Tag Archives: anniversary

TMBP Extra: Oh what joy

With birthday posts previously produced for Paul McCartney, John Lennon and George Harrison, it’s about time we righted a wrong, and completed the set with the man born as Richard Starkey. Like the others and in the spirit of this blog, here’s a look at Ringo Starr’s life as it straddled the big days circled on the calendar in 1968 and 1969.

Ringo Starr, 1969

How did you spend your 29th birthday? Ringo Starr, the eldest Beatle, spent July 7, 1969, at EMI Studios on Abbey Road — like he spent so many of days in his 20s — laying down the drum track for “Here Comes The Sun.” We’ve all been stuck working on our birthdays, but this doesn’t sound like a bad gig, if you can get it.

Yet, 11 months earlier, Ringo gave up that gig, walking out on the Beatles during the White Album sessions.

From the Anthology book:

I left because I felt two things: I felt I wasn’t playing great, and I also felt that the other three were really happy and I was an outsider. I went to see John … I said, ‘I’m leaving the group because I”m not playing well and I feel unloved and out of it, and you three are really close.’ And John said, ‘I thought it was you three!’

So I went over to Paul’s and knocked on the door. I said the same thing: ‘I’m leaving the band. I feel you three guys are really close and I’m out of it.’ And Paul said, ‘I thought it was you three!’

I didn’t even bother going to George then. I said, ‘I’m going on holiday.’ I took the kids and we went to Sardinia.

He famously returned two weeks later after to a flower-covered drum kit as the sessions continued (they never stopped recording, with Paul filling in on drums for a few songs).

Still, Ringo’s time away was fruitful, spent on Peter Sellers’ yacht, where the captain told him stories about octopuses on the seabed.

A couple of tokes later with the guitar — and we had ‘Octopus’s Garden’!

Ringo’s relationship with Sellers — a member of The Goon Show, beloved by the teenage future Beatles, and whose novelty records had been produced by George Martin — dated back a few years and would benefit the drummer in several ways in the decade’s final years. In November 1968, Ringo took advantage of a Sellers’ market, moving into the actor’s former Brookfield House estate in Elstead, Surrey. Just a couple months later, the two would co-star in a movie. But first, Ringo had another movie to film with the Beatles.

Ringo’s resistance to go abroad during the Get Back sessions — he was most insistent of any of the Beatles — led to the beauty of the rooftop performance. This blog’s entire purpose is to tell that story.

Musically, Ringo did Ringo things in the January 1969 sessions, and as a songwriter, he continued work on “Octopus’s Garden” (as seen in the Let It Be film) and also brought a few unfinished songs to the table, too.

But the sessions were just a warm-up for what came next at Twickenham Studios, where Ringo — teamed up with Sellers — filmed The Magic Christian, his first true starring role (Ringo had a small part playing a Mexican gardener in Candy, which was released in this period, too). This took time, with filming running from February into May. The film would be released in December 1969.

Let It Be — the film and the record — wouldn’t see a release until 1970, a few months before Ringo turned 30. But the Beatles weren’t finished yet in the wake of those sessions. “Octopus’s Garden” would be formally recorded in April 1969, although recording for Abbey Road, to this point sporadic, wouldn’t get into full swing until July.

In December 1969, Ringo said in an interview with the BBC that “I want to be a film actor. I don’t want to be like Cary Grant or one of them who, like, really do the same performance in everything, and the story is the only thing that changes.”

Ringo & Barbara at their wedding

That may be the biggest takeaway in the career of Ringo Starr between July 7, 1968 and 1969 — because he did look at life beyond, or at least in addition to, the Beatles and rock and roll. Without the songwriting gifts of John, Paul and George, Ringo applied his natural charm to film, and was finally able to step fully out into the spotlight and marquee, without other Beatles to his side, or front. And while he was successful in the early 1970s with his solo career, he remained active on the screen, too, even if it wasn’t to that same critical or commercial success.

If you judge success by the bigger things in life, however, Ringo’s foray into film couldn’t have been any more fruitful. A few months before his 40th birthday, in 1980, Ringo filmed Caveman, starring alongside model Barbara Bach. After meeting on the set, they would wed a year later, and have been together ever since.

 

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TMBP Extra: Since he fell out of the womb

Over the years, we’ve celebrated the birthdays of Paul McCartney and John Lennon, looking back at the periods straddling the big days in 1968-1969. Today it’s George Harrison’s turn. It may be the 73rd anniversary of George Harrison’s birth today, or it may be the day after the 47th anniversary of his birth. With Liverpool under bombardment during World War II, keeping the records became confused that day in 1943. But February 25 is the day George celebrated, so it’ll be the day we mark, too.

