid place with a pokey kitchen, and we seemed to live on hot dogs most of the time.
Our present Ovington Mews cottage is absolutely super. We have two floors with a living room, dining room, hige kitchen and two bedrooms - and we have a little black kitten named "Wee-Wee". Mary and I are very much alike, I am five feet six inches tall and we have about the same measurements, which means we can borrow each other's clothes - and that comes in handy. We both love cooking, and when we have special guests for dinner - like a couple of beatles! - we join forces over the meal. My speciality is veal scallopine and Mary makes marvelous apple-crumb cake.
When we go out of an evening we usually head for one of the new clubs which have opened to cater to the smart young set in London. Our two favorite clubs are the Crazy E (stands for Elephant) and the Ad Lib. They're both small and cozy, the lighting is dim and the music is DEAFENING - which is how we like it. Once in a while some poor mistaken middle-aged couple wanders in dressed to the nines. The blink like they don't know what hit them! As I say, our clubs are strictly for the young. What's so nice about these clubs is that no one stares at you or wants an autograph, so quite naturally the Beatles often go there. On a busy evening you are liable to bump into Ringo, George, John and Paul. Brian Jones of the Stones is a regular customer, as are the Animals. When I date George, it is usually in a foursome.
Fashions are free and easy in London, Trouser suits are very in, as are "Granny" dresses like the one I'm wearing in the picture with the Stones. As for fads in words, "super" is replacing "fab" and "grotty" (from grotesque) is for something - well UGGHH! I'm afraid "gear" is going out, too. We mostly say the whole word - fabulous - for something that is extra "super." get it?
My fave American singers are the Supremes, Impressions, Exciters and Dionne Warwick. I think the Animals are the most promising newcomers. More next letter. Cheerio!

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