Thanks for Looking and Best of Luck with the Bidding!!
Reynold's News was a Sunday newspaper in the United Kingdom.
The paper was founded as Reynolds's Weekly Newspaper[1] by George W. M. Reynolds in 1850, who became its first editor. By 1870, the paper was selling more than 350,000 copies per week. George died in 1879 and was succeeded as editor by his brother, Edward Reynolds.[2]
After Edward's death in 1894, the paper was bought by Henry Dalziel[2] and in 1924 was renamed Reynold's Illustrated News.[1] In 1929, the paper was bought by the Co-operative Press, linked to the Co-operative Party,[2] and in 1936 its title was shortened to Reynold's News. In 1944, it was again renamed as Reynold's News and Sunday Citizen,[1] but the paper began losing money in the 1950s; it was relaunched in 1962 as a tabloid named the Sunday Citizen, but was not a success and closed in 1967.[2]
Initially a five-piece line-up of Lennon, McCartney, Harrison, Stuart Sutcliffe (bass) and Pete Best (drums), they built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960. Sutcliffe left the group in 1961, and Best was replaced by Starr the following year. Moulded into a professional outfit by their manager, Brian Epstein, their musical potential was enhanced by the creativity of producer George Martin. They achieved mainstream success in the United Kingdom in late 1962, with their first single, "Love Me Do". Gaining international popularity and acquiring the nickname "Fab Four" the following year, they toured extensively until 1966. During their subsequent "studio years", they produced what critics consider some of their finest material including the album Sgt. Pepper's Lonely Hearts Club Band (1967), widely regarded as a masterpiece. After their break-up in 1970, the band members all found success in independent musical careers. Lennon was murdered outside his home in New York City in 1980, and Harrison died of cancer in 2001. McCartney and Starr remain active.
The Beatles are the best-selling band in history,[2][3] and over four decades after their break-up, their recordings are still in demand. They have had more number one albums on the UK charts and have held the top spot longer than any other musical act. According to the RIAA, they have sold more albums in the United States than any other artist, and they headed Billboard magazine's list of all-time top Hot 100 artists in 2008. They have received 7 Grammy Awards from the American National Academy of Recording Arts and Sciences and 15 Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors. They were collectively included in Time magazine's compilation of the 20th century's 100 most influential people
The Beatles
Background information
Origin Liverpool, England
Genres
Rockpopbeatpsychedelia
Years active 1960–1970
Labels
ParlophoneAppleCapitol
Spinoffs Plastic Ono Band
Spinoff of The Quarrymen
Past members
John Lennon
Paul McCartney
George Harrison
Ringo Starr
(see Personnel section for others)
Website thebeatles.com
The
Beatles were an English rock band, formed in Liverpool in 1960, that
comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr.
They are regarded as the most influential band of all time[1] and were
integral to the development of 1960s counterculture and popular music's
recognition as an art form.[2] Rooted in skiffle, beat and 1950s rock
'n' roll, their sound incorporated elements of classical music and
traditional pop in innovative ways; the band later explored music styles
ranging from ballads and Indian music to psychedelia and hard rock. As
pioneers in recording, songwriting and artistic presentation, the
Beatles revolutionised many aspects of the music industry and were often
publicised as leaders of the era's youth and sociocultural
movements.[3]
Led by primary songwriters Lennon and McCartney,
the Beatles evolved from Lennon's previous group, the Quarrymen, and
built their reputation playing clubs in Liverpool and Hamburg over three
years from 1960, initially with Stuart Sutcliffe playing bass. The core
trio of Lennon, McCartney and Harrison, together since 1958, went
through a succession of drummers, including Pete Best, before asking
Starr to join them in 1962. Manager Brian Epstein moulded them into a
professional act, and producer George Martin guided and developed their
recordings, greatly expanding their domestic success after signing to
EMI Records and achieving their first hit, "Love Me Do", in late 1962.
As their popularity grew into the intense fan frenzy dubbed
"Beatlemania", the band acquired the nickname "the Fab Four", with
Epstein, Martin and other members of the band's entourage sometimes
given the informal title of "fifth Beatle".
By early 1964, the
Beatles were international stars and had achieved unprecedented levels
of critical and commercial success. They became a leading force in
Britain's cultural resurgence, ushering in the British Invasion of the
United States pop market, and soon made their film debut with A Hard
Day's Night (1964). A growing desire to refine their studio efforts,
coupled with the untenable nature of their concert tours, led to the
band's retirement from live performances in 1966. At this time, they
produced records of greater sophistication, including the albums Rubber
Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band
(1967), and enjoyed further commercial success with The Beatles (also
known as "the White Album", 1968) and Abbey Road (1969). Heralding the
album era, their success elevated the album to be the dominant form of
record consumption over singles; they also inspired a greater public
interest in psychedelic drugs and Eastern spirituality, and furthered
advancements in electronic music, album art and music videos. In 1968,
they founded Apple Corps, a multi-armed multimedia corporation that
continues to oversee projects related to the band's legacy. After the
group's break-up in 1970, all principal members enjoyed success as solo
artists and some partial reunions have occurred. Lennon was murdered in
1980 and Harrison died of lung cancer in 2001. McCartney and Starr
remain musically active.
The Beatles are the best-selling music
act of all time, with estimated sales of 600 million units worldwide.
They hold the record for most number-one albums on the UK Albums Chart
(15), most number-one hits on the Billboard Hot 100 chart (20), and most
singles sold in the UK (21.9 million). The band received many
accolades, including seven Grammy Awards, four Brit Awards, an Academy
Award (for Best Original Song Score for the 1970 documentary film Let It
Be) and fifteen Ivor Novello Awards. They were inducted into the Rock
and Roll Hall of Fame in 1988, and each principal member was inducted
individually between 1994 and 2015. In 2004 and 2011, the group topped
Rolling Stone's lists of the greatest artists in history. Time magazine
named them among the 20th century's 100 most important people.
Contents
History
History of the Beatles
The Quarrymen In Hamburg At The Cavern Club Decca audition Beatlemania
North American releases "More popular than Jesus" In Bangor In India
Break-up Timeline
vte
1956–1963: Formation
The Quarrymen and name changes
In
November 1956, sixteen-year-old John Lennon formed a skiffle group with
several friends from Quarry Bank High School in Liverpool. They briefly
called themselves the Blackjacks, before changing their name to the
Quarrymen after discovering that another local group were already using
the name.[4] Fifteen-year-old Paul McCartney met Lennon on 6 July 1957,
and joined as a rhythm guitarist shortly after.[5] In February 1958,
McCartney invited his friend George Harrison, then fifteen, to watch the
band. Harrison auditioned for Lennon, impressing him with his playing,
but Lennon initially thought Harrison was too young. After a month's
persistence, during a second meeting (arranged by McCartney), Harrison
performed the lead guitar part of the instrumental song "Raunchy" on the
upper deck of a Liverpool bus,[6] and they enlisted him as lead
guitarist.[7][8]
By January 1959, Lennon's Quarry Bank friends
had left the group, and he began his studies at the Liverpool College of
Art.[9] The three guitarists, billing themselves as Johnny and the
Moondogs,[10] were playing rock and roll whenever they could find a
drummer.[11] Lennon's art school friend Stuart Sutcliffe, who had just
sold one of his paintings and was persuaded to purchase a bass guitar
with the proceeds, joined in January 1960. He suggested changing the
band's name to Beatals, as a tribute to Buddy Holly and the
Crickets.[12][13] They used this name until May, when they became the
Silver Beetles, before undertaking a brief tour of Scotland as the
backing group for pop singer and fellow Liverpudlian Johnny Gentle. By
early July, they had refashioned themselves as the Silver Beatles, and
by the middle of August simply the Beatles.[14]
Early residencies and UK popularity
Allan
Williams, the Beatles' unofficial manager, arranged a residency for
them in Hamburg. They auditioned and hired drummer Pete Best in
mid-August 1960. The band, now a five-piece, departed Liverpool for
Hamburg four days later, contracted to club owner Bruno Koschmider for
what would be a 3+1⁄2-month residency.[15] Beatles historian Mark
Lewisohn writes: "They pulled into Hamburg at dusk on 17 August, the
time when the red-light area comes to life ... flashing neon lights
screamed out the various entertainment on offer, while scantily clad
women sat unabashed in shop windows waiting for business
opportunities."[16]
Koschmider had converted a couple of strip
clubs in the district into music venues, and he initially placed the
Beatles at the Indra Club. After closing Indra due to noise complaints,
he moved them to the Kaiserkeller in October.[17] When he learned they
had been performing at the rival Top Ten Club in breach of their
contract, he gave them one month's termination notice,[18] and reported
the underage Harrison, who had obtained permission to stay in Hamburg by
lying to the German authorities about his age.[19] The authorities
arranged for Harrison's deportation in late November.[20] One week
later, Koschmider had McCartney and Best arrested for arson after they
set fire to a condom in a concrete corridor; the authorities deported
them.[21] Lennon returned to Liverpool in early December, while
Sutcliffe remained in Hamburg until late February with his German fianc e
Astrid Kirchherr,[22] who took the first semi-professional photos of
the Beatles.[23]
During the next two years, the Beatles were
resident for periods in Hamburg, where they used Preludin both
recreationally and to maintain their energy through all-night
performances.[24] In 1961, during their second Hamburg engagement,
Kirchherr cut Sutcliffe's hair in the "exi" (existentialist) style,
later adopted by the other Beatles.[25][26] Later on, Sutcliffe decided
to leave the band early that year and resume his art studies in Germany.
McCartney took over bass.[27] Producer Bert Kaempfert contracted what
was now a four-piece group until June 1962, and he used them as Tony
Sheridan's backing band on a series of recordings for Polydor
Records.[13][28] As part of the sessions, the Beatles were signed to
Polydor for one year.[29] Credited to "Tony Sheridan & the Beat
Brothers", the single "My Bonnie", recorded in June 1961 and released
four months later, reached number 32 on the Musikmarkt chart.[30]
After
the Beatles completed their second Hamburg residency, they enjoyed
increasing popularity in Liverpool with the growing Merseybeat movement.
However, they were growing tired of the monotony of numerous
appearances at the same clubs night after night.[31] In November 1961,
during one of the group's frequent performances at The Cavern Club, they
encountered Brian Epstein, a local record-store owner and music
columnist.[32] He later recalled: "I immediately liked what I heard.
They were fresh, and they were honest, and they had what I thought was a
sort of presence ... [a] star quality."[33]
First EMI recordings
Epstein
courted the band over the next couple of months, and they appointed him
as their manager in January 1962.[34] Throughout early and mid-1962,
Epstein sought to free the Beatles from their contractual obligations to
Bert Kaempfert Productions. He eventually negotiated a one-month early
release in exchange for one last recording session in Hamburg.[35] On
their return to Germany in April, a distraught Kirchherr met them at the
airport with news of Sutcliffe's death the previous day from a brain
haemorrhage.[36] Epstein began negotiations with record labels for a
recording contract. To secure a UK record contract, Epstein negotiated
an early end to the band's contract with Polydor, in exchange for more
recordings backing Tony Sheridan.[37] After a New Year's Day audition,
Decca Records rejected the band, saying, "Guitar groups are on the way
out, Mr. Epstein."[38] However, three months later, producer George
Martin signed the Beatles to EMI's Parlophone label.[36]
A flight of
stone steps leads from an asphalt car park up to the main entrance of a
white two-story building. The ground floor has two sash windows, the
first floor has three shorter sash windows. Two more windows are visible
at basement level. The decorative stonework around the doors and
windows is painted grey.
Main entrance at EMI Studios (now Abbey Road Studios, pictured 2007)
Martin's
first recording session with the Beatles took place at EMI Recording
Studios (later Abbey Road Studios) in London on 6 June 1962.[39] He
immediately complained to Epstein about Best's drumming and suggested
they use a session drummer in his place.[40] Already contemplating
Best's dismissal,[41] the Beatles replaced him in mid-August with Ringo
Starr, who left Rory Storm and the Hurricanes to join them.[39] A 4
September session at EMI yielded a recording of "Love Me Do" featuring
Starr on drums, but a dissatisfied Martin hired drummer Andy White for
the band's third session a week later, which produced recordings of
"Love Me Do", "Please Please Me" and "P.S. I Love You".[39]
Martin
initially selected the Starr version of "Love Me Do" for the band's
first single, though subsequent re-pressings featured the White version,
with Starr on tambourine.[39] Released in early October, "Love Me Do"
peaked at number seventeen on the Record Retailer chart.[42] Their
television debut came later that month with a live performance on the
regional news programme People and Places.[43] After Martin suggested
rerecording "Please Please Me" at a faster tempo,[44] a studio session
in late November yielded that recording,[45] of which Martin accurately
predicted, "You've just made your first No. 1."[46]
In December
1962, the Beatles concluded their fifth and final Hamburg residency.[47]
By 1963, they had agreed that all four band members would contribute
vocals to their albums – including Starr, despite his restricted vocal
range, to validate his standing in the group.[48] Lennon and McCartney
had established a songwriting partnership, and as the band's success
grew, their dominant collaboration limited Harrison's opportunities as a
lead vocalist.[49] Epstein, to maximise the Beatles' commercial
potential, encouraged them to adopt a professional approach to
performing.[50] Lennon recalled him saying, "Look, if you really want to
get in these bigger places, you're going to have to change – stop
eating on stage, stop swearing, stop smoking ...."[38][nb 1]
1963–1966: Beatlemania and touring years
Main article: Beatlemania
Please Please Me and With the Beatles
The logo of the English rock band the Beatles
The band's logo was designed by Ivor Arbiter.[51]
On
11 February 1963, the Beatles recorded ten songs during a single studio
session for their debut LP, Please Please Me. It was supplemented by
the four tracks already released on their first two singles. Martin
considered recording the LP live at The Cavern Club, but after deciding
that the building's acoustics were inadequate, he elected to simulate a
"live" album with minimal production in "a single marathon session at
Abbey Road".[52] After the moderate success of "Love Me Do", the single
"Please Please Me" was released in January 1963, two months ahead of the
album. It reached number one on every UK chart except Record Retailer,
where it peaked at number two.[53]
Recalling how the Beatles
"rushed to deliver a debut album, bashing out Please Please Me in a
day", AllMusic critic Stephen Thomas Erlewine wrote: "Decades after its
release, the album still sounds fresh, precisely because of its intense
origins."[54] Lennon said little thought went into composition at the
time; he and McCartney were "just writing songs la Everly Brothers,
la Buddy Holly, pop songs with no more thought of them than that – to
create a sound. And the words were almost irrelevant."[55]
"She Loves You" (0:13)
0:13
Sample
of "She Loves You". The song's repeated use of "yeah" exclamations
became a signature phrase for the group at the time.[56][57]
Problems playing this file? See media help.