1968, in India. That's actually a cake for Pattie Boyd, whose birthday was a three weeks after George's.

India, 1968. That’s actually a cake for Pattie Boyd, whose birthday was three weeks after George’s.

George’s 26th birthday came just a few weeks after the Beatles wrapped up the Get Back sessions at Twickenham and Savile Row. It capped a remarkable year in his life and career,  one that could fill a book, much less a blog post.

George’s 25th year began in India, less than 10 days after the Beatles arrived to study Transcendental Meditation under Maharishi Mahesh Yogi. Their retreat lasted nearly two months (for George, who outlasted the rest of the Beatles), transforming the four men, their music and Western culture along the way.

Starting in May and lasting throughout the summer, the Beatles recorded The Beatles. The double White Album, featuring a career-high four compositions, would be released before the winter. In between, George produced Jackie Lomax and saw the release of his solo LP Wonderwall, which was recorded late 1967 and early 1968. (It’s really great, and worth infinite listens).

With Winter 1968 came another transformative overseas trip, this time on the other side of the earth from India, to upstate New York, where George spent an intimate holiday with Bob Dylan and the Band, playing and writing songs. They were not laying the groundwork for the formation of the Traveling Wilburys about 20 years later, but it’s worth the dream.

That brings us to January 1969, and you can read all about it here and in posts to come. It’s worth noting, George brought Billy Preston into the Beatles’ circle, and then later would produce him for Apple.

What happened next? George had his tonsils out a week after the rooftop concert, and was laid up for about another week.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

He joined the rest of the Beatles on February 22, 1969, to record the first 35 takes of “I Want You,” essentially beginning the Abbey Road sessions, and that about brings things up to his 26th birthday, on February 25, 1969.

Of course, that’s not it. What about the music? Check out this list of Harrisongs composed or at least worked on seriously between his 25th and 26th birthdays (listed alphabetically, with one obvious omission I’ll explain below): “All Things Must Pass,” “Badge” (with Eric Clapton), “Circles” (eventually released in 1992), “Dehradun,” “For You Blue,” “Hear Me Lord,” “I Me Mine,” “I’d Have You Anytime,” “Isn’t it a Pity,” “Long, Long, Long,” “Not Guilty” (left off the White Album, was released in 1979), “Nowhere to Go” (All Things Must Pass LP outtake written with Dylan), “Old Brown Shoe,” “Piggies,” “Savoy Truffle,” “Sour Milk Sea” (written for Jackie Lomax), “Wah-Wah,” “While My Guitar Gently Weeps,” “Window, Window” (another All Things Must pass outtake). And there’s probably others we don’t know the origins of that would fall in this timeframe too.

Not too shabby. As a bonus, he finally had his first song to appear on a Beatles single — “The Inner Light” was on the flip side of the “Lady Madonna” single, released while they were in India.

Oh, he bought a Moog, too. More about that later in 1969.

George had a really good year, artistically. It was an important one spiritually, too, and he was expanding his professional horizons and stockpiling compositions. In many ways, he shaped the Get Back sessions by walking out and resetting the parameters under which the group would perform live, plus he brought Billy into the fold. His relationship with Dylan, developed when he was in New York, was a critical moment in his career and his own window into how other artists could interact, and reflecting everything that was wrong with the Beatles. While he was still not quite yet afforded the same global respect given to Paul and John, the Beatles’ junior member’s time would come in 1969, thanks in large part to something.

Sorry, I missed the punctuation. That’s thanks in part to “Something.” 

There are lots of dumb ways to spend a birthday in your 20s, but recording a few demos at EMI Studios on Abbey Road isn’t one of them.  February 25, 1969, saw George cut solo acoustic versions of “Old Brown Shoe” (first debuted during the Get Back sessions) and “All Things Must Pass” (from 1968, and rehearsed extensively in January 1969). The final song he worked on that day was “Something”, the seeds of which were planted in 1969, but he hadn’t completed as late as the final days leading to the rooftop concert on January 30, 1969.

You can find takes of all three songs on Anthology 3.

The commercial and critical success of the Abbey Road release of “Something” (finally, his first A-side) — earning high praise, finally, from Lennon and McCartney — plus the LP’s “Here Comes the Sun,” changed how George Harrison, Songwriter, was viewed. The time and efforts he spent between his birthdays in 1968 and 1969 propelled him to that point.

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TMBP Extra: Celebrate anything you want

Three years ago in this space, we celebrated Paul McCartney’s 70th birthday with a brief look back at the period between June 18, 1968 and 1969, a stretch that straddled the Get Back/Let It Be sessions that we explore here. On the occasion of the diamond jubilee of John Lennon’s birth, we’ll do the same thing people have done for more than 50 years: compare John and Paul, and as usual, with much different results.