Released
in March 1963, Please Please Me was the first of eleven consecutive
Beatles albums released in the United Kingdom to reach number one.[58]
The band's third single, "From Me to You", came out in April and began
an almost unbroken string of seventeen British number-one singles,
including all but one of the eighteen they released over the next six
years.[59] Issued in August, their fourth single, "She Loves You",
achieved the fastest sales of any record in the UK up to that time,
selling three-quarters of a million copies in under four weeks.[60] It
became their first single to sell a million copies, and remained the
biggest-selling record in the UK until 1978.[61][nb 2]
The
success brought increased media exposure, to which the Beatles responded
with an irreverent and comical attitude that defied the expectations of
pop musicians at the time, inspiring even more interest.[62] The band
toured the UK three times in the first half of the year: a four-week
tour that began in February, the Beatles' first nationwide, preceded
three-week tours in March and May–June.[63] As their popularity spread, a
frenzied adulation of the group took hold. Greeted with riotous
enthusiasm by screaming fans, the press dubbed the phenomenon
"Beatlemania".[64] Although not billed as tour leaders, the Beatles
overshadowed American acts Tommy Roe and Chris Montez during the
February engagements and assumed top billing "by audience demand",
something no British act had previously accomplished while touring with
artists from the US.[65] A similar situation arose during their May–June
tour with Roy Orbison.[66]
Paul McCartney, George Harrison, Swedish
pop singer Lill-Babs and John Lennon on the set of the Swedish
television show Drop-In in 1963
McCartney, Harrison, Swedish pop
singer Lill-Babs and Lennon on the set of the Swedish television show
Drop-In, 30 October 1963[67]
In late October, the Beatles began a
five-day tour of Sweden, their first time abroad since the final
Hamburg engagement of December 1962.[68] On their return to the UK on 31
October, several hundred screaming fans greeted them in heavy rain at
Heathrow Airport. Around 50 to 100 journalists and photographers, as
well as representatives from the BBC, also joined the airport reception,
the first of more than 100 such events.[69] The next day, the band
began its fourth tour of Britain within nine months, this one scheduled
for six weeks.[70] In mid-November, as Beatlemania intensified, police
resorted to using high-pressure water hoses to control the crowd before a
concert in Plymouth.[71]
Please Please Me maintained the top
position on the Record Retailer chart for 30 weeks, only to be displaced
by its follow-up, With the Beatles,[72] which EMI released on 22
November to record advance orders of 270,000 copies. The LP topped a
half-million albums sold in one week.[73] Recorded between July and
October, With the Beatles made better use of studio production
techniques than its predecessor.[74] It held the top spot for 21 weeks
with a chart life of 40 weeks.[75] Erlewine described the LP as "a
sequel of the highest order – one that betters the original".[76]
In
a reversal of then standard practice, EMI released the album ahead of
the impending single "I Want to Hold Your Hand", with the song excluded
to maximise the single's sales.[77] The album caught the attention of
music critic William Mann of The Times, who suggested that Lennon and
McCartney were "the outstanding English composers of 1963".[74] The
newspaper published a series of articles in which Mann offered detailed
analyses of the music, lending it respectability.[78] With the Beatles
became the second album in UK chart history to sell a million copies, a
figure previously reached only by the 1958 South Pacific soundtrack.[79]
When writing the sleeve notes for the album, the band's press officer,
Tony Barrow, used the superlative the "fabulous foursome", which the
media widely adopted as "the Fab Four".[80]
First visit to the United States and the British Invasion
EMI's
American subsidiary, Capitol Records, hindered the Beatles' releases in
the United States for more than a year by initially declining to issue
their music, including their first three singles. Concurrent
negotiations with the independent US label Vee-Jay led to the release of
some, but not all, of the songs in 1963.[81] Vee-Jay finished
preparation for the album Introducing... The Beatles, comprising most of
the songs of Parlophone's Please Please Me, but a management shake-up
led to the album not being released.[nb 3] After it emerged that the
label did not report royalties on their sales, the licence that Vee-Jay
had signed with EMI was voided.[83] A new licence was granted to the
Swan label for the single "She Loves You". The record received some
airplay in the Tidewater area of Virginia from Gene Loving of radio
station WGH and was featured on the "Rate-a-Record" segment of American
Bandstand, but it failed to catch on nationally.[84]
A black-and-white image of four men standing in front of a crowd of people at the bottom of an aeroplane staircase
The Beatles arriving at John F. Kennedy International Airport, 7 February 1964
Epstein
brought a demo copy of "I Want to Hold Your Hand" to Capitol's Brown
Meggs, who signed the band and arranged for a $40,000 US marketing
campaign. American chart success began after disc jockey Carroll James
of AM radio station WWDC, in Washington, DC, obtained a copy of the
British single "I Want to Hold Your Hand" in mid-December 1963 and began
playing it on-air.[85] Taped copies of the song soon circulated among
other radio stations throughout the US. This caused an increase in
demand, leading Capitol to bring forward the release of "I Want to Hold
Your Hand" by three weeks.[86] Issued on 26 December, with the band's
previously scheduled debut there just weeks away, "I Want to Hold Your
Hand" sold a million copies, becoming a number-one hit in the US by
mid-January.[87] In its wake Vee-Jay released Introducing... The
Beatles[88] along with Capitol's debut album, Meet the Beatles!, while
Swan reactivated production of "She Loves You".[89]
The Beatles performing on The Ed Sullivan Show, February 1964
On
7 February 1964, the Beatles departed from Heathrow with an estimated
4,000 fans waving and screaming as the aircraft took off.[90] Upon
landing at New York's John F. Kennedy Airport, an uproarious crowd
estimated at 3,000 greeted them.[91] They gave their first live US
television performance two days later on The Ed Sullivan Show, watched
by approximately 73 million viewers in over 23 million households,[92]
or 34 percent of the American population. Biographer Jonathan Gould
writes that, according to the Nielsen rating service, it was "the
largest audience that had ever been recorded for an American television
program".[93] The next morning, the Beatles awoke to a largely negative
critical consensus in the US,[94] but a day later at their first US
concert, Beatlemania erupted at the Washington Coliseum.[95] Back in New
York the following day, the Beatles met with another strong reception
during two shows at Carnegie Hall.[92] The band flew to Florida, where
they appeared on The Ed Sullivan Show a second time, again before 70
million viewers, before returning to the UK on 22 February.[96]
The
Beatles' first visit to the US took place when the nation was still
mourning the assassination of President John F. Kennedy the previous
November.[97] Commentators often suggest that for many, particularly the
young, the Beatles' performances reignited the sense of excitement and
possibility that momentarily faded in the wake of the assassination, and
helped pave the way for the revolutionary social changes to come later
in the decade.[98] Their hairstyle, unusually long for the era and
mocked by many adults,[13] became an emblem of rebellion to the
burgeoning youth culture.[99]
The group's popularity generated
unprecedented interest in British music, and many other UK acts
subsequently made their American debuts, successfully touring over the
next three years in what was termed the British Invasion.[100] The
Beatles' success in the US opened the door for a successive string of
British beat groups and pop acts such as the Dave Clark Five, the
Animals, Petula Clark, the Kinks, and the Rolling Stones to achieve
success in America.[101] During the week of 4 April 1964, the Beatles
held twelve positions on the Billboard Hot 100 singles chart, including
the top five.[102][nb 4]
A Hard Day's Night
Capitol Records'
lack of interest throughout 1963 did not go unnoticed, and a competitor,
United Artists Records, encouraged their film division to offer the
Beatles a three-motion-picture deal, primarily for the commercial
potential of the soundtracks in the US.[104] Directed by Richard Lester,
A Hard Day's Night involved the band for six weeks in March–April 1964
as they played themselves in a musical comedy.[105] The film premiered
in London and New York in July and August, respectively, and was an
international success, with some critics drawing a comparison with the
Marx Brothers.[106]
United Artists released a full soundtrack
album for the North American market, combining Beatles songs and
Martin's orchestral score; elsewhere, the group's third studio LP, A
Hard Day's Night, contained songs from the film on side one and other
new recordings on side two.[107] According to Erlewine, the album saw
them "truly coming into their own as a band. All of the disparate
influences on their first two albums coalesced into a bright, joyous,
original sound, filled with ringing guitars and irresistible
melodies."[108] That "ringing guitar" sound was primarily the product of
Harrison's 12-string electric Rickenbacker, a prototype given to him by
the manufacturer, which made its debut on the record.[109][nb 5]
1964 world tour, meeting Bob Dylan, and stand on civil rights
Paul McCartney, George Harrison and John Lennon of the Beatles performing on Dutch TV in 1964
McCartney, Harrison and Lennon performing on Dutch TV in 1964
Touring
internationally in June and July, the Beatles staged 37 shows over 27
days in Denmark, the Netherlands, Hong Kong, Australia and New
Zealand.[110][nb 6] In August and September, they returned to the US,
with a 30-concert tour of 23 cities.[112] Generating intense interest
once again, the month-long tour attracted between 10,000 and 20,000 fans
to each 30-minute performance in cities from San Francisco to New
York.[112]
In August, journalist Al Aronowitz arranged for the
Beatles to meet Bob Dylan.[113] Visiting the band in their New York
hotel suite, Dylan introduced them to cannabis.[114] Gould points out
the musical and cultural significance of this meeting, before which the
musicians' respective fanbases were "perceived as inhabiting two
separate subcultural worlds": Dylan's audience of "college kids with
artistic or intellectual leanings, a dawning political and social
idealism, and a mildly bohemian style" contrasted with their fans,
"veritable 'teenyboppers' – kids in high school or grade school whose
lives were totally wrapped up in the commercialised popular culture of
television, radio, pop records, fan magazines, and teen fashion. To many
of Dylan's followers in the folk music scene, the Beatles were seen as
idolaters, not idealists."[115]
Within six months of the meeting,
according to Gould, "Lennon would be making records on which he openly
imitated Dylan's nasal drone, brittle strum, and introspective vocal
persona"; and six months after that, Dylan began performing with a
backing band and electric instrumentation, and "dressed in the height of
Mod fashion".[116] As a result, Gould continues, the traditional
division between folk and rock enthusiasts "nearly evaporated", as the
Beatles' fans began to mature in their outlook and Dylan's audience
embraced the new, youth-driven pop culture.[116]
During the 1964
US tour, the group were confronted with racial segregation in the
country at the time.[117][118] When informed that the venue for their 11
September concert, the Gator Bowl in Jacksonville, Florida, was
segregated, the Beatles said they would refuse to perform unless the
audience was integrated.[119][117][118] Lennon stated: "We never play to
segregated audiences and we aren't going to start now ... I'd sooner
lose our appearance money."[117] City officials relented and agreed to
allow an integrated show.[117] The group also cancelled their
reservations at the whites-only Hotel George Washington in
Jacksonville.[118] For their subsequent US tours in 1965 and 1966, the
Beatles included clauses in contracts stipulating that shows be
integrated.[118][120]
Beatles for Sale, Help! and Rubber Soul
According
to Gould, the Beatles' fourth studio LP, Beatles for Sale, evidenced a
growing conflict between the commercial pressures of their global
success and their creative ambitions.[121] They had intended the album,
recorded between August and October 1964,[122] to continue the format
established by A Hard Day's Night which, unlike their first two LPs,
contained only original songs.[121] They had nearly exhausted their
backlog of songs on the previous album, however, and given the
challenges constant international touring posed to their songwriting
efforts, Lennon admitted, "Material's becoming a hell of a
problem".[123] As a result, six covers from their extensive repertoire
were chosen to complete the album. Released in early December, its eight
original compositions stood out, demonstrating the growing maturity of
the Lennon–McCartney songwriting partnership.[121]
In early 1965,
following a dinner with Lennon, Harrison and their wives, Harrison's
dentist, John Riley, secretly added LSD to their coffee.[124] Lennon
described the experience: "It was just terrifying, but it was fantastic.
I was pretty stunned for a month or two."[125] He and Harrison
subsequently became regular users of the drug, joined by Starr on at
least one occasion. Harrison's use of psychedelic drugs encouraged his
path to meditation and Hinduism. He commented: "For me, it was like a
flash. The first time I had acid, it just opened up something in my head
that was inside of me, and I realised a lot of things. I didn't learn
them because I already knew them, but that happened to be the key that
opened the door to reveal them. From the moment I had that, I wanted to
have it all the time – these thoughts about the yogis and the Himalayas,
and Ravi's music."[126][127] McCartney was initially reluctant to try
it, but eventually did so in late 1966.[128] He became the first Beatle
to discuss LSD publicly, declaring in a magazine interview that "it
opened my eyes" and "made me a better, more honest, more tolerant member
of society".[129]
The Beatles performing music in a field. In the
foreground, the drums are played by Starr (only the top of his head is
visible). Beyond him, the other three stand in a column with their
guitars. In the rear, Harrison, head down, strikes a chord. In the
front, Lennon smiles and gives a little wave toward camera, holding his
pick. Between them, McCartney is jocularly about to choke Lennon.
The US trailer for Help! with (from the rear) Harrison, McCartney, Lennon and (largely obscured) Starr
Controversy
erupted in June 1965 when Queen Elizabeth II appointed all four Beatles
Members of the Order of the British Empire (MBE) after Prime Minister
Harold Wilson nominated them for the award.[130] In protest – the honour
was at that time primarily bestowed upon military veterans and civic
leaders – some conservative MBE recipients returned their insignia.[131]
In
July, the Beatles' second film, Help!, was released, again directed by
Lester. Described as "mainly a relentless spoof of Bond",[132] it
inspired a mixed response among both reviewers and the band. McCartney
said: "Help! was great but it wasn't our film – we were sort of guest
stars. It was fun, but basically, as an idea for a film, it was a bit
wrong."[133] The soundtrack was dominated by Lennon, who wrote and sang
lead on most of its songs, including the two singles: "Help!" and
"Ticket to Ride".[134]
The Help! album, the group's fifth studio
LP, mirrored A Hard Day's Night by featuring soundtrack songs on side
one and additional songs from the same sessions on side two.[135] The LP
contained all original material save for two covers, "Act Naturally"
and "Dizzy Miss Lizzy"; they were the last covers the band would include
on an album, except for Let It Be's brief rendition of the traditional
Liverpool folk song "Maggie Mae".[136] The band expanded their use of
vocal overdubs on Help! and incorporated classical instruments into some
arrangements, including a string quartet on the pop ballad
"Yesterday".[137] Composed by and sung by McCartney – none of the other
Beatles perform on the recording[138] – "Yesterday" has inspired the
most cover versions of any song ever written.[139] With Help!, the
Beatles became the first rock group to be nominated for a Grammy Award
for Album of the Year.[140]
The Beatles at a press conference in August 1965
The band at a press conference in Minnesota in August 1965, shortly after playing at Shea Stadium in New York
The
group's third US tour opened with a performance before a world-record
crowd of 55,600 at New York's Shea Stadium on 15 August – "perhaps the
most famous of all Beatles' concerts", in Lewisohn's description.[141] A
further nine successful concerts followed in other American cities. At a
show in Atlanta, the Beatles gave one of the first live performances
ever to make use of a foldback system of on-stage monitor speakers.[142]
Towards the end of the tour, they met with Elvis Presley, a
foundational musical influence on the band, who invited them to his home
in Beverly Hills.[143][144] September 1965 saw the launch of an
American Saturday-morning cartoon series, The Beatles, that echoed A
Hard Day's Night's slapstick antics over its two-year original run.[145]
The series was a historical milestone as the first weekly television
series to feature animated versions of real, living people.[146]
In
mid-October, the Beatles entered the recording studio; for the first
time when making an album, they had an extended period without other
major commitments.[147] Until this time, according to George Martin, "we
had been making albums rather like a collection of singles. Now we were
really beginning to think about albums as a bit of art on their
own."[148] Released in December, Rubber Soul was hailed by critics as a
major step forward in the maturity and complexity of the band's
music.[149] Their thematic reach was beginning to expand as they
embraced deeper aspects of romance and philosophy, a development that
NEMS executive Peter Brown attributed to the band members' "now habitual
use of marijuana".[150] Lennon referred to Rubber Soul as "the pot
album"[151] and Starr said: "Grass was really influential in a lot of
our changes, especially with the writers. And because they were writing
different material, we were playing differently."[151] After Help!'s
foray into classical music with flutes and strings, Harrison's
introduction of a sitar on "Norwegian Wood (This Bird Has Flown)" marked
a further progression outside the traditional boundaries of popular
music. As the lyrics grew more artful, fans began to study them for
deeper meaning.[152]
"Norwegian Wood (This Bird Has Flown)" (0:15)
0:15
Sample
of "Norwegian Wood" from Rubber Soul (1965). Harrison's use of a sitar
on this song is representative of the Beatles' incorporation of
unconventional instrumentation into rock music.[149]
Problems playing this file? See media help.
While
some of Rubber Soul's songs were the product of Lennon and McCartney's
collaborative songwriting,[153] the album also included distinct
compositions from each,[154] though they continued to share official
credit. "In My Life", of which each later claimed lead authorship, is
considered a highlight of the entire Lennon–McCartney catalogue.[155]
Harrison called Rubber Soul his "favourite album",[151] and Starr
referred to it as "the departure record".[156] McCartney has said, "We'd
had our cute period, and now it was time to expand."[157] However,
recording engineer Norman Smith later stated that the studio sessions
revealed signs of growing conflict within the group – "the clash between
John and Paul was becoming obvious", he wrote, and "as far as Paul was
concerned, George could do no right".[158] In 2003, Rolling Stone ranked
Rubber Soul fifth among "The 500 Greatest Albums of All Time",[159] and
AllMusic's Richie Unterberger describes it as "one of the classic
folk-rock records".[160]
Controversies, Revolver and final tour
Capitol
Records, from December 1963 when it began issuing Beatles recordings
for the US market, exercised complete control over format,[81] compiling
distinct US albums from the band's recordings and issuing songs of
their choosing as singles.[161][nb 7] In June 1966, the Capitol LP
Yesterday and Today caused an uproar with its cover, which portrayed the
grinning Beatles dressed in butcher's overalls, accompanied by raw meat
and mutilated plastic baby dolls. According to Beatles biographer Bill
Harry, it has been incorrectly suggested that this was meant as a
satirical response to the way Capitol had "butchered" the US versions of
the band's albums.[163] Thousands of copies of the LP had a new cover
pasted over the original; an unpeeled "first-state" copy fetched $10,500
at a December 2005 auction.[164] In England, meanwhile, Harrison met
sitar maestro Ravi Shankar, who agreed to train him on the
instrument.[165]
During a tour of the Philippines the month after
the Yesterday and Today furore, the Beatles unintentionally snubbed the
nation's first lady, Imelda Marcos, who had expected them to attend a
breakfast reception at the Presidential Palace.[166] When presented with
the invitation, Epstein politely declined on the band members' behalf,
as it had never been his policy to accept such official
invitations.[167] They soon found that the Marcos regime was
unaccustomed to taking no for an answer. The resulting riots endangered
the group and they escaped the country with difficulty.[168] Immediately
afterwards, the band members visited India for the first time.[169]
We're more popular than Jesus now; I don't know which will go first – rock 'n' roll or Christianity.
– John Lennon, 1966[170]
Almost
as soon as they returned home, the Beatles faced a fierce backlash from
US religious and social conservatives (as well as the Ku Klux Klan)
over a comment Lennon had made in a March interview with British
reporter Maureen Cleave.[171] "Christianity will go", Lennon had said.
"It will vanish and shrink. I needn't argue about that; I'm right and I
will be proved right ... Jesus was alright but his disciples were thick
and ordinary. It's them twisting it that ruins it for me."[172] His
comments went virtually unnoticed in England, but when US teenage fan
magazine Datebook printed them five months later, it sparked a
controversy with Christians in America's conservative Bible Belt
region.[171] The Vatican issued a protest, and bans on Beatles' records
were imposed by Spanish and Dutch stations and South Africa's national
broadcasting service.[173] Epstein accused Datebook of having taken
Lennon's words out of context. At a press conference, Lennon pointed
out, "If I'd said television was more popular than Jesus, I might have
got away with it."[174] He claimed that he was referring to how other
people viewed their success, but at the prompting of reporters, he
concluded: "If you want me to apologise, if that will make you happy,
then okay, I'm sorry."[174]
"Eleanor Rigby" (0:12)
0:13
Sample
of "Eleanor Rigby" from Revolver (1966). The album involves innovative
compositional approaches, arrangements and recording techniques. This
song, primarily written by McCartney, prominently features classical
strings in a novel fusion of musical styles.
Problems playing this file? See media help.
Released
in August 1966, a week before the Beatles' final tour, Revolver marked
another artistic step forward for the group.[175] The album featured
sophisticated songwriting, studio experimentation, and a greatly
expanded repertoire of musical styles, ranging from innovative classical
string arrangements to psychedelia.[175] Abandoning the customary group
photograph, its Aubrey Beardsley-inspired cover – designed by Klaus
Voormann, a friend of the band since their Hamburg days – was a
monochrome collage and line drawing caricature of the group.[175] The
album was preceded by the single "Paperback Writer", backed by
"Rain".[176] Short promotional films were made for both songs; described
by cultural historian Saul Austerlitz as "among the first true music
videos",[177] they aired on The Ed Sullivan Show and Top of the Pops in
June.[178]
Among the experimental songs that Revolver featured
was "Tomorrow Never Knows", the lyrics for which Lennon drew from
Timothy Leary's The Psychedelic Experience: A Manual Based on the
Tibetan Book of the Dead. Its creation involved eight tape decks
distributed about the EMI building, each staffed by an engineer or band
member, who randomly varied the movement of a tape loop while Martin
created a composite recording by sampling the incoming data.[179]
McCartney's "Eleanor Rigby" made prominent use of a string octet; Gould
describes it as "a true hybrid, conforming to no recognisable style or
genre of song".[180] Harrison's emergence as a songwriter was reflected
in three of his compositions appearing on the record.[181] Among these,
"Taxman", which opened the album, marked the first example of the
Beatles making a political statement through their music.[182] In 2003,
Rolling Stone ranked Revolver as the third greatest album of all
time.[159]
San Francisco's Candlestick Park in the 1960s
San
Francisco's Candlestick Park (pictured in the early 1960s) was the venue
for the Beatles' final concert before a paying audience.
As
preparations were made for a tour of the US, the Beatles knew that their
music would hardly be heard. Having originally used Vox AC30
amplifiers, they later acquired more powerful 100-watt amplifiers,
specially designed by Vox for them as they moved into larger venues in
1964, but these were still inadequate. Struggling to compete with the
volume of sound generated by screaming fans, the band had grown
increasingly bored with the routine of performing live.[183] Recognising
that their shows were no longer about the music, they decided to make
the August tour their last.[184]
The band performed none of their
new songs on the tour.[185] In Chris Ingham's description, they were
very much "studio creations ... and there was no way a four-piece rock
'n' roll group could do them justice, particularly through the
desensitising wall of the fans' screams. 'Live Beatles' and 'Studio
Beatles' had become entirely different beasts."[186] The band's concert
at San Francisco's Candlestick Park on 29 August was their last
commercial concert.[187] It marked the end of four years dominated by
almost nonstop touring that included over 1,400 concert appearances
internationally.[188]
1966–1970: Studio years
Sgt. Pepper's Lonely Hearts Club Band
The album artwork of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band
Front
cover of Sgt. Pepper's Lonely Hearts Club Band, "the most famous cover
of any music album, and one of the most imitated images in the
world"[189]
Freed from the burden of touring, the Beatles
embraced an increasingly experimental approach as they recorded Sgt.
Pepper's Lonely Hearts Club Band, beginning in late November 1966.[190]
According to engineer Geoff Emerick, the album's recording took over 700
hours.[191] He recalled the band's insistence "that everything on Sgt.
Pepper had to be different. We had microphones right down in the bells
of brass instruments and headphones turned into microphones attached to
violins. We used giant primitive oscillators to vary the speed of
instruments and vocals and we had tapes chopped to pieces and stuck
together upside down and the wrong way around."[192] Parts of "A Day in
the Life" featured a 40-piece orchestra.[192] The sessions initially
yielded the non-album double A-side single "Strawberry Fields
Forever"/"Penny Lane" in February 1967;[193] the Sgt. Pepper LP followed
with a rush-release in May.[194] The musical complexity of the records,
created using relatively primitive four-track recording technology,
astounded contemporary artists.[189] Among music critics, acclaim for
the album was virtually universal.[195] Gould writes:
The
overwhelming consensus is that the Beatles had created a popular
masterpiece: a rich, sustained, and overflowing work of collaborative
genius whose bold ambition and startling originality dramatically
enlarged the possibilities and raised the expectations of what the
experience of listening to popular music on record could be. On the
basis of this perception, Sgt. Pepper became the catalyst for an
explosion of mass enthusiasm for album-formatted rock that would
revolutionise both the aesthetics and the economics of the record
business in ways that far outstripped the earlier pop explosions
triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon
of 1963.[196]
In the wake of Sgt. Pepper, the underground and
mainstream press widely publicised the Beatles as leaders of youth
culture, as well as "lifestyle revolutionaries".[3] The album was the
first major pop/rock LP to include its complete lyrics, which appeared
on the back cover.[197][198] Those lyrics were the subject of critical
analysis; for instance, in late 1967 the album was the subject of a
scholarly inquiry by American literary critic and professor of English
Richard Poirier, who observed that his students were "listening to the
group's music with a degree of engagement that he, as a teacher of
literature, could only envy".[199][nb 8] The elaborate cover also
attracted considerable interest and study.[200] A collage designed by
pop artists Peter Blake and Jann Haworth, it depicted the group as the
fictional band referred to in the album's title track[201] standing in
front of a crowd of famous people.[202] The heavy moustaches worn by the
group reflected the growing influence of hippie style,[203] while
cultural historian Jonathan Harris describes their "brightly coloured
parodies of military uniforms" as a knowingly "anti-authoritarian and
anti-establishment" display.[204]
Sgt. Pepper topped the UK
charts for 23 consecutive weeks, with a further four weeks at number one
in the period through to February 1968.[205] With 2.5 million copies
sold within three months of its release,[206] Sgt. Pepper's initial
commercial success exceeded that of all previous Beatles albums.[207] It
sustained its immense popularity into the 21st century while breaking
numerous sales records.[208] In 2003, Rolling Stone ranked Sgt. Pepper
at number one on its list of the greatest albums of all time.[159]
Magical Mystery Tour and Yellow Submarine
Two
Beatles film projects were conceived within weeks of completing Sgt.
Pepper: Magical Mystery Tour, a one-hour television film, and Yellow
Submarine, an animated feature-length film produced by United
Artists.[209] The group began recording music for the former in late
April 1967, but the project then lay dormant as they focused on
recording songs for the latter.[210] On 25 June, the Beatles performed
their forthcoming single "All You Need Is Love" to an estimated 350
million viewers on Our World, the first live global television
link.[211] Released a week later, during the Summer of Love, the song
was adopted as a flower power anthem.[212] The Beatles' use of
psychedelic drugs was at its height during that summer.[213] In July and
August, the group pursued interests related to similar utopian-based
ideology, including a week-long investigation into the possibility of
starting an island-based commune off the coast of Greece.[214]
On
24 August, the group were introduced to Maharishi Mahesh Yogi in
London. The next day, they travelled to Bangor for his Transcendental
Meditation retreat. On 27 August, their manager's assistant, Peter
Brown, phoned to inform them that Epstein had died.[215] The coroner
ruled the death an accidental carbitol overdose, although it was widely
rumoured to be a suicide.[216][nb 9] His death left the group
disoriented and fearful about the future.[218] Lennon recalled: "We
collapsed. I knew that we were in trouble then. I didn't really have any
misconceptions about our ability to do anything other than play music,
and I was scared. I thought, 'We've f*ck in' had it now.'"[219]
Harrison's then-wife Pattie Boyd remembered that "Paul and George were
in complete shock. I don't think it could have been worse if they had
heard that their own fathers had dropped dead."[220] During a band
meeting in September, McCartney recommended that the band proceed with
Magical Mystery Tour.[210]
The Magical Mystery Tour soundtrack
was released in the UK as a six-track double extended play (EP) in early
December 1967.[81][221] It was the first example of a double EP in the
UK.[222][223] The record carried on the psychedelic vein of Sgt.
Pepper,[224] however, in line with the band's wishes, the packaging
reinforced the idea that the release was a film soundtrack rather than a
follow-up to Sgt. Pepper.[221] In the US, the soundtrack appeared as an
identically titled LP that also included five tracks from the band's
recent singles.[103] In its first three weeks, the album set a record
for the highest initial sales of any Capitol LP, and it is the only
Capitol compilation later to be adopted in the band's official canon of
studio albums.[225]
Magical Mystery Tour first aired on Boxing
Day to an audience of approximately 15 million.[226] Largely directed by
McCartney, the film was the band's first critical failure in the
UK.[227] It was dismissed as "blatant rubbish" by the Daily Express; the
Daily Mail called it "a colossal conceit"; and The Guardian labelled
the film "a kind of fantasy morality play about the grossness and warmth
and stupidity of the audience".[228] Gould describes it as "a great
deal of raw footage showing a group of people getting on, getting off,
and riding on a bus".[228] Although the viewership figures were
respectable, its slating in the press led US television networks to lose
interest in broadcasting the film.[229]
The group were less
involved with Yellow Submarine, which only featured the band appearing
as themselves for a short live-action segment.[230] Premiering in July
1968, the film featured cartoon versions of the band members and a
soundtrack with eleven of their songs, including four unreleased studio
recordings that made their debut in the film.[231] Critics praised the
film for its music, humour and innovative visual style.[232] A
soundtrack LP was issued seven months later; it contained those four new
songs, the title track (already issued on Revolver), "All You Need Is
Love" (already issued as a single and on the US Magical Mystery Tour LP)
and seven instrumental pieces composed by Martin.[233]
India retreat, Apple Corps and the White Album
In
February 1968, the Beatles travelled to Maharishi Mahesh Yogi's ashram
in Rishikesh, India, to take part in a three-month meditation "Guide
Course". Their time in India marked one of the band's most prolific
periods, yielding numerous songs, including a majority of those on their
next album.[234] However, Starr left after only ten days, unable to
stomach the food, and McCartney eventually grew bored and departed a
month later.[235] For Lennon and Harrison, creativity turned to question
when an electronics technician known as Magic Alex suggested that the
Maharishi was attempting to manipulate them.[236] When he alleged that
the Maharishi had made sexual advances to women attendees, a persuaded
Lennon left abruptly just two months into the course, bringing an
unconvinced Harrison and the remainder of the group's entourage with
him.[235] In anger, Lennon wrote a scathing song titled "Maharishi",
renamed "Sexy Sadie" to avoid potential legal issues. McCartney said,
"We made a mistake. We thought there was more to him than there
was."[236]
In May, Lennon and McCartney travelled to New York for
the public unveiling of the Beatles' new business venture, Apple
Corps.[237] It was initially formed several months earlier as part of a
plan to create a tax-effective business structure, but the band then
desired to extend the corporation to other pursuits, including record
distribution, peace activism, and education.[238] McCartney described
Apple as "rather like a Western communism".[239] The enterprise drained
the group financially with a series of unsuccessful projects[240]
handled largely by members of the Beatles' entourage, who were given
their jobs regardless of talent and experience.[241] Among its numerous
subsidiaries were Apple Electronics, established to foster technological
innovations with Magic Alex at the head, and Apple Retailing, which
opened the short-lived Apple Boutique in London.[242] Harrison later
said, "Basically, it was chaos ... John and Paul got carried away with
the idea and blew millions, and Ringo and I just had to go along with
it."[239]
The album artwork of the Beatles' self-titled 1968 album, also known as "the White Album"
The
Beatles, known as "the White Album" for its minimalist cover, conceived
by pop artist Richard Hamilton "in direct contrast to Sgt. Pepper",
while also suggesting a "clean slate"[243]
From late May to
mid-October 1968, the group recorded what became The Beatles, a double
LP commonly known as "the White Album" for its virtually featureless
cover.[244] During this time, relations between the members grew openly
divisive.[245] Starr quit for two weeks, leaving his bandmates to record
"Back in the U.S.S.R." and "Dear Prudence" as a trio, with McCartney
filling in on drums.[246] Lennon had lost interest in collaborating with
McCartney,[247] whose contribution "Ob-La-Di, Ob-La-Da" he scorned as
"granny music shit".[248] Tensions were further aggravated by Lennon's
romantic preoccupation with avant-garde artist Yoko Ono, whom he
insisted on bringing to the sessions despite the group's
well-established understanding that girlfriends were not allowed in the
studio.[249] McCartney has recalled that the album "wasn't a pleasant
one to make".[250] He and Lennon identified the sessions as the start of
the band's break-up.[251][252]
With the record, the band
executed a wider range of musical styles[253] and broke with their
recent tradition of incorporating several musical styles in one song by
keeping each piece of music consistently faithful to a select
genre.[254] During the sessions, the group upgraded to an eight-track
tape console, which made it easier for them to layer tracks piecemeal,
while the members often recorded independently of each other, affording
the album a reputation as a collection of solo recordings rather than a
unified group effort.[255] Describing the double album, Lennon later
said: "Every track is an individual track; there isn't any Beatle music
on it. [It's] John and the band, Paul and the band, George and the
band."[256] The sessions also produced the Beatles' longest song yet,
"Hey Jude", released in August as a non-album single with
"Revolution".[257]
Issued in November, the White Album was the
band's first Apple Records album release, although EMI continued to own
their recordings.[258] The record attracted more than 2 million advance
orders, selling nearly 4 million copies in the US in little over a
month, and its tracks dominated the playlists of American radio
stations.[259] Its lyric content was the focus of much analysis by the
counterculture.[260] Despite its popularity, reviewers were largely
confused by the album's content, and it failed to inspire the level of
critical writing that Sgt. Pepper had.[259] General critical opinion
eventually turned in favour of the White Album, and in 2003, Rolling
Stone ranked it as the tenth greatest album of all time.[159]
Abbey Road, Let It Be and separation
See also: Break-up of the Beatles
Although
Let It Be was the Beatles' final album release, it was largely recorded
before Abbey Road. The project's impetus came from an idea Martin
attributes to McCartney, who suggested they "record an album of new
material and rehearse it, then perform it before a live audience for the
very first time – on record and on film".[261] Originally intended for a
one-hour television programme to be called Beatles at Work, in the
event much of the album's content came from studio work beginning in
January 1969, many hours of which were captured on film by director
Michael Lindsay-Hogg.[261][262] Martin said that the project was "not at
all a happy recording experience. It was a time when relations between
the Beatles were at their lowest ebb."[261] Lennon described the largely
impromptu sessions as "hell ... the most miserable ... on Earth", and
Harrison, "the low of all-time".[263] Irritated by McCartney and Lennon,
Harrison walked out for five days. Upon returning, he threatened to
leave the band unless they "abandon[ed] all talk of live performance"
and instead focused on finishing a new album, initially titled Get Back,
using songs recorded for the TV special.[264] He also demanded they
cease work at Twickenham Film Studios, where the sessions had begun, and
relocate to the newly finished Apple Studio. His bandmates agreed, and
it was decided to salvage the footage shot for the TV production for use
in a feature film.[265]
American musician Billy Preston in 1971
American
soul musician Billy Preston (pictured in 1971) was, for a short time,
considered a fifth Beatle during the Get Back sessions.
To
alleviate tensions within the band and improve the quality of their live
sound, Harrison invited keyboardist Billy Preston to participate in the
last nine days of sessions.[266] Preston received label billing on the
"Get Back" single – the only musician ever to receive that
acknowledgment on an official Beatles release.[267] After the
rehearsals, the band could not agree on a location to film a concert,
rejecting several ideas, including a boat at sea, a lunatic asylum, the
Tunisian desert, and the Colosseum.[261] Ultimately, what would be their
final live performance was filmed on the rooftop of the Apple Corps
building at 3 Savile Row, London, on 30 January 1969.[268] Five weeks
later, engineer Glyn Johns, whom Lewisohn describes as Get Back's
"uncredited producer", began work assembling an album, given "free rein"
as the band "all but washed their hands of the entire project".[269]
A
terrace house with four floors and an attic. It is red brick, with a
slate roof, and the ground floor rendered in imitation of stone and
painted white. Each upper floor has four sash windows, divided into
small panes. The door, with a canopy over it, occupies the place of the
second window from the left on the ground floor.
Apple Corps building at 3 Savile Row, site of the Let It Be rooftop concert
New
strains developed between the band members regarding the appointment of
a financial adviser, the need for which had become evident without
Epstein to manage business affairs. Lennon, Harrison and Starr favoured
Allen Klein, who had managed the Rolling Stones and Sam Cooke;[270]
McCartney wanted Lee and John Eastman – father and brother,
respectively, of Linda Eastman,[271] whom McCartney married on 12
March.[272] Agreement could not be reached, so both Klein and the
Eastmans were temporarily appointed: Klein as the Beatles' business
manager and the Eastmans as their lawyers.[273][274] Further conflict
ensued, however, and financial opportunities were lost.[270] On 8 May,
Klein was named sole manager of the band,[275] the Eastmans having
previously been dismissed as the Beatles' lawyers. McCartney refused to
sign the management contract with Klein, but he was out-voted by the
other Beatles.[276]
Martin stated that he was surprised when
McCartney asked him to produce another album, as the Get Back sessions
had been "a miserable experience" and he had "thought it was the end of
the road for all of us".[277] The primary recording sessions for Abbey
Road began on 2 July.[278] Lennon, who rejected Martin's proposed format
of a "continuously moving piece of music", wanted his and McCartney's
songs to occupy separate sides of the album.[279] The eventual format,
with individually composed songs on the first side and the second
consisting largely of a medley, was McCartney's suggested
compromise.[279] Emerick noted that the replacement of the studio's
valve mixing console with a transistorised one yielded a less punchy
sound, leaving the group frustrated at the thinner tone and lack of
impact and contributing to its "kinder, gentler" feel relative to their
previous albums.[280]
On 4 July, the first solo single by a
Beatle was released: Lennon's "Give Peace a Chance", credited to the
Plastic Ono Band. The completion and mixing of "I Want You (She's So
Heavy)" on 20 August was the last occasion on which all four Beatles
were together in the same studio.[281] On 8 September, while Starr was
in hospital, the other band members met to discuss recording a new
album. They considered a different approach to songwriting by ending the
Lennon–McCartney pretence and having four compositions apiece from
Lennon, McCartney and Harrison, with two from Starr and a lead single
around Christmas.[282] On 20 September, Lennon announced his departure
to the rest of the group but agreed to withhold a public announcement to
avoid undermining sales of the forthcoming album.[283]
Released
on 26 September, Abbey Road sold four million copies within three months
and topped the UK charts for a total of seventeen weeks.[284] Its
second track, the ballad "Something", was issued as a single – the only
Harrison composition that appeared as a Beatles A-side.[285] Abbey Road
received mixed reviews, although the medley met with general
acclaim.[284] Unterberger considers it "a fitting swan song for the
group", containing "some of the greatest harmonies to be heard on any
rock record".[286] Musicologist and author Ian MacDonald calls the album
"erratic and often hollow", despite the "semblance of unity and
coherence" offered by the medley.[287] Martin singled it out as his
favourite Beatles album; Lennon said it was "competent" but had "no life
in it".[280]
For the still unfinished Get Back album, one last
song, Harrison's "I Me Mine", was recorded on 3 January 1970. Lennon, in
Denmark at the time, did not participate.[288] In March, rejecting the
work Johns had done on the project, now retitled Let It Be, Klein gave
the session tapes to American producer Phil Spector, who had recently
produced Lennon's solo single "Instant Karma!"[289] In addition to
remixing the material, Spector edited, spliced and overdubbed several of
the recordings that had been intended as "live". McCartney was unhappy
with the producer's approach and particularly dissatisfied with the
lavish orchestration on "The Long and Winding Road", which involved a
fourteen-voice choir and 36-piece instrumental ensemble.[290]
McCartney's demands that the alterations to the song be reverted were
ignored,[291] and he publicly announced his departure from the band on
10 April, a week before the release of his first self-titled solo
album.[290][292]
On 8 May 1970, Let It Be was released. Its
accompanying single, "The Long and Winding Road", was the Beatles' last;
it was released in the US, but not in the UK.[176] The Let It Be
documentary film followed later that month, and would win the 1970
Academy Award for Best Original Song Score.[293] Sunday Telegraph critic
Penelope Gilliatt called it "a very bad film and a touching one ...