John Lennon and Yoko Ono with Birthday Cake

Smile, John, it’s your birthday!

Forty-seven years ago today — October 9, 1968 — was John Lennon’s 28th birthday. The Beatles were primarily in the mixing stage of the White Album. John was in the midst of a divorce with Cynthia. Nine days later — there’s that number that follows John around — he and Yoko were victims of a drug bust at their home as they were handling the difficult release of Two Virgins.

In the coming months, the White Album was completed and released, the Beatles assembled in January 1969 for a monthlong writing and recording session and they subsequently recorded and completed Abbey Road (along with other songs, like John’s “The Ballad of John and Yoko,” a No. 1 hit). Those achievements fell in the same period as between Paul’s 1968 and 1969 birthdays. So what’s different for John and in the time frame that’s shifted by four months?

Yoko, obviously, and her dramatically increased role in John’s life, replacing Paul as his primary collaborator. It wasn’t just her, but what she enabled John to be willing to do. John with Yoko creating their own art and performance outside of the Beatles — bed-ins, experimental music, films, publications — all things that grew from being an outlet away from the band to becoming a full replacement for the band that Paul was expending his energy to keep together and internally manage. Like John and Yoko, Paul got married, too, and started his own life with Linda, increasingly spending time at his farm in Scotland. The Beatles were his band.

Three weeks before the Get Back sessions, John formed the Dirty Mac for the Rolling Stones’ Rock and Roll Circus in December 1969. His bed-in recording of “Give Peace a Chance” was released within days of “The Ballad of John and Yoko” in June 1969. Two weeks before the release of Abbey Road in September 1969, his first iteration of the Plastic Ono Band took the stage in Toronto.  Upon his return on Sept. 20, he told the rest of the Beatles he quit the group. He wouldn’t perform together with the other three Beatles again. Ten days later he recorded “Cold Turkey.”

All of the Beatles by this point had their own lives, marriages, projects outside the band.  For John, the Beatles had become the outside project in a wildly tumultuous period coinciding with his divorce, his immersion into Yoko, a use of harder drugs and a willingness to move on past Paul. All the factors are related. This may not have been John’s greatest period as a pop music songwriter, at least in volume, but given the variety of artistic pursuits and chances he was willing to take — including the biggest one of all, replacing Paul with Yoko — it was a remarkable period in John Lennon’s career and life.

On August 28, 1969, Linda gave birth to Mary, Paul’s first child. On October 9, John’s 29th birthday and the end of the period we’re recalling here, Yoko miscarried.  They would have their first child together, Sean, exactly six years later, on October 9, 1975.

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TMBP Extra: White anniversary

On Nov. 22, 1968, The Beatles graced us with The Beatles, ie., the White Album. It’s as brilliant on a listen today as I’m sure it was then. Yet, less than six weeks after it hit stores, John, Paul, George and Ringo were at Twickenham writing and rehearsing songs that would eventually populate Let It Be, Abbey Road, All Things Must Pass, McCartney and sporadically on other releases.

whitealbumThe Get Back sessions story – what we’re telling here via the Nagra reels — can’t be told completely without the context and seen through, in part, the lens of the rocky White Album sessions. Ringo left the band three months into recording The Beatles. It took only eight days for George to flee the group at Twickenham. Just listen to the group’s own words on Jan. 7, 1969.

Paul: The past couple of months, it’s been this. The [White] album was like this. The album was worse.

George: The Beatles have been in doldrums for at least a year.

Perhaps to snap out of those doldrums, the group flirted with the idea of a live show to promote the White Album into the new year – ie., 1969 – but that idea soon fizzled. That flirtation and subsequent search for a live show scenario, however, was a prevalent theme all January 1969 long with the rooftop show the ultimate answer.

Of course, another important connection linking the White Album and the Get Back sessions are the songs. And not just wacky takes like this:

Or this:

The Get Back sessions continued the White Album’s larger focus on playing together as a band (further distancing themselves from Sgt. Pepper) and ostensibly served as a writing lab and demo venue for Abbey Road, the clear bridge between the two records. “Maxwell’s Silver Hammer” and “Something” both dated to 1968, while “Mean Mr. Mustard” and “Polythene Pam” were rehearsed in the White Album demo session at Kinfauns. “I’ve Got a Feeling” (and “Everybody Had a Hard Year”) and “Don’t Let Me Down” similarly dated to 1968.