about the breaking apart of this reassuring, geometrically perfect, once
apparently ageless family of siblings".[294] Several reviewers stated
that some of the performances in the film sounded better than their
analogous album tracks.[295] Describing Let It Be as the "only Beatles
album to occasion negative, even hostile reviews", Unterberger calls it
"on the whole underrated"; he singles out "some good moments of straight
hard rock in 'I've Got a Feeling' and 'Dig a Pony'", and praises "Let
It Be", "Get Back", and "the folky 'Two of Us', with John and Paul
harmonising together".[296]
McCartney filed suit for the
dissolution of the Beatles' contractual partnership on 31 December
1970.[297] Legal disputes continued long after their break-up, and the
dissolution was not formalised until 29 December 1974,[298] when Lennon
signed the paperwork terminating the partnership while on vacation with
his family at Walt Disney World Resort in Florida.[299]
1970–present: After the break-up
See also: Collaborations between ex-Beatles
1970s
Lennon in 1975 and McCartney in 1976
Lennon,
McCartney, Harrison and Starr all released solo albums in 1970. Their
solo records sometimes involved one or more of the others;[300] Starr's
Ringo (1973) was the only album to include compositions and performances
by all four ex-Beatles, albeit on separate songs. With Starr's
participation, Harrison staged the Concert for Bangladesh in New York
City in August 1971.[301] Other than an unreleased jam session in 1974,
later bootlegged as A Toot and a Snore in '74, Lennon and McCartney
never recorded together again.[302]
Two double-LP sets of the
Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were
released in 1973, at first under the Apple Records imprint.[303]
Commonly known as the "Red Album" and "Blue Album", respectively, each
has earned a Multi-Platinum certification in the US and a Platinum
certification in the UK.[304][305] Between 1976 and 1982, EMI/Capitol
released a wave of compilation albums without input from the ex-Beatles,
starting with the double-disc compilation Rock 'n' Roll Music.[306] The
only one to feature previously unreleased material was The Beatles at
the Hollywood Bowl (1977); the first officially issued concert
recordings by the group, it contained selections from two shows they
played during their 1964 and 1965 US tours.[307][nb 10]
The music
and enduring fame of the Beatles were commercially exploited in various
other ways, again often outside their creative control. In April 1974,
the musical John, Paul, George, Ringo ... and Bert, written by Willy
Russell and featuring singer Barbara Dickson, opened in London. It
included, with permission from Northern Songs, eleven Lennon-McCartney
compositions and one by Harrison, "Here Comes the Sun". Displeased with
the production's use of his song, Harrison withdrew his permission to
use it.[309] Later that year, the off-Broadway musical Sgt. Pepper's
Lonely Hearts Club Band on the Road opened.[310] All This and World War
II (1976) was an unorthodox nonfiction film that combined newsreel
footage with covers of Beatles songs by performers ranging from Elton
John and Keith Moon to the London Symphony Orchestra.[311] The Broadway
musical Beatlemania, an unauthorised nostalgia revue, opened in early
1977 and proved popular, spinning off five separate touring
productions.[312] In 1979, the band sued the producers, settling for
several million dollars in damages.[312] Sgt. Pepper's Lonely Hearts
Club Band (1978), a musical film starring the Bee Gees and Peter
Frampton, was a commercial failure and an "artistic fiasco", according
to Ingham.[313]
Accompanying the wave of Beatles nostalgia and
persistent reunion rumours in the US during the 1970s, several
entrepreneurs made public offers to the Beatles for a reunion
concert.[314] Promoter Bill Sargent first offered the Beatles $10
million for a reunion concert in 1974. He raised his offer to $30
million in January 1976 and then to $50 million the following
month.[315][316] On 24 April 1976, during a broadcast of Saturday Night
Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to
reunite on the show. Lennon and McCartney were watching the live
broadcast at Lennon's apartment at the Dakota in New York, which was
within driving distance of the NBC studio where the show was being
broadcast. The former bandmates briefly entertained the idea of going to
the studio and surprising Michaels by accepting his offer, but decided
not to.[317]
1980s
Harrison and Starr performing at the Prince's Trust All-Star Rock Concert at Wembley Arena, 1987
In
December 1980, Lennon was shot and killed outside his New York City
apartment. Harrison rewrote the lyrics of his song "All Those Years Ago"
in Lennon's honour. With Starr on drums and McCartney and his wife,
Linda, contributing backing vocals, the song was released as a single in
May 1981.[318] McCartney's own tribute, "Here Today", appeared on his
Tug of War album in April 1982.[319] In 1984 Starr joined McCartney to
star in Paul's film Give My Regards to Broad Street,[320] and played
with Paul on several of the songs on the soundtrack.[321] In 1987,
Harrison's Cloud Nine album included "When We Was Fab", a song about the
Beatlemania era.[322]
When the Beatles' studio albums were
released on CD by EMI and Apple Corps in 1987, their catalogue was
standardised throughout the world, establishing a canon of the twelve
original studio LPs as issued in the UK plus the US LP version of
Magical Mystery Tour.[323] All the remaining material from the singles
and EPs that had not appeared on these thirteen studio albums was
gathered on the two-volume compilation Past Masters (1988). Except for
the Red and Blue albums, EMI deleted all its other Beatles compilations –
including the Hollywood Bowl record – from its catalogue.[307]
In
1988, the Beatles were inducted into the Rock and Roll Hall of Fame,
their first year of eligibility. Harrison and Starr attended the
ceremony with Lennon's widow, Yoko Ono, and his two sons, Julian and
Sean.[324][325] McCartney declined to attend, citing unresolved
"business differences" that would make him "feel like a complete
hypocrite waving and smiling with them at a fake reunion".[325] The
following year, EMI/Capitol settled a decade-long lawsuit filed by the
band over royalties, clearing the way to commercially package previously
unreleased material.[326][327]
1990s
Live at the BBC, the
first official release of unissued Beatles performances in seventeen
years, appeared in 1994.[328] That same year McCartney, Harrison and
Starr collaborated on the Anthology project. Anthology was the
culmination of work begun in 1970, when Apple Corps director Neil
Aspinall, their former road manager and personal assistant, had started
to gather material for a documentary with the working title The Long and
Winding Road.[329] Documenting their history in the band's own words,
the Anthology project included the release of several unissued Beatles
recordings. McCartney, Harrison and Starr also added new instrumental
and vocal parts to songs recorded as demos by Lennon in the late
1970s.[330]
During 1995–96, the project yielded a television
miniseries, an eight-volume video set, and three two-CD/three-LP box
sets featuring artwork by Klaus Voormann. Two songs based on Lennon
demos, "Free as a Bird" and "Real Love", were issued as new Beatles
singles. The releases were commercially successful and the television
series was viewed by an estimated 400 million people.[331] In 1999, to
coincide with the re-release of the 1968 film Yellow Submarine, an
expanded soundtrack album, Yellow Submarine Songtrack, was issued.[332]
2000s
The
Beatles' 1, a compilation album of the band's British and American
number-one hits, was released on 13 November 2000. It became the
fastest-selling album of all time, with 3.6 million sold in its first
week[333] and 13 million within a month.[334] It topped albums charts in
at least 28 countries.[335] The compilation had sold 31 million copies
globally by April 2009.[336]
Harrison died from metastatic lung
cancer in November 2001.[337][338][339] McCartney and Starr were among
the musicians who performed at the Concert for George, organised by Eric
Clapton and Harrison's widow, Olivia. The tribute event took place at
the Royal Albert Hall on the first anniversary of Harrison's death.[340]
In
2003, Let It Be... Naked, a reconceived version of the Let It Be album,
with McCartney supervising production, was released. One of the main
differences from the Spector-produced version was the omission of the
original string arrangements.[341] It was a top-ten hit in both Britain
and America. The US album configurations from 1964 to 1965 were released
as box sets in 2004 and 2006; The Capitol Albums, Volume 1 and Volume 2
included both stereo and mono versions based on the mixes that were
prepared for vinyl at the time of the music's original American
release.[342]
As a soundtrack for Cirque du Soleil's Las Vegas
Beatles stage revue, Love, George Martin and his son Giles remixed and
blended 130 of the band's recordings to create what Martin called "a way
of re-living the whole Beatles musical lifespan in a very condensed
period".[343] The show premiered in June 2006, and the Love album was
released that November.[344] In April 2009, Starr performed three songs
with McCartney at a benefit concert held at New York's Radio City Music
Hall and organised by McCartney.[345]
A photograph of two older men, one using a microphone, in front of a large electronic display
Starr and McCartney introduced the video game The Beatles: Rock Band at the 2009 E3 convention.
On
9 September 2009, the Beatles' entire back catalogue was reissued
following an extensive digital remastering process that lasted four
years.[323] Stereo editions of all twelve original UK studio albums,
along with Magical Mystery Tour and the Past Masters compilation, were
released on compact disc both individually and as a box set.[346] A
second collection, The Beatles in Mono, included remastered versions of
every Beatles album released in true mono along with the original 1965
stereo mixes of Help! and Rubber Soul (both of which Martin had remixed
for the 1987 editions).[347] The Beatles: Rock Band, a music video game
in the Rock Band series, was issued on the same day.[348] In December
2009, the band's catalogue was officially released in FLAC and MP3
format in a limited edition of 30,000 USB flash drives.[349]
2010s
Owing
to a long-running royalty disagreement, the Beatles were among the last
major artists to sign deals with online music services.[350] Residual
disagreement emanating from Apple Corps' dispute with Apple, Inc.,
iTunes' owners, over the use of the name "Apple" was also partly
responsible for the delay, although in 2008, McCartney stated that the
main obstacle to making the Beatles' catalogue available online was that
EMI "want[s] something we're not prepared to give them".[351] In 2010,
the official canon of thirteen Beatles studio albums, Past Masters, and
the "Red" and "Blue" greatest-hits albums were made available on
iTunes.[352]
In 2012, EMI's recorded music operations were sold
to Universal Music Group. In order for Universal Music to acquire EMI,
the European Union, for antitrust reasons, forced EMI to spin off assets
including Parlophone. Universal was allowed to keep the Beatles'
recorded music catalogue, managed by Capitol Records under its Capitol
Music Group division.[353] The entire original Beatles album catalogue
was also reissued on vinyl in 2012; available either individually or as a
box set.[354]
In 2013, a second volume of BBC recordings, titled
On Air – Live at the BBC Volume 2, was released. That December saw the
release of another 59 Beatles recordings on iTunes. The set, titled The
Beatles Bootleg Recordings 1963, had the opportunity to gain a 70-year
copyright extension conditional on the songs being published at least
once before the end of 2013. Apple Records released the recordings on 17
December to prevent them from going into the public domain and had them
taken down from iTunes later that same day. Fan reactions to the
release were mixed, with one blogger saying "the hardcore Beatles
collectors who are trying to obtain everything will already have
these."[355][356]
On 26 January 2014, McCartney and Starr
performed together at the 56th Annual Grammy Awards, held at the Staples
Center in Los Angeles.[357] The following day, The Night That Changed
America: A Grammy Salute to The Beatles television special was taped in
the Los Angeles Convention Center's West Hall. It aired on 9 February,
the exact date of – and at the same time, and on the same network as –
the original broadcast of the Beatles' first US television appearance on
The Ed Sullivan Show, 50 years earlier. The special included
performances of Beatles songs by current artists as well as by McCartney
and Starr, archival footage, and interviews with the two surviving
ex-Beatles carried out by David Letterman at the Ed Sullivan
Theater.[358][359] In December 2015, the Beatles released their
catalogue for streaming on various streaming music services including
Spotify and Apple Music.[360]
In September 2016, the documentary
film The Beatles: Eight Days a Week was released. Directed by Ron
Howard, it chronicled the Beatles' career during their touring years
from 1961 to 1966, from their performances in Liverpool's the Cavern
Club in 1961 to their final concert in San Francisco in 1966. The film
was released theatrically on 15 September in the UK and the US, and
started streaming on Hulu on 17 September. It received several awards
and nominations, including for Best Documentary at the 70th British
Academy Film Awards and the Outstanding Documentary or Nonfiction
Special at the 69th Primetime Creative Arts Emmy Awards.[361] An
expanded, remixed and remastered version of The Beatles at the Hollywood
Bowl was released on 9 September, to coincide with the release of the
film.[362][363]
On 18 May 2017, Sirius XM Radio launched a 24/7
radio channel, The Beatles Channel. A week later, Sgt. Pepper's Lonely
Hearts Club Band was reissued with new stereo mixes and unreleased
material for the album's 50th anniversary.[364] Similar box sets were
released for The Beatles in November 2018,[365] and Abbey Road in
September 2019.[366] On the first week of October 2019, Abbey Road
returned to number one on the UK Albums Chart. The Beatles broke their
own record for the album with the longest gap between topping the charts
as Abbey Road hit the top spot 50 years after its original
release.[367]
2020s
In November 2021, The Beatles: Get Back, a
documentary directed by Peter Jackson using footage captured for the
Let It Be film, was released on Disney+ as a three-part miniseries.[368]
A book also titled The Beatles: Get Back was released on 12 October,
ahead of the documentary.[369] A super deluxe version of the Let It Be
album was released on 15 October.[370] In January 2022, an album titled
Get Back (Rooftop Performance), consisting of newly mixed audio of the
Beatles' rooftop performance, was released on streaming services.[371]
Musical style and development
See also: Lennon–McCartney
In
Icons of Rock: An Encyclopedia of the Legends Who Changed Music
Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical
evolution:
In their initial incarnation as cheerful,
wisecracking moptops, the Fab Four revolutionised the sound, style, and
attitude of popular music and opened rock and roll's doors to a tidal
wave of British rock acts. Their initial impact would have been enough
to establish the Beatles as one of their era's most influential cultural
forces, but they didn't stop there. Although their initial style was a
highly original, irresistibly catchy synthesis of early American rock
and roll and R&B, the Beatles spent the rest of the 1960s expanding
rock's stylistic frontiers, consistently staking out new musical
territory on each release. The band's increasingly sophisticated
experimentation encompassed a variety of genres, including folk-rock,
country, psychedelia, and baroque pop, without sacrificing the
effortless mass appeal of their early work.[372]
In The Beatles
as Musicians, Walter Everett describes Lennon and McCartney's
contrasting motivations and approaches to composition: "McCartney may be
said to have constantly developed – as a means to entertain – a focused
musical talent with an ear for counterpoint and other aspects of craft
in the demonstration of a universally agreed-upon common language that
he did much to enrich. Conversely, Lennon's mature music is best
appreciated as the daring product of a largely unconscious, searching
but undisciplined artistic sensibility."[373]
Ian MacDonald
describes McCartney as "a natural melodist – a creator of tunes capable
of existing apart from their harmony". His melody lines are
characterised as primarily "vertical", employing wide, consonant
intervals which express his "extrovert energy and optimism". Conversely,
Lennon's "sedentary, ironic personality" is reflected in a "horizontal"
approach featuring minimal, dissonant intervals and repetitive melodies
which rely on their harmonic accompaniment for interest: "Basically a
realist, he instinctively kept his melodies close to the rhythms and
cadences of speech, colouring his lyrics with bluesy tone and harmony
rather than creating tunes that made striking shapes of their own."[374]
MacDonald praises Harrison's lead guitar work for the role his
"characterful lines and textural colourings" play in supporting Lennon
and McCartney's parts, and describes Starr as "the father of modern
pop/rock drumming".[375]
Influences
The band's earliest
influences include Elvis Presley, Carl Perkins, Little Richard and Chuck
Berry.[376] During the Beatles' co-residency with Little Richard at the
Star-Club in Hamburg, from April to May 1962, he advised them on the
proper technique for performing his songs.[377] Of Presley, Lennon said,
"Nothing really affected me until I heard Elvis. If there hadn't been
Elvis, there would not have been the Beatles."[378] Other early
influences include Buddy Holly, Eddie Cochran, Roy Orbison[379] and the
Everly Brothers.[380]
The Beatles continued to absorb influences
long after their initial success, often finding new musical and lyrical
avenues by listening to their contemporaries, including Bob Dylan, the
Who, Frank Zappa, the Lovin' Spoonful, the Byrds and the Beach Boys,
whose 1966 album Pet Sounds amazed and inspired
McCartney.[381][382][383][384] Referring to the Beach Boys' creative
leader, Martin later stated: "No one made a greater impact on the
Beatles than Brian [Wilson]."[385] Ravi Shankar, with whom Harrison
studied for six weeks in India in late 1966, had a significant effect on
his musical development during the band's later years.[386]
Genres
Originating
as a skiffle group, the Beatles quickly embraced 1950s rock and roll
and helped pioneer the Merseybeat genre,[387] and their repertoire
ultimately expanded to include a broad variety of pop music.[388]
Reflecting the range of styles they explored, Lennon said of Beatles for
Sale, "You could call our new one a Beatles country-and-western
LP",[389] while Gould credits Rubber Soul as "the instrument by which
legions of folk-music enthusiasts were coaxed into the camp of
pop".[390]
Two electric guitars, a light brown violin-shaped bass and a darker brown guitar resting against a Vox amplifier
A
H fner "violin" bass guitar and Gretsch Country Gentleman guitar,
models played by McCartney and Harrison, respectively; the Vox AC30
amplifier behind them is the model the Beatles used during performances
in the early 1960s.
Although the 1965 song "Yesterday" was not
the first pop record to employ orchestral strings, it marked the group's
first recorded use of classical music elements. Gould observes: "The
more traditional sound of strings allowed for a fresh appreciation of
their talent as composers by listeners who were otherwise allergic to
the din of drums and electric guitars."[391] They continued to
experiment with string arrangements to various effect; Sgt. Pepper's
"She's Leaving Home", for instance, is "cast in the mold of a
sentimental Victorian ballad", Gould writes, "its words and music filled
with the clich s of musical melodrama".[392]
The band's
stylistic range expanded in another direction with their 1966 B-side
"Rain", described by Martin Strong as "the first overtly psychedelic
Beatles record".[393] Other psychedelic numbers followed, such as
"Tomorrow Never Knows" (recorded before "Rain"), "Strawberry Fields
Forever", "Lucy in the Sky with Diamonds" and "I Am the Walrus". The
influence of Indian classical music was evident in Harrison's "The Inner
Light", "Love You To" and "Within You Without You" – Gould describes
the latter two as attempts "to replicate the raga form in
miniature".[394]
Innovation was the most striking feature of
their creative evolution, according to music historian and pianist
Michael Campbell: "'A Day in the Life' encapsulates the art and
achievement of the Beatles as well as any single track can. It
highlights key features of their music: the sound imagination, the
persistence of tuneful melody, and the close coordination between words
and music. It represents a new category of song – more sophisticated
than pop ... and uniquely innovative. There literally had never before
been a song – classical or vernacular – that had blended so many
disparate elements so imaginatively."[395] Philosophy professor Bruce
Ellis Benson agrees: "the Beatles ... give us a wonderful example of how
such far-ranging influences as Celtic music, rhythm and blues, and
country and western could be put together in a new way."[396]
Author
Dominic Pedler describes the way they crossed musical styles: "Far from
moving sequentially from one genre to another (as is sometimes
conveniently suggested) the group maintained in parallel their mastery
of the traditional, catchy chart hit while simultaneously forging rock
and dabbling with a wide range of peripheral influences from country to
vaudeville. One of these threads was their take on folk music, which
would form such essential groundwork for their later collisions with
Indian music and philosophy."[397] As the personal relationships between
the band members grew increasingly strained, their individual tastes
became more apparent. The minimalistic cover artwork for the White Album
contrasted with the complexity and diversity of its music, which
encompassed Lennon's "Revolution 9" (whose musique concr te approach was
influenced by Yoko Ono), Starr's country song "Don't Pass Me By",
Harrison's rock ballad "While My Guitar Gently Weeps", and the
"proto-metal roar" of McCartney's "Helter Skelter".[398]
Contribution of George Martin
The Beatles with George Martin in the studio in the mid-1960s
Martin (second from right) in the studio with the Beatles in the mid-1960s
George
Martin's close involvement in his role as producer made him one of the
leading candidates for the informal title of the "fifth Beatle".[399] He
applied his classical musical training in various ways, and functioned
as "an informal music teacher" to the progressing songwriters, according
to Gould.[400] Martin suggested to a sceptical McCartney that the
arrangement of "Yesterday" should feature a string quartet
accompaniment, thereby introducing the Beatles to a "hitherto
unsuspected world of classical instrumental colour", in MacDonald's
description.[401] Their creative development was also facilitated by
Martin's willingness to experiment in response to their suggestions,
such as adding "something baroque" to a particular recording.[402] In
addition to scoring orchestral arrangements for recordings, Martin often
performed on them, playing instruments including piano, organ and
brass.[403]
Collaborating with Lennon and McCartney required
Martin to adapt to their different approaches to songwriting and
recording. MacDonald comments, "while [he] worked more naturally with
the conventionally articulate McCartney, the challenge of catering to
Lennon's intuitive approach generally spurred him to his more original
arrangements, of which 'Being for the Benefit of Mr. Kite!' is an
outstanding example."[404] Martin said of the two composers' distinct
songwriting styles and his stabilising influence:
Compared
with Paul's songs, all of which seemed to keep in some sort of touch
with reality, John's had a psychedelic, almost mystical quality ...
John's imagery is one of the best things about his work – 'tangerine
trees', 'marmalade skies', 'cellophane flowers' ... I always saw him as
an aural Salvador Dal , rather than some drug-ridden record artist. On
the other hand, I would be stupid to pretend that drugs didn't figure
quite heavily in the Beatles' lives at that time ... they knew that I,
in my schoolmasterly role, didn't approve ... Not only was I not into it
myself, I couldn't see the need for it; and there's no doubt that, if I
too had been on dope, Pepper would never have been the album it was.
Perhaps it was the combination of dope and no dope that worked, who
knows?[405]
Harrison echoed Martin's description of his
stabilising role: "I think we just grew through those years together,
him as the straight man and us as the loonies; but he was always there
for us to interpret our madness – we used to be slightly avant-garde on
certain days of the week, and he would be there as the anchor person, to
communicate that through the engineers and on to the tape."[406]
In the studio
See also: Recording practices of the Beatles
Making
innovative use of technology while expanding the possibilities of
recorded music, the Beatles urged experimentation by Martin and his
recording engineers. Seeking ways to put chance occurrences to creative
use, accidental guitar feedback, a resonating glass bottle, a tape
loaded the wrong way round so that it played backwards – any of these
might be incorporated into their music.[407] Their desire to create new
sounds on every new recording, combined with Martin's arranging
abilities and the studio expertise of EMI staff engineers Norman Smith,
Ken Townsend and Geoff Emerick, all contributed significantly to their
records from Rubber Soul and, especially, Revolver onwards.[407]
Along
with innovative studio techniques such as sound effects, unconventional
microphone placements, tape loops, double tracking and vari-speed
recording, the Beatles augmented their songs with instruments that were
unconventional in rock music at the time. These included string and
brass ensembles as well as Indian instruments such as the sitar in
"Norwegian Wood" and the swarmandal in "Strawberry Fields Forever".[408]
They also used novel electronic instruments such as the Mellotron, with
which McCartney supplied the flute voices on the "Strawberry Fields
Forever" intro,[409] and the clavioline, an electronic keyboard that
created the unusual oboe-like sound on "Baby, You're a Rich Man".[410]
Legacy
Main article: Cultural impact of the Beatles
The Beatles Monument in Almaty, Kazakhstan
Statue in Liverpool
The Beatles statue at Pier Head in their home city Liverpool
Road crossing in London
Abbey
Road crossing in London is a popular destination for Beatles fans. In
December 2010 it was given grade II listed status for its "cultural and
historical importance"; the Abbey Road studios themselves had been given
similar status earlier in the year.[411]
Former Rolling Stone
associate editor Robert Greenfield compared the Beatles to Picasso, as
"artists who broke through the constraints of their time period to come
up with something that was unique and original ... [I]n the form of
popular music, no one will ever be more revolutionary, more creative and
more distinctive ..."[348] The British poet Philip Larkin described
their work as "an enchanting and intoxicating hybrid of Negro
rock-and-roll with their own adolescent romanticism", and "the first
advance in popular music since the War".[412]
The Beatles' 1964
arrival in the US is credited with initiating the album era;[413] the
music historian Joel Whitburn says that LP sales soon "exploded and
eventually outpaced the sales and releases of singles" in the music
industry.[414] They not only sparked the British Invasion of the
US,[415] they became a globally influential phenomenon as well.[416]
From the 1920s, the US had dominated popular entertainment culture
throughout much of the world, via Hollywood films, jazz, the music of
Broadway and Tin Pan Alley and, later, the rock and roll that first
emerged in Memphis, Tennessee.[334] The Beatles are regarded as British
cultural icons, with young adults from abroad naming the band among a
group of people whom they most associated with UK culture.[417][418]
Their
musical innovations and commercial success inspired musicians
worldwide.[416] Many artists have acknowledged the Beatles' influence
and enjoyed chart success with covers of their songs.[419] On radio,
their arrival marked the beginning of a new era; in 1968 the programme
director of New York's WABC radio station forbade his DJs from playing
any "pre-Beatles" music, marking the defining line of what would be
considered oldies on American radio.[420] They helped to redefine the
album as something more than just a few hits padded out with
"filler",[421] and they were primary innovators of the modern music
video.[422] The Shea Stadium show with which they opened their 1965
North American tour attracted an estimated 55,600 people,[141] then the
largest audience in concert history; Spitz describes the event as a
"major breakthrough ... a giant step toward reshaping the concert
business".[423] Emulation of their clothing and especially their
hairstyles, which became a mark of rebellion, had a global impact on
fashion.[99]
According to Gould, the Beatles changed the way
people listened to popular music and experienced its role in their
lives. From what began as the Beatlemania fad, the group's popularity
grew into what was seen as an embodiment of sociocultural movements of
the decade. As icons of the 1960s counterculture, Gould continues, they
became a catalyst for bohemianism and activism in various social and
political arenas, fuelling movements such as women's liberation, gay
liberation and environmentalism.[424] According to Peter Lavezzoli,
after the "more popular than Jesus" controversy in 1966, the Beatles
felt considerable pressure to say the right things and "began a
concerted effort to spread a message of wisdom and higher
consciousness".[165]
Other commentators such as Mikal Gilmore and
Todd Leopold have traced the inception of their socio-cultural impact
earlier, interpreting even the Beatlemania period, particularly on their
first visit to the US, as a key moment in the development of
generational awareness.[97][425] Referring to their appearance on the Ed
Sullivan Show Leopold states: "In many ways, the Sullivan appearance
marked the beginning of a cultural revolution ... The Beatles were like
aliens dropped into the United States of 1964."[425] According to
Gilmore:
Elvis Presley had shown us how rebellion could be
fashioned into eye-opening style; the Beatles were showing us how style
could have the impact of cultural revelation – or at least how a pop
vision might be forged into an unimpeachable consensus.[97]
Established
in 2009, Global Beatles Day is an annual holiday on 25 June each year
that honours and celebrates the ideals of the Beatles.[426] The date was
chosen to commemorate the date the group participated in the BBC
programme Our World in 1967, performing "All You Need Is Love" broadcast
to an international audience.[427]
Awards and achievements
See also: List of awards and nominations received by the Beatles
In
1965, Queen Elizabeth II appointed Lennon, McCartney, Harrison and
Starr Members of the Order of the British Empire (MBE).[130] The Beatles
won the 1971 Academy Award for Best Original Song Score for the film
Let It Be (1970).[293] The recipients of seven Grammy Awards[428] and
fifteen Ivor Novello Awards,[429] the Beatles have six Diamond albums,
as well as 20 Multi-Platinum albums, 16 Platinum albums and six Gold
albums in the US.[304] In the UK, the Beatles have four Multi-Platinum
albums, four Platinum albums, eight Gold albums and one Silver
album.[305] They were inducted into the Rock and Roll Hall of Fame in
1988.[324]
The best-selling band in history, the Beatles have
sold more than 600 million units as of 2012.[430][nb 11] They have had
more number-one albums on the UK charts, fifteen,[432] and sold more
singles in the UK, 21.9 million, than any other act.[433] In 2004,
Rolling Stone ranked the Beatles as the most significant and influential
rock music artists of the last 50 years.[434] They ranked number one on
Billboard magazine's list of the all-time most successful Hot 100
artists, released in 2008 to celebrate the US singles chart's 50th
anniversary.[435] As of 2017, they hold the record for most number-one
hits on the Billboard Hot 100, with twenty.[436] The Recording Industry
Association of America certifies that the Beatles have sold 183 million
units in the US, more than any other artist.[437] They were collectively
included in Time magazine's compilation of the 20th century's 100 most
influential people.[438] In 2014, they received the Grammy Lifetime
Achievement Award.[439]
On 16 January each year, beginning in
2001, people celebrate World Beatles Day under UNESCO. This date has
direct relation to the opening of The Cavern Club in 1957.[440][441] In
2007, the Beatles became the first band to feature on a series of UK
postage stamps issued by the Royal Mail.[442]
Personnel
Further information: List of members of bands featuring members of the Beatles
Principal members
John Lennon – vocals, guitars, keyboards, harmonica, bass (1960–1969; died 1980)
Paul McCartney – vocals, bass, guitars, keyboards, drums (1960–1970)
George Harrison – guitars, vocals, sitar, keyboards, bass (1960–1970; died 2001)
Ringo Starr – drums, percussion, vocals (1962–1970)
Early members
Pete Best – drums, vocals (1960–1962)
Stuart Sutcliffe – bass, vocals (1960–1961; died 1962)
Chas Newby – bass (1960–1961)
Norman Chapman – drums (1960; died 1995)
Tommy Moore – drums (1960; died 1981)
Touring musician
Jimmie Nicol – drums (1964)
Discography
Main article: The Beatles discography
The Beatles have a core catalogue consisting of 13 studio albums and one compilation.[443]
Please Please Me (1963)
With the Beatles (1963)
A Hard Day's Night (1964)
Beatles for Sale (1964)
Help! (1965)
Rubber Soul (1965)
Revolver (1966)
Sgt. Pepper's Lonely Hearts Club Band (1967)
Magical Mystery Tour (1967)
The Beatles (1968) ("The White Album")
Yellow Submarine (1969)
Abbey Road (1969)
Let It Be (1970)
Past Masters (1988, compilation)
Song catalogue
Through
1969, the Beatles' catalogue was published almost exclusively by
Northern Songs Ltd, a company formed in February 1963 by music publisher
Dick James specifically for Lennon and McCartney, though it later
acquired songs by other artists. The company was organised with James
and his partner, Emmanuel Silver, owning a controlling interest,
variously described as 51% or 50% plus one share. McCartney had 20%.
Reports again vary concerning Lennon's portion – 19 or 20% – and Brian
Epstein's – 9 or 10% – which he received in lieu of a 25% band
management fee.[444][445][446] In 1965, the company went public. Five
million shares were created, of which the original principals retained
3.75 million. James and Silver each received 937,500 shares (18.75% of 5
million); Lennon and McCartney each received 750,000 shares (15%); and
Epstein's management company, NEMS Enterprises, received 375,000 shares
(7.5%). Of the 1.25 million shares put up for sale, Harrison and Starr
each acquired 40,000.[447] At the time of the stock offering, Lennon and
McCartney renewed their three-year publishing contracts, binding them
to Northern Songs until 1973.[448]
Harrison created Harrisongs to
represent his Beatles compositions, but signed a three-year contract
with Northern Songs that gave it the copyright to his work through March
1968, which included "Taxman" and "Within You Without You".[449] The
songs on which Starr received co-writing credit before 1968, such as
"What Goes On" and "Flying", were also Northern Songs copyrights.[450]
Harrison did not renew his contract with Northern Songs when it ended,
signing instead with Apple Publishing while retaining the copyright to
his work from that point on. Harrison thus owns the rights to his later
Beatles songs such as "While My Guitar Gently Weeps" and "Something".
That year, as well, Starr created Startling Music, which holds the
rights to his Beatles compositions, "Don't Pass Me By" and "Octopus's
Garden".[451][452]
In March 1969, James arranged to sell his and
his partner's shares of Northern Songs to the British broadcasting
company Associated Television (ATV), founded by impresario Lew Grade,
without first informing the Beatles. The band then made a bid to gain a
controlling interest by attempting to work out a deal with a consortium
of London brokerage firms that had accumulated a 14% holding.[453] The
deal collapsed over the objections of Lennon, who declared, "I'm sick of
being f*cked about by men in suits sitting on their fat arses in the
City."[454] By the end of May, ATV had acquired a majority stake in
Northern Songs, controlling nearly the entire Lennon–McCartney
catalogue, as well as any future material until 1973.[455] In
frustration, Lennon and McCartney sold their shares to ATV in late
October 1969.[456]
In 1981, financial losses by ATV's parent
company, Associated Communications Corporation (ACC), led it to attempt
to sell its music division. According to authors Brian Southall and
Rupert Perry, Grade contacted McCartney, offering ATV Music and Northern
Songs for $30 million.[457] According to an account McCartney gave in
1995, he met with Grade and explained he was interested solely in the
Northern Songs catalogue if Grade were ever willing to "separate off"
that portion of ATV Music. Soon afterwards, Grade offered to sell him
Northern Songs for 20 million, giving the ex-Beatle "a week or so" to
decide. By McCartney's account, he and Ono countered with a 5 million
bid that was rejected.[458] According to reports at the time, Grade
refused to separate Northern Songs and turned down an offer of 21–25
million from McCartney and Ono for Northern Songs. In 1982, ACC was
acquired in a takeover by Australian business magnate Robert Holmes
Court for 60 million.[459]
In 1985, Michael Jackson purchased
ATV for a reported $47.5 million. The acquisition gave him control over
the publishing rights to more than 200 Beatles songs, as well as 40,000
other copyrights.[460] In 1995, in a deal that earned him a reported
$110 million, Jackson merged his music publishing business with Sony,
creating a new company, Sony/ATV Music Publishing, in which he held a
50% stake. The merger made the new company, then valued at over half a
billion dollars, the third-largest music publisher in the world.[461] In
2016, Sony acquired Jackson's share of Sony/ATV from the Jackson estate
for $750 million.[462]
Despite the lack of publishing rights to
most of their songs, Lennon's estate and McCartney continue to receive
their respective shares of the writers' royalties, which together are
331⁄3% of total commercial proceeds in the US and which vary elsewhere
around the world between 50 and 55%.[463] Two of Lennon and McCartney's
earliest songs – "Love Me Do" and "P.S. I Love You" – were published by
an EMI subsidiary, Ardmore & Beechwood, before they signed with
James. McCartney acquired their publishing rights from Ardmore[464] in
1978,[465] and they are the only two Beatles songs owned by McCartney's
company MPL Communications.[466] On 18 January 2017, McCartney filed a
suit in the United States district court against Sony/ATV Music
Publishing seeking to reclaim ownership of his share of the
Lennon–McCartney song catalogue beginning in 2018. Under US copyright
law, for works published before 1978 the author can reclaim copyrights
assigned to a publisher after 56 years.[467][468] McCartney and Sony
agreed to a confidential settlement in June 2017.[469][470]
Selected filmography
Main article: The Beatles in film
Fictionalised
A Hard Day's Night (1964)
Help! (1965)
Magical Mystery Tour (1967)
Yellow Submarine (1968) (brief cameo)
Documentaries and filmed performances
The Beatles at Shea Stadium (1966)
Let It Be (1970)
The Compleat Beatles (1982)
It Was Twenty Years Ago Today (1987) (about Sgt. Pepper)
The Beatles Anthology (1995)
The Beatles: 1+ (2015) (collection of digitally restored music videos)
The Beatles: Eight Days a Week (2016) (about Beatlemania and touring years)
The Beatles: Get Back (2021)
Concert tours
Main article: List of the Beatles' live performances
1963
1963 UK tours (winter–autumn)
The Beatles Winter 1963 Helen Shapiro Tour
Spring 1963 Tommy Roe/Chris Montez UK tour
Roy Orbison/The Beatles Tour
Autumn 1963 Sweden tour
1964
Winter 1964 North American tour
Spring 1964 UK tour
The Beatles' 1964 world tour
1964 North American tour
1965
The Beatles' 1965 European tour
The Beatles' 1965 US tour
The Beatles' 1965 UK tour
1966
The Beatles' 1966 tour of Germany, Japan and the Philippines
The Beatles' 1966 US tour
See also
Grammy Award records – Most Grammys won by a group
Notes
Lennon
said of Epstein, "We used to dress how we liked, on and off stage. He'd
tell us that jeans were not particularly smart and could we possibly
manage to wear proper trousers, but he didn't want us suddenly looking
square. He'd let us have our own sense of individuality."[38]
"She Loves You" was surpassed in sales by "Mull of Kintyre", by McCartney's post-Beatles band Wings.[61]
Vee-Jay company president Ewart Abner resigned after it was disclosed he used company funds to cover gambling debts.[82]
During
the same week in April 1964, a third American Beatles LP joined the two
already in circulation; two of the three reached the first spot on the
Billboard albums chart, the third peaked at number two.[103]
Harrison's
ringing 12-string inspired Roger McGuinn, who obtained his own
Rickenbacker and used it to craft the trademark sound of the Byrds.[109]
Starr was briefly hospitalised after a tonsillectomy, and Jimmie Nicol sat in on drums for the first five dates.[111]
It
was not until Sgt. Pepper's Lonely Hearts Club Band in 1967 that a
Beatles album was released with identical track listings in both the UK
and the US.[162]
Poirier identified what he termed its "mixed
allusiveness": "It's unwise ever to assume that they're doing only one
thing or expressing themselves in only one style ... one kind of feeling
about a subject isn't enough ... any single induced feeling must often
exist within the context of seemingly contradictory alternatives."[199]
McCartney said at the time: "We write songs. We know what we mean by
them. But in a week someone else says something about it, and you can't
deny it. ... You put your own meaning at your own level to our
songs."[199]
Epstein had been in a fragile emotional state, stressed
by personal troubles. It was speculated that he was concerned that the
band might not renew his management contract, due to expire in October,
over discontent with his supervision of business matters, particularly
regarding Seltaeb, the company that handled their US merchandising
rights.[217]
The band unsuccessfully attempted to block the 1977
release of Live! at the Star-Club in Hamburg, Germany; 1962. The
independently issued album compiled recordings made during the group's
Hamburg residency, taped on a basic recording machine using only one
microphone.[308]
Another estimate gives total international
sales of over 1 billion units,[334] a figure based on EMI's statement
and recognised by Guinness World Records.[431]
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Astley, John (2006). Why Don't We Do It In The Road? The Beatles Phenomenon. The Company of Writers. ISBN 978-0-9551834-7-8.