So while proximity (1968 vs. 1970 releases) and the ultimate productions do a lot to blur some of the relations between the White Album and Let It Be (via the Get Back sessions), the anniversary of The Beatles’ release offers as good an opportunity as any to briefly mark those ties.

To celebrate, here’s “Revolution,” filmed at Twickenham nearly four months to the day before the band returned to the same soundstage to begin the Get Back sessions.

 

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TMBP Extra: Fête accompli

Author’s note from July 6, 2017: I originally wrote this several years ago. Unlike the other posts on this blog, to which I try to limit any changes, I’ve come back to this one a few times, rewritten some parts, tweaked others, in an effort to more clearly bring things into a fuller circle.

There’s obviously no need to overstate the importance of July 6, 1957, to any reader of this blog. It’s the day John Lennon and Paul McCartney met after John’s Quarrymen played the Garden Fête in Woolton, and thus, everything changed in this world, and for the better.

First, a quick recap of that day, via the Beatles Anthology DVD. Take it, John!

For fun, here’s the story as portrayed in Nowhere Boy:

Let’s get back to reality and what the Quarrymen really sounded like that day, from authenticated tapes recovered decades after the fact:

There simply can’t be a more important moment in Beatles history than the birth of the Lennon-McCartney partnership. Everything came from that, not the least of which was Paul soon introducing George Harrison to John. But that’s another story.

Mark Lewisohn dedicates an entire short chapter to July 6, 1957, in his indispensable extended edition of his Beatles biography Tune In, vastly expanding upon any basic retelling of the Lennon-McCartney origin story and going so far as to tease the possibility the two actually first met — without any guitars — prior to the fête.  But no matter what happened before that day, Paul taking the initiative and confidently performing “Twenty Flight Rock” for John was the moment that mattered.

And it wasn’t merely that Paul could play “Twenty Flight Rock.”

“The thing I think that impressed him most was I knew all the words,” Paul said in the above Anthology clip.

The Beatles never covered “Twenty Flight Rock” — Paul eventually would on numerous occasions solo and with Wings — but they did give it a nod amid the Get Back sessions, on Jan. 23, 1969, by which point the recording had moved to Apple HQ at Savile Row.

More than 11 years after Paul played the song for John — impressing him enough to begin their partnership —  and some months from the last time John and Paul would work together again, Paul couldn’t quite remember the words. At all.

Alas, the elevator’s indeed broken down. There’s not much magic to the light-hearted clip, although it’s nice to hear Billy Preston, and George’s solo is pretty good. But no longer is Paul playing the song to impress John. In so many ways, it was Paul’s group by then.

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TMBP Extra: They say it’s his birthday

Like the many millions of Beatles-focused blogs, of course I need to recognize the 70th birthday of Paul McCartney.

I’ve wrestled with just how. This blog is a niche, focused on January 1969’s Get Back/Let It Be sessions and its reasonable relations (the Let It Be album and movie). June 18 is half a year away from January, so there’s no direct tie to the timeline.

The easy way out is to post a relevant video of Paul from the sessions, pluck out some classic tune, and I just leave it there.

But I got to thinking about June 1969, a few months after the sessions, and just what the band was doing. And the answer was… nothing.

“Get Back” — the single — was already a hit. The Get Back album was alive and being worked on by Glyn Johns.  A couple of songs for Abbey Road were worked on, but not extensively. “The Ballad of John and Yoko” was quickly written and recorded in April and released the end of May.

But June? No studio time.

Come July 1, the full recording sessions for Abbey Road would formally begin. Before September was out, it was in stores. Think about that. It took less than three months for the vast majority of Abbey Road to be recorded. It took me about three months to bang out 10 posts for this blog.

So with nothing going on June 18, 1969, I backed up a year to the same date in 1968. There was no recording session that day, either,  but the band was about three weeks into the White Album sessions, with “Revolution” “Don’t Pass Me By” and “Blackbird” having been worked on to that point.

And yet again, like I always am by the Beatles and keep finding myself as I work on this blog, I’m left marveling at things I already knew but didn’t think much about. Between Paul’s birthday in 1968 and 1969, the band recorded the vast majority of the White Album, the entirety of what would become Let It Be and had gotten Abbey Road under way (with most of the songs already written) — not to mention recording and releasing things like “Hey Jude,” too. Tack on three more months, and over 15 months we had all three albums in the can. Remarkable. (And that’s just what they did on vinyl — they also built Apple, had personal lives, side projects, etc.).

So where does that leave this post? Well, back to the start I think:  Pluck something from the sessions and leave it at that.

So for Paul’s 70th, here’s one of the greatest of them all, and the song from which this blog’s name came from, “Let It Be.”

Happy birthday, Paul!

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