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2007. ISBN 978-1-59986-256-9. Retrieved 31 March 2014.
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Sgt. Pepper. London: Macmillan. ISBN 978-0-333-60398-7.
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Tim (2011). Lennon: The Man, the Myth, the Music – The Definitive Life.
New York: Hyperion/HarperCollins. ISBN 978-1-4013-2452-0.
Sheffield, Rob (2017). Dreaming the Beatles. New York: Harper Collins. ISBN 978-0-06-220765-4.
Turner, Steve (2005). A Hard Day's Write: The Stories Behind Every
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978-0-06-084409-7.
External links
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The Beatles
John Lennon Paul McCartney George Harrison Ringo Starr
Stu Sutcliffe Pete Best Chas Newby Norman Chapman Tommy Moore Jimmie Nicol
History
The Quarrymen In Hamburg At The Cavern Club Decca audition North
American releases Beatlemania "More popular than Jesus" In Bangor In
India Break-up Murder of John Lennon Anthology Line-ups Religious views
Timeline
Tours and
performances
1960 Johnny
Gentle Tour Winter 1963 Helen Shapiro Tour 1963 Roy Orbison Tour The Ed
Sullivan Show appearances 1964 world tour 1964 North American tour 1965
European tour 1965 US tour 1965 UK tour 1966 tour of Germany, Japan and
the Philippines 1966 US tour Our World performance Rooftop concert
Personnel
Fifth Beatle Neil Aspinall Tony Barrow Peter Brown Brian Epstein Mal
Evans George Martin Alistair Taylor Derek Taylor Tony Sheridan Freda
Kelly Allan Williams Billy Preston
Associated companies
Apple Corps Apple Records Harrisongs Northern Songs Seltaeb Startling Music
Associated places
10 Admiral Grove 12 Arnold Grove 20 Forthlin Road 251 Menlove Avenue 34 Montagu Square, Marylebone Abbey Road, London
Abbey Road Studios The Bag O'Nails Beatles Ashram Beatles-Platz Blue
Angel Casbah Coffee Club Candlestick Park The Cavern Club Cavern Mecca
Kaiserkeller Kinfauns 3 Savile Row The Scotch of St. James Shea Stadium
St Peter's Church Stanley Street Star-Club Strawberry Field Tittenhurst
Park The Top Ten Club Wigmore Street
Lists
Awards and nominations Bootlegs Discography Films Instruments Live performances Performers Post-breakup collaborations Songs
Cover versions of Beatles songs Songs covered by the Beatles Recording sessions Tributes
Selected books
Anthology (book) The Beatles: The Authorised Biography A Cellarful of
Noise I, Me, Mine Lennon Remembers Paul McCartney: Many Years from Now
Other topics
Apple Corps v Apple Computer Apple scruffs Beatle boots Beatlesque Beat
music Cultural impact Lennon–McCartney "Paul is dead" Recording
practices
automatic double tracking The Beatles: Rock Band
songs
Category
vte
George Harrison
Studio albums
Wonderwall Music Electronic Sound All Things Must Pass Living in the
Material World Dark Horse Extra Texture (Read All About It) Thirty Three
& ⅓ George Harrison Somewhere in England Gone Troppo Cloud Nine
Brainwashed
Live albums
The Concert for Bangladesh Live in Japan
Compilations
The Best of George Harrison Best of Dark Horse 1976–1989 Let It Roll: Songs by George Harrison Early Takes: Volume 1
Box sets
The Dark Horse Years 1976–1992 Collaborations (with Ravi Shankar) The
Apple Years 1968–75 George Harrison – The Vinyl Collection
Books
I, Me, Mine Songs by George Harrison Songs by George Harrison 2 Raga Mala (as editor)
Related
Articles
Discography Songs Awards and nominations 12 Arnold Grove Kinfauns Friar
Park Asian Music Circle Beware of ABKCO! (bootleg) Bhaktivedanta Manor
The Concert for Bangladesh Concert for George Dark Horse Records
Harrisongs "Homer's Barbershop Quartet" "Horse to the Water" Material
World Charitable Foundation Ravi Shankar's Music Festival from India
1974 North American tour 1991 Japanese tour Wonderful Today
People
John Barham The Beatles Pattie Boyd (wife) Eric Clapton Derek and the
Dominos Olivia Harrison (wife) Dhani Harrison (son) Jim Keltner Jeff
Lynne A.C. Bhaktivedanta Swami Prabhupada Billy Preston The Quarrymen
Radha Krishna Temple The Rutles Ravi Shankar Derek Taylor Traveling
Wilburys Klaus Voormann Gary Wright
Albums
Is This
What You Want? That's the Way God Planned It Doris Troy Encouraging
Words The Radha Krsna Temple Joi Bangla (EP) Footprint Straight Up Raga
Brother In Concert 1972 Shankar Family & Friends The Place I Love
Ravi Shankar's Music Festival from India Traveling Wilburys Vol. 1
Nobody's Child: Romanian Angel Appeal Traveling Wilburys Vol. 3 Ravi
Shankar: In Celebration Chants of India
Films
HandMade Films All You Need Is Cash Blue Suede Shoes: A Rockabilly
Session The Concert for Bangladesh (film) Concert for George (film)
George Harrison: Living in the Material World Little Malcolm Monty
Python's Life of Brian Raga
Tributes
Songs from
the Material World: A Tribute to George Harrison "Never Without You"
Concert for George (album) Harrison on Harrison: Jazz Explorations of
George Harrison Tribute To George Fest
Category
vte
John Lennon
Discography Instruments Jukebox Song list Death
Studio albums
John Lennon/Plastic Ono Band Imagine Mind Games Walls and Bridges Rock 'n' Roll
with Yoko Ono
Unfinished Music No. 1: Two Virgins Unfinished Music No. 2: Life with
the Lions Wedding Album Some Time in New York City Double Fantasy Milk
and Honey
Live albums
Live Peace in Toronto 1969 Live Jam Live in New York City
Compilations
Hits
Shaved Fish The John Lennon Collection Lennon Legend: The Very Best of
John Lennon Instant Karma: All-Time Greatest Hits Working Class Hero:
The Definitive Lennon Power to the People: The Hits Icon
Themed
Menlove Ave. Wonsaponatime Acoustic Peace, Love & Truth
Box sets
Lennon John Lennon Anthology John Lennon Signature Box Gimme Some Truth Gimme Some Truth. The Ultimate Mixes
Video
The John Lennon Video Collection Lennon Legend: The Very Best of John Lennon
Books
In His Own Write A Spaniard in the Works Skywriting by Word of Mouth
Films
Self-Portrait (1969) Apotheosis (1970) Fly (1970) Erection (1971) Up
Your Legs Forever (1971) Live in New York City (1972) Imagine (1972)
Bootlegs
A Toot and a Snore in '74 S.I.R. John Winston Ono Lennon
Family
Cynthia Lennon (first wife) Yoko Ono (second wife) Julian Lennon (son)
Sean Lennon (son) Alfred Lennon (father) Julia Lennon (mother) Julia
Baird (half-sister) Mimi Smith (aunt) George Smith (marital uncle)
Associates
The Quarrymen The Beatles Plastic Ono Band David Peel The Lower East
Side Band The Dirty Mac May Pang Harry Nilsson John Sinclair Rosaura
Lopez
Fictionalised
Chapter 27 In His Life: The
John Lennon Story John and Yoko: A Love Story The Killing of John Lennon
Lennon Naked Birth of the Beatles Nowhere Boy Backbeat Two of Us The
Lennon Report Yesterday
Tributes and
memorials
The 30th Annual John Lennon Tribute: Live from the Beacon Theatre, NYC
"All Those Years Ago" Come Together: A Night for John Lennon's Words and
Music "Empty Garden (Hey Hey Johnny)" "Here Today" Imagine Peace Tower
"The Immigrant" Instant Karma: The Amnesty International Campaign to
Save Darfur John Lennon Art and Design Building John Lennon Museum John
Lennon Park John Lennon Peace Monument John Lennon Educational Tour Bus
"The Late Great Johnny Ace" Lennon (musical) Lennon Bermuda Lennon Wall
"Life Is Real (Song for Lennon)" Liverpool John Lennon Airport
Non-Violence Strawberry Fields "Roll On John" Working Class Hero: A
Tribute to John Lennon
Related media
Imagine: John Lennon
soundtrack I Met the Walrus John (book) John & Yoko: Above Us Only
Sky Lennon Remembers LennoNYC The Lives of John Lennon The Lost Lennon
Tapes Marx & Lennon: The Parallel Sayings Nowhere Man: The Final
Days of John Lennon The Pope Smokes Dope Pussy Cats The Rolling Stones
Rock and Roll Circus Roots: John Lennon Sings the Great Rock & Roll
Hits "That's My Life (My Love and My Home)" The U.S. vs. John Lennon
soundtrack
Other topics
251 Menlove Avenue Kenwood Tittenhurst Park The Dakota Bagism Bed-Ins
for Peace Imagine Piano Peace Project Lennon–McCartney LennonOno Grant
for Peace Mark David Chapman "More popular than Jesus" Nutopia Toronto
Rock and Roll Revival
Sweet Toronto
Category
vte
Paul McCartney
Paul "Wix" Wickens Rusty Anderson Brian Ray Abe Laboriel Jr.
Linda McCartney Hamish Stuart Robbie McIntosh Chris Whitten Blair Cunningham
Studio albums
McCartney Ram Thrillington McCartney II Tug of War Pipes of Peace Give
My Regards to Broad Street Press to Play Снова в СССР Flowers in the
Dirt Off the Ground Flaming Pie Run Devil Run Driving Rain Chaos and
Creation in the Backyard Memory Almost Full Kisses on the Bottom New
Egypt Station McCartney III
with Wings
Wild Life Red Rose Speedway Band on the Run Venus and Mars Wings at the Speed of Sound London Town Back to the Egg
The Fireman
Strawberries Oceans Ships Forest Rushes Electric Arguments
Classical
Paul McCartney's Liverpool Oratorio Standing Stone Working Classical Ecce Cor Meum Ocean's Kingdom
Live albums
Wings over America (with Wings) Tripping the Live Fantastic Unplugged
(The Official Bootleg) Paul Is Live Back in the U.S. Back in the World
Live Amoeba's Secret Good Evening New York City Live in Los Angeles
Amoeba Gig
Remix albums
Liverpool Sound Collage Twin Freaks McCartney III Imagined
Compilations
All the Best! The Paul McCartney Collection Wingspan: Hits and History Never Stop Doing What You Love Pure McCartney
Books
High in the Clouds Hey Grandude! The Lyrics: 1956 to the Present
Filmography
A Hard Day's Night (1964) Help! (1965) Magical Mystery Tour (1967)
Yellow Submarine (1968) Let It Be (1970) James Paul McCartney (1973) One
Hand Clapping (1974) Wings Over the World (1979) Back to the Egg (1979)
Concert for Kampuchea (1980) Rockshow (1980) Rupert and the Frog Song
(1984) Give My Regards to Broad Street (1984) Put It There (1989) MTV
Unplugged (1991) Get Back (1991) Liverpool Oratorio (1991) Paul Is Live
(1993) In the World Tonight (1997) Standing Stone (1997) Tropic Island
Hum (1997) Live at the Cavern Club (1999) Working Classical (2000)
Wingspan (2001) The Concert for New York City (2001) Back in the U.S.
(2002) Paul McCartney in Red Square (2003) The Music and Animation
Collection (2004) Between Chaos and Creation (2005) The Space Within US
(2006) Memory Almost Full – Deluxe Edition (2007) The McCartney Years
(2007) Ecce Cor Meum (2008) Good Evening New York City (2009) The Love
We Make (2011) A Rendez-Vous with Paul McCartney (2013) New –
Collector's Edition (2014) A MusiCares Tribute To Paul McCartney (2015)
Pure McCartney (2016) Carpool Karaoke: When Corden Met McCartney Live
From Liverpool (2018)
Bootlegs
Cold Cuts Costello Album A Toot and a Snore in '74 Return to Pepperland
Tours
The Paul McCartney World Tour The New World Tour Driving World Tour The
'US' Tour Summer Live '09 Good Evening Europe Tour Up and Coming Tour
On the Run Out There One on One 2018 Secret Gigs Freshen Up Got Back
Tributes
The Art of McCartney Let Us in Americana: The Music of Paul McCartney Pure McCartney (2013 album)
Lists
Awards Discography Music contributions and appearances Song recordings
Related media
"Cut Me Some Slack" The Family Way A Garland for Linda "Lisa the
Vegetarian" The McCartney Interview Many Years from Now Oobu Joobu Paul
McCartney Archive Collection Paul McCartney's Glastonbury Groove Two of
Us (film) Wide Prairie
Other topics
20 Forthlin
Road The Beatles Brian Clarke The Fireman Lennon–McCartney Heather Mills
MPL Communications "Paul is dead" Paul McCartney Band Personal
relationships The Quarrymen Wings
Category
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Ringo Starr
Studio albums
Sentimental Journey Beaucoups of Blues Ringo Goodnight Vienna Ringo's
Rotogravure Ringo the 4th Bad Boy Stop and Smell the Roses Old Wave Time
Takes Time Vertical Man I Wanna Be Santa Claus Ringo Rama Choose Love
Liverpool 8 Y Not Ringo 2012 Postcards from Paradise Give More Love
What's My Name
Live albums
Ringo Starr and His
All-Starr Band Ringo Starr and His All Starr Band Volume 2: Live from
Montreux Ringo Starr and His Third All-Starr Band Volume 1 VH1
Storytellers King Biscuit Flower Hour Presents Ringo & His New
All-Starr Band Extended Versions Tour 2003 Ringo Starr and Friends Ringo
Starr: Live at Soundstage Ringo Starr & His All Starr Band Live
2006 Live at the Greek Theatre 2008
Compilations
Blast from Your Past Starr Struck: Best of Ringo Starr, Vol. 2 The
Anthology... So Far Photograph: The Very Best of Ringo Starr Ringo 5.1:
The Surround Sound Collection Icon
Singles
"Beaucoups of Blues" "It Don't Come Easy" / "Early 1970" "Back Off
Boogaloo" "Photograph" "You're Sixteen" "Oh My My" "Only You (And You
Alone)" "No No Song" / "Snookeroo" "(It's All Down to) Goodnight Vienna"
"Oh My My" / "No No Song" "A Dose of Rock 'n' Roll" "Hey! Baby" "Wings"
"Lipstick Traces (on a Cigarette)" "In My Car" "I Keep Forgettin'" "Act
Naturally" "Weight of the World" "Never Without You" "Liverpool 8"
"Walk with You"
EPs
4-Starr Collection Zoom In Change the World
Books
Postcards from the Boys Octopus's Garden Photograph
Related
Discography Song list Filmography Ringo Starr & His All-Starr Band
The Beatles 10 Admiral Grove Barbara Bach "Brush with Greatness" The
Concert for Bangladesh Vini Poncia Ring O' Records Ringo (1978 film)
Ringo's Yellow Submarine Scouse the Mouse Shining Time Station Zak
Starkey Maureen Starkey Tigrett Startling Music Rory Storm Thomas &
Friends Tittenhurst Park
Category
Articles related to the Beatles
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The Beatles album discography
Albums in the core catalogue are marked in bold.
Studio albums
UK
Please Please Me With the Beatles A Hard Day's Night Beatles for Sale
Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band The
Beatles ("White Album") Yellow Submarine Abbey Road Let It Be
US
Vee-Jay
Introducing... The Beatles Hear the Beatles Tell All
Capitol
Meet the Beatles! The Beatles' Second Album A Hard Day's Night
Something New The Beatles' Story Beatles '65 The Early Beatles Beatles
VI Help! Rubber Soul Yesterday and Today Revolver Magical Mystery Tour
Hey Jude
Canada
Twist and Shout The Beatles' Long Tall Sally
Extended plays
UK
Twist and Shout The Beatles' Hits The Beatles (No. 1) All My Loving
Long Tall Sally Extracts from the Film A Hard Day's Night Extracts from
the Album A Hard Day's Night Beatles for Sale Beatles for Sale No. 2 The
Beatles' Million Sellers Yesterday Nowhere Man Magical Mystery Tour
US
Souvenir of Their Visit to America Four by the Beatles 4 by the Beatles
Live albums
Live! at the Star-Club in Hamburg, Germany; 1962 The Beatles at the
Hollywood Bowl / Live at the Hollywood Bowl First Live Recordings Live
at the BBC On Air – Live at the BBC Volume 2 The Beatles Bootleg
Recordings 1963 Get Back — The Rooftop Performance
Selected
compilations
Hits
The Beatles in Italy Los Beatles Greatest Hits Volume 1 A Collection of
Beatles Oldies Greatest Hits Volume 2 1962–1966 ("Red Album") 1967–1970
("Blue Album") 1
Non-album tracks
Por Siempre Beatles Past Masters Mono Masters
Themed
From Then to You / The Beatles' Christmas Album Tomorrow Never Knows
Archival
Anthology
1 2 3 The Beatles Bootleg Recordings 1963
Remixes
Yellow Submarine Songtrack Let It Be... Naked Love
Box sets
The Beatles Collection The Beatles Box The Beatles: The Collection The Beatles Box Set The Capitol Albums
vol. 1 2 The Beatles (The Original Studio Recordings) The Beatles in
Mono The U.S. Albums The Japan Box The Christmas Records
vte
The Beatles compilation discography
Bert Kaempfert
recordings with
Tony Sheridan
My Bonnie (GER, 1962) The Beatles with Tony Sheridan and Their Guests
(1964) Ain't She Sweet (1964) The Beatles' First (GER, 1964 / UK, 1967)
Very Together (1969) In the Beginning (Circa 1960) (1970) The Early
Tapes of the Beatles (1984) Beatles Bop – Hamburg Days (2001) I Saw Her
Standing There (2013)
Hits
Greatest Hits Volume 1
(AUS, 1966) A Collection of Beatles Oldies (1966) Greatest Hits Volume 2
(AUS, 1967) The Essential Beatles (AUS, 1972) 1962–1966 (1973)
1967–1970 (1973) 20 Golden Hits (DE, 1979) 20 Greatest Hits (1982) The
Number Ones (AUS, 1983) 1 (2000)
Themes
Rock 'n' Roll Music (1976) Love Songs (1977) The Beatles Ballads (1980) Reel Music (1982) Tomorrow Never Knows (2012)
Non-album tracks
Hey Jude (US, 1970 / UK, 1979) Por Siempre Beatles (ARG, 1971) Rarities
(UK, 1978) Rarities (US, 1980) Past Masters (1988) Mono Masters (2009)
Alternative versions
Yellow Submarine Songtrack (1999) Let It Be... Naked (2003)
Archival
Sessions (unreleased) Anthology 1 (1995) Anthology 2 (1996) Anthology 3 (1996) The Beatles Bootleg Recordings 1963 (2013)
Other
Jolly What! / The Beatles & Frank Ifield on Stage (US, 1964) The
Beatles in Italy (ITA, 1965) The Beatles' Christmas Album (US) / From
Then to You (UK) (1970) The Beatles Tapes from the David Wigg Interviews
(1976) Only The Beatles... (UK, 1986, withdrawn) Love (2006)
Unofficial
God (1998) Everyday Chemistry (2009) The Black Album (2014) 4: John Paul George Ringo (2014 EP)
Box sets
The Singles Collection 1962–1970 (UK, 1976) The Beatles Collection (UK,
1978 / US, 1979) The Beatles Box (1980) The Beatles EP Collection
(1981) The Beatles: The Collection (1982) The Beatles Mono Collection
(1982) The Beatles Box Set (1988) The Capitol Albums, Volume 1 (2004)
The Capitol Albums, Volume 2 (2006) The Beatles (The Original Studio
Recordings) (2009) The Beatles in Mono (2009) The U.S. Albums (2014) The
Japan Box (2014) The Christmas Records (2017) The Singles Collection
(2019)
50th anniversary editions
Sgt. Pepper's Lonely Hearts Club Band (2017) The Beatles (White Album) (2018) Abbey Road (2019) Let It Be (2021)
vte
The Beatles singles discography
UK and US
(all labels)
1963
"Please Please Me" / "Ask Me Why" "From Me to You" / "Thank You Girl" "She Loves You" / "I'll Get You"
1964
"Can't Buy Me Love" / "You Can't Do That" "I Feel Fine" / "She's a Woman"
1965
"Ticket to Ride" / "Yes It Is" "Help!" / "I'm Down" "Day Tripper" / "We Can Work It Out"
1966
"Paperback Writer" / "Rain" "Eleanor Rigby" / "Yellow Submarine"
1967
"Strawberry Fields Forever" / "Penny Lane" "All You Need Is Love" /
"Baby, You're a Rich Man" "Hello, Goodbye" / "I Am the Walrus"
1968
"Lady Madonna" / "The Inner Light" "Hey Jude" / "Revolution"
1969
"Get Back" / "Don't Let Me Down" "The Ballad of John and Yoko" / "Old Brown Shoe" "Something" / "Come Together"
1970
"Let It Be" / "You Know My Name (Look Up the Number)"
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "A Day in the Life"
1982
"The Beatles' Movie Medley" / "I'm Happy Just to Dance with You"
1995
"Baby It's You" "Free as a Bird" / "Christmas Time (Is Here Again)"
1996
"Real Love" / "Baby's in Black"
UK only
(Parlophone,
Apple,
Polydor)
1962
"My Bonnie" / "The Saints" "Love Me Do" / "P.S. I Love You"
1963
"I Want to Hold Your Hand" / "This Boy"
1964
"Ain't She Sweet" / "If You Love Me, Baby" "A Hard Day's Night" / "Things We Said Today"
1976
"Yesterday" / "I Should Have Known Better" "Back in the U.S.S.R." / "Twist and Shout"
US only
(Vee-Jay,
Swan,
Tollie,
Capitol,
Apple,
Atco)
1963
"I Want to Hold Your Hand" / "I Saw Her Standing There"
1964
"Please Please Me" / "From Me to You" "My Bonnie" / "The Saints" "Twist
and Shout" / "There's a Place" "Do You Want to Know a Secret" / "Thank
You Girl" "Love Me Do" / "P.S. I Love You" "Sie liebt dich" / "I'll Get
You" "I'll Cry Instead" / "I'm Happy Just to Dance with You" "And I Love
Her" / "If I Fell" "Ain't She Sweet" / "Nobody's Child" "A Hard Day's
Night" / "I Should Have Known Better" "Matchbox" / "Slow Down"
1965
"Eight Days a Week" / "I Don't Want to Spoil the Party" "Yesterday" / "Act Naturally"
1966
"Nowhere Man" / "What Goes On"
1970
"The Long and Winding Road" / "For You Blue"
1976
"Got to Get You into My Life" / "Helter Skelter" "Ob-La-Di, Ob-La-Da" / "Julia"
Other
countries
(Odeon,
Parlophone,
Apple)
1963
"All My Loving" / "This Boy" (Canada)
1964
"Komm, gib mir deine Hand / Sie liebt dich" (Germany, Australia) "Roll Over Beethoven" / "Devil in Her Heart" (Philippines)
1965
"Rock and Roll Music" / "I'm a Loser" (Europe, Australia)
1966
"Norwegian Wood (This Bird Has Flown)" / "Nowhere Man" (Australia) "Michelle" / "Girl" (Europe)
1968
"Ob-La-Di, Ob-La-Da" / "While My Guitar Gently Weeps" (Europe, Japan,
Australia) "Ob-La-Di, Ob-La-Da" / "I Will" (Philippines) "Back in the
U.S.S.R." / "Don't Pass Me By" (Sweden)
1969
"You're Going to Lose That Girl" / "Tell Me What You See" (Japan)
1970
"Oh! Darling" / "Here Comes the Sun" (Japan)
1972
"All Together Now" / "Hey Bulldog" (Europe)
1978
"Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends" / "Within You Without You" (Germany)
The Beatles portal
vte
The Beatles filmography and videography
Filmography and
videography
A Hard Day's Night Help! Magical Mystery Tour Yellow Submarine Let It Be The Beatles: 1+
Documentaries
Around the Beatles The First U.S. Visit At Shea Stadium A Salute to the
Beatles The Compleat Beatles It Was Twenty Years Ago Today Anthology
All Together Now Eight Days a Week – The Touring Years The Beatles and
India Get Back
Promotional films
(music videos)
"Day Tripper" "We Can Work It Out" "I Feel Fine" "Ticket to Ride"
"Help!" "Rain" "Paperback Writer" "Strawberry Fields Forever" "Penny
Lane" "A Day in the Life" "Hello, Goodbye" "Lady Madonna" "Hey Jude"
"Revolution" "Something" "Free as a Bird" "Real Love" "Here Comes the
Sun"
Fictionalised Beatles
The Beatles (TV series)
Ringo Birth of the Beatles Beatlemania Give My Regards to Broad Street
John and Yoko: A Love Story Backbeat The Hours and Times The Linda
McCartney Story Two of Us In His Life: The John Lennon Story The Killing
of John Lennon Chapter 27 Nowhere Boy Lennon Naked Snodgrass
Inspired by Beatles
The Girls on the Beach All This and World War II Sgt. Pepper's Lonely
Hearts Club Band I Wanna Hold Your Hand All You Need Is Cash Secrets I
Am Sam The Rutles 2: Can't Buy Me Lunch Across the Universe Living Is
Easy with Eyes Closed Yesterday
Related articles
The Music of Lennon & McCartney Our World Up Against It Beatles Stories George Harrison: Living in the Material World
vte
The Beatles literature
Reference works
The Beatles Illustrated Lyrics (1969) The Complete Beatles Recording Sessions (1988) Recording the Beatles (2006)
Primary sources
Beatles
Lennon Remembers (1970) I, Me, Mine (1980) Songs by George Harrison
(1988) Songs by George Harrison 2 (1992) Paul McCartney: Many Years from
Now (1997) Anthology (2000) Postcards from the Boys (2004) Photograph
(2013) The Lyrics: 1956 to the Present (2021)
Associates
A Cellarful of Noise (1964) The Longest Cocktail Party (1973) All You
Need Is Ears (1979) The Love You Make (1983) Ticket to Ride (2003) John
(2005) Wonderful Today (2007)
Biographies
The
Authorised Biography (1968) Apple to the Core (1972) Shout!: The Beatles
in Their Generation (1981) The Lives of John Lennon (1988) Nowhere Man:
The Final Days of John Lennon (2000) The Biography (2004) Magical
Mystery Tours (2006) Can't Buy Me Love (2007) You Never Give Me Your
Money (2009) All These Years (2013–) One Two Three Four: The Beatles in
Time (2020)
Critique
An Illustrated Record (1975)
Revolution in the Head: The Beatles' Records and the Sixties (1994) In
Their Lives: Great Writers on Great Beatles Songs (2017)
Fiction
Beatles (1984) The Beatles Experience (1991–1992) "The Twelfth Album" (1998) Octopus's Garden (2013) The Fifth Beatle (2013)
Writers
Hunter Davies Peter Doggett Walter Everett Bill Harry Mark Hertsgaard
Mark Lewisohn Ian MacDonald Barry Miles Philip Norman Tim Riley Nicholas
Schaffner Bob Spitz Bruce Spizer Steve Turner Kenneth Womack
Category
vte
Please Please Me
Songs
Side one
"I Saw Her Standing There" "Misery" "Anna (Go to Him)" "Chains" "Boys" "Ask Me Why" "Please Please Me"
Side two
"Love Me Do" "P.S. I Love You" "Baby It's You" "Do You Want to Know a
Secret" "A Taste of Honey" "There's a Place" "Twist and Shout"
Non-album single
"From Me to You" "Thank You Girl"
Outtakes
"How Do You Do It?" "Tip of My Tongue" "Hold Me Tight" "B same Mucho" "One After 909" "What Goes On"
Extended plays
Twist and Shout The Beatles (No. 1) Souvenir of Their Visit to America
Corresponding North
American albums
Introducing... The Beatles Twist and Shout The Early Beatles
Tours
Winter 1963 Helen Shapiro Tour 1963 Tour with Roy Orbison
Related articles
The Beatles discography
Please Please Me With the Beatles A Hard Day's Night Beatles for Sale
Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let
It Be
vte
With the Beatles
Songs
Side one
"It Won't Be Long" "All I've Got to Do" "All My Loving" "Don't Bother
Me" "Little Child" "Till There Was You" "Please Mr. Postman"
Side two
"Roll Over Beethoven" "Hold Me Tight" "You Really Got a Hold on Me" "I
Wanna Be Your Man" "Devil in Her Heart" "Not a Second Time" "Money
(That's What I Want)"
Non-album singles
"She Loves You" "I'll Get You" "I Want to Hold Your Hand" "This Boy"
Extended plays
All My Loving Four by the Beatles
Corresponding North
American albums
Meet The Beatles! The Beatles' Second Album
Related articles
The Beatles discography
Please Please Me With the Beatles A Hard Day's Night Beatles for Sale
Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let
It Be
vte
A Hard Day's Night
1964 film
Songs
Side one
"A Hard Day's Night" "I Should Have Known Better" "If I Fell" "I'm
Happy Just to Dance with You" "And I Love Her" "Tell Me Why" "Can't Buy
Me Love"
Side two
"Any Time at All" "I'll Cry Instead" "Things We Said Today" "When I Get Home" "You Can't Do That" "I'll Be Back"
Long Tall Sally (EP)
"Long Tall Sally" "I Call Your Name" "Slow Down" "Matchbox"
German single
"Komm, Gib Mir Deine Hand" / "Sie Liebt Dich"
Outtakes
"No Reply" "You Know What to Do"
Related articles
The Beatles discography Extracts from the Album A Hard Day's Night
Extracts from the Film A Hard Day's Night Something New 1964 world tour
1964 North American tour
Please Please Me With the Beatles A
Hard Day's Night Beatles for Sale Help! Rubber Soul Revolver Sgt.
Pepper's Lonely Hearts Club Band Magical Mystery Tour The Beatles (White
Album) Yellow Submarine Abbey Road Let It Be
vte
Beatles for Sale
Songs
Side one
"No Reply" "I'm a Loser" "Baby's in Black" "Rock and Roll Music" "I'll
Follow the Sun" "Mr. Moonlight" "Kansas City / Hey, Hey, Hey, Hey"
Side two
"Eight Days a Week" "Words of Love" "Honey Don't" "Every Little Thing"
"I Don't Want to Spoil the Party" "What You're Doing" "Everybody's
Trying to Be My Baby"
Non-album single
"I Feel Fine" "She's a Woman"
Outtakes
"Leave My Kitten Alone"
Related articles
The Beatles discography Beatles '65 Beatles VI Beatles for Sale Beatles for Sale No. 2 4 by the Beatles
Please Please Me With the Beatles A Hard Day's Night Beatles for Sale
Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let
It Be
vte
Help!
1965 film
Songs
Side one
"Help!" "The Night Before" "You've Got to Hide Your Love Away" "I Need
You" "Another Girl" "You're Going to Lose That Girl" "Ticket to Ride"
Side two
"Act Naturally" "It's Only Love" "You Like Me Too Much" "Tell Me What
You See" "I've Just Seen a Face" "Yesterday" "Dizzy Miss Lizzy"
Non-album tracks
"I'm Down" "Yes It Is" "Bad Boy"
Outtakes
"If You've Got Trouble" "That Means a Lot" "Wait"
Related articles
The Beatles discography 1965 European tour 1965 US tour Yesterday (EP) Help! (George Martin album)
Please Please Me With the Beatles A Hard Day's Night Beatles for Sale
Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let
It Be
vte
Rubber Soul
Songs
Side one
"Drive My Car" "Norwegian Wood (This Bird Has Flown)" "You Won't See
Me" "Nowhere Man" "Think for Yourself" "The Word" "Michelle"
Side two
"What Goes On" "Girl" "I'm Looking Through You" "In My Life" "Wait" "If I Needed Someone" "Run for Your Life"
Non-album single
"Day Tripper" "We Can Work It Out"
Outtake
"12-Bar Original"
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Beatles' Rubber Soul
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Hard Day's Night Beatles for Sale Help! Rubber Soul Revolver Sgt.
Pepper's Lonely Hearts Club Band Magical Mystery Tour The Beatles (White
Album) Yellow Submarine Abbey Road Let It Be
vte
Revolver
Songs
Side one
"Taxman" "Eleanor Rigby" "I'm Only Sleeping" "Love You To" "Here, There
and Everywhere" "Yellow Submarine" "She Said She Said"
Side two
"Good Day Sunshine" "And Your Bird Can Sing" "For No One" "Doctor
Robert" "I Want to Tell You" "Got to Get You into My Life" "Tomorrow
Never Knows"
Non-album single
"Paperback Writer" "Rain"
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The Beatles discography Recording practices of the Beatles Yesterday
and Today 1966 tour of Germany, Japan and the Philippines 1966 US tour
"More popular than Jesus"
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Pepper's Lonely Hearts Club Band Magical Mystery Tour The Beatles (White
Album) Yellow Submarine Abbey Road Let It Be
vte
Sgt. Pepper's Lonely Hearts Club Band
50th Anniversary Edition Cover photo
Songs
Side one
"Sgt. Pepper's Lonely Hearts Club Band" "With a Little Help from My
Friends" "Lucy in the Sky with Diamonds" "Getting Better" "Fixing a
Hole" "She's Leaving Home" "Being for the Benefit of Mr. Kite!"
Side two
"Within You Without You" "When I'm Sixty-Four" "Lovely Rita" "Good
Morning Good Morning" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)"
"A Day in the Life"
Non-album single
"Strawberry Fields Forever" "Penny Lane"
Outtakes
"Only a Northern Song" "Carnival of Light"
Tribute albums
Easy Star's Lonely Hearts Dub Band Saluting Sgt. Pepper Sgt. Pepper
Knew My Father Sgt. Pepper Live Sgt. Pepper's Sgt. Petsound's Lonely
Hearts Club Band With a Little Help from My Fwends
Related articles
Peter Blake Pablo Fanque Jann Haworth William Kite The Beatles
discography Return to Pepperland Sgt. Pepper's Lonely Hearts Club Band
(film) Sgt. Pepper's Lonely Hearts Club Band (soundtrack) It Was Twenty
Years Ago Today Sgt. Pepper's Lonely Hearts Club Band on the Road Yellow
Submarine (film) "Tina in the Sky with Diamonds"
Please
Please Me With the Beatles A Hard Day's Night Beatles for Sale Help!
Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let
It Be
vte
Magical Mystery Tour
1967 film
Songs
Side one
"Magical Mystery Tour" "The Fool on the Hill" "Flying" "Blue Jay Way" "Your Mother Should Know" "I Am the Walrus"
Side two
"Hello, Goodbye" "Strawberry Fields Forever" "Penny Lane" "Baby, You're a Rich Man" "All You Need Is Love"
Outtakes
"You Know My Name (Look Up the Number)" "It's All Too Much" "All Together Now"
Related
The Beatles discography Our World The Beatles in Bangor Furthur (bus)
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Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical
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It Be
vte
The Beatles (White Album)
50th Anniversary Edition
Songs
Side one
"Back in the U.S.S.R." "Dear Prudence" "Glass Onion" "Ob-La-Di,
Ob-La-Da" "Wild Honey Pie" "The Continuing Story of Bungalow Bill"
"While My Guitar Gently Weeps" "Happiness Is a Warm Gun"
Side two
"Martha My Dear" "I'm So Tired" "Blackbird" "Piggies" "Rocky Raccoon"
"Don't Pass Me By" "Why Don't We Do It in the Road?" "I Will" "Julia"
Side three
"Birthday" "Yer Blues" "Mother Nature's Son" "Everybody's Got Something
to Hide Except Me and My Monkey" "Sexy Sadie" "Helter Skelter" "Long,
Long, Long"
Side four
"Revolution 1" "Honey Pie" "Savoy Truffle" "Cry Baby Cry" "Revolution 9" "Good Night"
Non-album single
"Hey Jude" "Revolution"
Outtakes
"A Beginning" "Child of Nature" "Circles" "Etcetera" "Junk" "Not Guilty" "Sour Milk Sea" "What's the New Mary Jane"
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It Be
vte
Yellow Submarine
1968 film Yellow Submarine Songtrack
Songs
Side one
"Yellow Submarine" "Only a Northern Song" "All Together Now" "Hey Bulldog" "It's All Too Much" "All You Need Is Love"
Side two
"Pepperland" "Sea of Time" "Sea of Holes" "Sea of Monsters" "March of
the Meanies" "Pepperland Laid Waste" "Yellow Submarine in Pepperland"
Film characters
Blue Meanies Chief Blue Meanie Jeremy Hillary Boob
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It Be
vte
Abbey Road
50th Anniversary Edition
Songs
Side one
"Come Together" "Something" "Maxwell's Silver Hammer" "Oh! Darling" "Octopus's Garden" "I Want You (She's So Heavy)"
Side two
"Here Comes the Sun" "Because" "You Never Give Me Your Money" "Sun
King" "Mean Mr. Mustard" "Polythene Pam" "She Came In Through the
Bathroom Window" "Golden Slumbers" "Carry That Weight" "The End" "Her
Majesty"
Non-album single
"The Ballad of John and Yoko" "Old Brown Shoe"
Outtakes
"All Things Must Pass" "Come and Get It" "Ain't She Sweet"
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The Beatles discography Break-up of the Beatles Abbey Road, London
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It Be
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Let It Be
1970 film Let It Be... Naked 50th Anniversary Edition The Beatles: Get Back
Songs
Side one
"Two of Us" "Dig a Pony" "Across the Universe" "I Me Mine" "Dig It" "Let It Be" "Maggie Mae"
Side two
"I've Got a Feeling" "One After 909" "The Long and Winding Road" "For You Blue" "Get Back"
B-sides
"Don't Let Me Down" "You Know My Name (Look Up the Number)"
Outtakes
"All Things Must Pass" "Another Day" "The Back Seat of My Car" "Every
Night" "Gimme Some Truth" "Hear Me Lord" "Let It Down" "Madman" "The
Palace of the King of the Birds" "Suzy Parker" "Teddy Boy" "Watching
Rainbows"
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It Be
Awards for the Beatles
vte
Academy Award for Best Original Score
1930s
Louis Silvers (1934) Max Steiner (1935) Leo F. Forbstein (1936) Charles
Previn (1937) Erich Wolfgang Korngold / Alfred Newman (1938) Herbert
Stothart / Richard Hageman, W. Franke Harling, John Leipold and Leo
Shuken (1939)
1940s
Leigh Harline, Paul J. Smith
and Ned Washington / Alfred Newman (1940) Bernard Herrmann / Frank
Churchill and Oliver Wallace (1941) Max Steiner / Ray Heindorf and Heinz
Roemheld (1942) Alfred Newman / Ray Heindorf (1943) Max Steiner /
Morris Stoloff and Carmen Dragon (1944) Miklos Rozsa / Georgie Stoll
(1945) Hugo Friedhofer / Morris Stoloff (1946) Miklos Rozsa / Alfred
Newman (1947) Brian Easdale / Johnny Green and Roger Edens (1948) Aaron
Copland / Roger Edens and Lennie Hayton (1949)
1950s
Franz Waxman / Adolph Deutsch and Roger Edens (1950) Franz Waxman /
Johnny Green and Saul Chaplin (1951) Dimitri Tiomkin / Alfred Newman
(1952) Bronislau Kaper / Alfred Newman (1953) Dimitri Tiomkin / Adolph
Deutsch and Saul Chaplin (1954) Alfred Newman / Robert Russell Bennett,
Jay Blackton and Adolph Deutsch (1955) Victor Young / Alfred Newman and
Ken Darby (1956) Malcolm Arnold (1957) Dimitri Tiomkin / Andr Previn
(1958) Miklos Rozsa / Andr Previn and Ken Darby (1959)
1960s
Ernest Gold / Morris Stoloff and Harry Sukman (1960) Henry Mancini /
Saul Chaplin, Johnny Green, Sid Ramin and Irwin Kostal (1961) Maurice
Jarre / Ray Heindorf (1962) John Addison / Andr Previn (1963) Richard
M. Sherman and Robert B. Sherman / Andr Previn (1964) Maurice Jarre /
Irwin Kostal (1965) John Barry / Ken Thorne (1966) Elmer Bernstein /
Alfred Newman and Ken Darby (1967) John Barry / Johnny Green (1968) Burt
Bacharach / Lennie Hayton and Lionel Newman (1969)
1970s
Francis Lai / The Beatles (John Lennon, Paul McCartney, George Harrison
and Ringo Starr) (1970) Michel Legrand / John Williams (1971) Charlie
Chaplin, Raymond Rasch and Larry Russell / Ralph Burns (1972) Marvin
Hamlisch / Marvin Hamlisch (1973) Nino Rota and Carmine Coppola / Nelson
Riddle (1974) John Williams / Leonard Rosenman (1975) Jerry Goldsmith /
Leonard Rosenman (1976) John Williams / Jonathan Tunick (1977) Giorgio
Moroder / Joe Renzetti (1978) Georges Delerue / Ralph Burns (1979)
1980s
Michael Gore (1980) Vangelis (1981) John Williams / Henry Mancini and
Leslie Bricusse (1982) Bill Conti / Michel Legrand, Alan and Marilyn
Bergman (1983) Maurice Jarre / Prince (1984) John Barry (1985) Herbie
Hancock (1986) Ryuichi Sakamoto, David Byrne and Cong Su (1987) Dave
Grusin (1988) Alan Menken (1989)
1990s
John Barry
(1990) Alan Menken (1991) Alan Menken (1992) John Williams (1993) Hans
Zimmer (1994) Luis Bacalov / Alan Menken and Stephen Schwartz (1995)
Gabriel Yared / Rachel Portman (1996) James Horner / Anne Dudley (1997)
Nicola Piovani / Stephen Warbeck (1998) John Corigliano (1999)
2000s
Tan Dun (2000) Howard Shore (2001) Elliot Goldenthal (2002) Howard
Shore (2003) Jan A. P. Kaczmarek (2004) Gustavo Santaolalla (2005)
Gustavo Santaolalla (2006) Dario Marianelli (2007) A. R. Rahman (2008)
Michael Giacchino (2009)
2010s
Trent Reznor and
Atticus Ross (2010) Ludovic Bource (2011) Mychael Danna (2012) Steven
Price (2013) Alexandre Desplat (2014) Ennio Morricone (2015) Justin
Hurwitz (2016) Alexandre Desplat (2017) Ludwig G ransson (2018) Hildur
Gu nad ttir (2019)
2020s
Trent Reznor, Atticus Ross and Jon Batiste (2020) Hans Zimmer (2021)
vte
Brit Award for British Album of the Year
1977–2000
Sgt. Pepper's Lonely Hearts Club Band – The Beatles (1977) Kings of the
Wild Frontier – Adam and the Ants (1982) Memories – Barbra Streisand
(1983) Thriller – Michael Jackson (1984) Diamond Life – Sade (1985) No
Jacket Required – Phil Collins (1986) Brothers in Arms – Dire Straits
(1987) ...Nothing Like the Sun – Sting (1988) The First of a Million
Kisses – Fairground Attraction (1989) The Raw and the Cooked – Fine
Young Cannibals (1990) Listen Without Prejudice Vol. 1 – George Michael
(1991) Seal – Seal (1992) Diva – Annie Lennox (1993) Connected – Stereo
MC's (1994) Parklife – Blur (1995) (What's the Story) Morning Glory? –
Oasis (1996) Everything Must Go – Manic Street Preachers (1997) Urban
Hymns – The Verve (1998) This Is My Truth Tell Me Yours – Manic Street
Preachers (1999) The Man Who – Travis (2000)
2001–present
Parachutes – Coldplay (2001) No Angel – Dido (2002) A Rush of Blood to
the Head – Coldplay (2003) Permission to Land – The Darkness (2004)
Hopes and Fears – Keane (2005) X&Y – Coldplay (2006) Whatever People
Say I Am, That's What I'm Not – Arctic Monkeys (2007) Favourite Worst
Nightmare – Arctic Monkeys (2008) Rockferry – Duffy (2009) Lungs –
Florence and the Machine (2010) Sigh No More – Mumford & Sons (2011)
21 – Adele (2012) Our Version of Events – Emeli Sand (2013) AM –
Arctic Monkeys (2014) x – Ed Sheeran (2015) 25 – Adele (2016) Blackstar –
David Bowie (2017) Gang Signs & Prayer – Stormzy (2018) A Brief
Inquiry into Online Relationships – The 1975 (2019) Psychodrama – Dave
(2020) Future Nostalgia – Dua Lipa (2021) 30 – Adele (2022)
vte
Brit Award for British Group
The Beatles (1977) The Police (1982) Dire Straits (1983) Culture Club
(1984) Wham! (1985) Dire Straits (1986) Five Star (1987) Pet Shop Boys
(1988) Erasure (1989) Fine Young Cannibals (1990) The Cure (1991) The
KLF and Simply Red (1992) Simply Red (1993) Stereo MC's (1994) Blur
(1995) Oasis (1996) Manic Street Preachers (1997) The Verve (1998) Manic
Street Preachers (1999) Travis (2000) Coldplay (2001) Travis (2002)
Coldplay (2003) The Darkness (2004) Franz Ferdinand (2005) Kaiser Chiefs
(2006) Arctic Monkeys (2007) Arctic Monkeys (2008) Elbow (2009)
Kasabian (2010) Take That (2011) Coldplay (2012) Mumford & Sons
(2013) Arctic Monkeys (2014) Royal Blood (2015) Coldplay (2016) The 1975
(2017) Gorillaz (2018) The 1975 (2019) Foals (2020) Little Mix (2021)
Wolf Alice (2022)
vte
Grammy Award for Album of the Year
1959–1979
The Music from Peter Gunn – Henry Mancini (1959) Come Dance with Me! –
Frank Sinatra (1960) The Button-Down Mind of Bob Newhart – Bob Newhart
(1961) Judy at Carnegie Hall – Judy Garland (1962) The First Family –
Vaughn Meader (1963) The Barbra Streisand Album – Barbra Streisand
(1964) Getz/Gilberto – Stan Getz & Jo o Gilberto (1965) September of
My Years – Frank Sinatra (1966) A Man and His Music – Frank Sinatra
(1967) Sgt. Pepper's Lonely Hearts Club Band – The Beatles (1968) By the
Time I Get to Phoenix – Glen Campbell (1969) Blood, Sweat & Tears –
Blood, Sweat & Tears (1970) Bridge over Troubled Water – Simon
& Garfunkel (1971) Tapestry – Carole King (1972) The Concert for
Bangladesh – George Harrison & Friends (1973) Innervisions – Stevie
Wonder (1974) Fulfillingness' First Finale – Stevie Wonder (1975) Still
Crazy After All These Years – Paul Simon (1976) Songs in the Key of Life
– Stevie Wonder (1977) Rumours – Fleetwood Mac (1978) Saturday Night
Fever – Various Artists (1979)
1980–1999
52nd
Street – Billy Joel (1980) Christopher Cross – Christopher Cross (1981)
Double Fantasy – John Lennon & Yoko Ono (1982) Toto IV – Toto (1983)
Thriller – Michael Jackson (1984) Can't Slow Down – Lionel Richie
(1985) No Jacket Required – Phil Collins (1986) Graceland – Paul Simon
(1987) The Joshua Tree – U2 (1988) Faith – George Michael (1989) Nick of
Time – Bonnie Raitt (1990) Back on the Block – Quincy Jones and Various
Artists (1991) Unforgettable... with Love – Natalie Cole (1992)
Unplugged – Eric Clapton (1993) The Bodyguard – Whitney Houston (1994)
MTV Unplugged – Tony Bennett (1995) Jagged Little Pill – Alanis
Morissette (1996) Falling into You – Celine Dion (1997) Time Out of Mind
– Bob Dylan (1998) The Miseducation of Lauryn Hill – Lauryn Hill (1999)
2000–2019
Supernatural – Santana (2000) Two Against Nature – Steely Dan (2001) O
Brother, Where Art Thou? – Various Artists (2002) Come Away with Me –
Norah Jones (2003) Speakerboxxx/The Love Below – Outkast (2004) Genius
Loves Company – Ray Charles & Various Artists (2005) How to
Dismantle an Atomic Bomb – U2 (2006) Taking the Long Way – Dixie Chicks
(2007) River: The Joni Letters – Herbie Hancock (2008) Raising Sand –
Robert Plant & Alison Krauss (2009) Fearless – Taylor Swift (2010)
The Suburbs – Arcade Fire (2011) 21 – Adele (2012) Babel – Mumford &
Sons (2013) Random Access Memories – Daft Punk (2014) Morning Phase –
Beck (2015) 1989 – Taylor Swift (2016) 25 – Adele (2017) 24K Magic –
Bruno Mars (2018) Golden Hour – Kacey Musgraves (2019)
2020–present
When We All Fall Asleep, Where Do We Go? – Billie Eilish (2020) Folklore – Taylor Swift (2021) We Are – Jon Batiste (2022)
vte
Grammy Award for Best New Artist
1960s
No Award (1959) Bobby Darin (1960) Bob Newhart (1961) Peter Nero (1962)
Robert Goulet (1963) The Swingle Singers (1964) The Beatles (1965) Tom
Jones (1966) No Award (1967) Bobbie Gentry (1968) Jos Feliciano (1969)
1970s
Crosby, Stills & Nash (1970) The Carpenters (1971) Carly Simon
(1972) America (1973) Bette Midler (1974) Marvin Hamlisch (1975) Natalie
Cole (1976) Starland Vocal Band (1977) Debby Boone (1978) A Taste of
Honey (1979)
1980s
Rickie Lee Jones (1980)
Christopher Cross (1981) Sheena Easton (1982) Men at Work (1983) Culture
Club (1984) Cyndi Lauper (1985) Sade (1986) Bruce Hornsby & The
Range (1987) Jody Watley (1988) Tracy Chapman (1989)
1990s
Milli Vanilli (1990; withdrawn) Mariah Carey (1991) Marc Cohn (1992)
Arrested Development (1993) Toni Braxton (1994) Sheryl Crow (1995)
Hootie & the Blowfish (1996) LeAnn Rimes (1997) Paula Cole (1998)
Lauryn Hill (1999)
2000s
Christina Aguilera (2000)
Shelby Lynne (2001) Alicia Keys (2002) Norah Jones (2003) Evanescence
(2004) Maroon 5 (2005) John Legend (2006) Carrie Underwood (2007) Amy
Winehouse (2008) Adele (2009)
2010s
Zac Brown Band
(2010) Esperanza Spalding (2011) Bon Iver (2012) Fun (2013) Macklemore
& Ryan Lewis (2014) Sam Smith (2015) Meghan Trainor (2016) Chance
the Rapper (2017) Alessia Cara (2018) Dua Lipa (2019)
2020s
Billie Eilish (2020) Megan Thee Stallion (2021) Olivia Rodrigo (2022)
vte
Grammy Award for Best Music Film
1980s
Duran Duran – Duran Duran (1984) Making Michael Jackson's Thriller –
Michael Jackson (1985) Huey Lewis & The News: The Heart of Rock 'n
Roll – Huey Lewis and the News (1986) Bring On the Night – Sting (1987)
Best Performance
Music Video
(1988−1989)
The Prince's Trust All-Star Rock Concert – Various Artists (1988) "Where the Streets Have No Name" – U2 (1989)
1990s
Rhythm Nation 1814 – Janet Jackson (1990) Please Hammer, Don't Hurt
'Em: The Movie – MC Hammer (1991) Live! – Blond Ambition World Tour 90 –
Madonna (1992) Diva – Annie Lennox (1993) Ten Summoner's Tales – Sting
(1994) Zoo TV: Live from Sydney – U2 (1995) Secret World Live – Peter
Gabriel (1996) The Beatles Anthology – The Beatles (1997) Jagged Little
Pill, Live – Alanis Morissette (1998) American Masters: Lou Reed: Rock
& Roll Heart – Lou Reed (1999)
2000s
Band of
Gypsys: Live at Fillmore East – Jimi Hendrix (2000) Gimme Some Truth:
The Making of John Lennon's Imagine Album – John Lennon (2001) Recording
The Producers: A Musical Romp with Mel Brooks – Mel Brooks (2002)
Westway to the World – The Clash (2003) Legend – Sam Cooke (2004)
Concert for George – Various Artists (2005) No Direction Home – Bob
Dylan (2006) Wings for Wheels: The Making of Born to Run – Bruce
Springsteen (2007) The Confessions Tour – Madonna (2008) Runnin' Down a
Dream – Tom Petty and the Heartbreakers (2009)
2010s
The Beatles Love – All Together Now – The Beatles and Cirque du Soleil
(2010) When You're Strange: A Film About The Doors – The Doors (2011)
Back and Forth – Foo Fighters (2012) Big Easy Express – Mumford &
Sons, Edward Sharpe & The Magnetic Zeros and Old Crow Medicine Show
(2013) Live Kisses – Paul McCartney (2014) 20 Feet from Stardom –
Darlene Love, Merry Clayton, Lisa Fischer & Judith Hill (2015) Amy –
Amy Winehouse (2016) The Beatles: Eight Days a Week - The Touring Years
– The Beatles (2017) The Defiant Ones – Various Artists (2018) Quincy –
Quincy Jones (2019)
2020s
Homecoming: A Film by
Beyonc – Beyonc (2020) Linda Ronstadt: The Sound of My Voice – Linda
Ronstadt (2021) Summer of Soul – Various Artists (2022)
vte
Grammy Award for Best Score Soundtrack for Visual Media
1959−1980
Anatomy of a Murder – Duke Ellington (1959) No Award (1960) Exodus –
Ernest Gold (1961) Breakfast at Tiffany's – Henry Mancini (1962) No
Award (1963) Tom Jones – John Addison (1964) Mary Poppins: Original Cast
Soundtrack – Richard M. Sherman & Robert B. Sherman (1965) The
Sandpiper – Johnny Mandel (1966) Doctor Zhivago – Maurice Jarre (1967)
Music from Mission: Impossible – Lalo Schifrin (1968) The Graduate –
Dave Grusin & Paul Simon (1969) Butch Cassidy and the Sundance Kid –
Burt Bacharach (1970) Let It Be – The Beatles (John Lennon, Paul
McCartney, George Harrison & Ringo Starr) (1971) Shaft – Isaac Hayes
(1972) The Godfather – Nino Rota (1973) Jonathan Livingston Seagull –
Neil Diamond (1974) The Way We Were: Original Soundtrack Recording –
Alan and Marilyn Bergman & Marvin Hamlisch (1975) Jaws – John
Williams (1976) Car Wash – Norman Whitfield (1977) Star Wars – John
Williams (1978) Close Encounters of the Third Kind – John Williams
(1979) Superman – John Williams (1980)
1981−2000
The Empire Strikes Back – John Williams (1981) Raiders of the Lost Ark –
John Williams (1982) E.T. the Extra-Terrestrial – John Williams (1983)
Flashdance – Giorgio Moroder, Laura Branigan, Keith Forsey, Irene Cara,
Shandi Sinnamon, Ronald Magness, Doug Cotler, Richard Gilbert, Michael
Boddicker, Jerry Hey, Phil Ramone, Michael Sembello, Kim Carnes, Duane
Hitchings, Craig Krampf & Dennis Matkosky (1984) Purple Rain –
Prince and the Revolution (1985) Beverly Hills Cop – Marc Benno, Harold
Faltermeyer, Keith Forsey, Micki Free, John Gilutin Hawk, Howard Hewett,
Bunny Hull, Howie Rice, Sharon Robinson, Danny Sembello, Sue Sheridan,
Richard Theisen & Allee Willis (1986) Out of Africa – John Barry
(1987) The Untouchables – Ennio Morricone (1988) The Last Emperor –
David Byrne, Cong Su & Ryuichi Sakamoto (1989) The Fabulous Baker
Boys (Motion Picture Soundtrack) – Dave Grusin (1990) Glory – James
Horner (1991) Dances with Wolves – John Barry (1992) Beauty and the
Beast – Alan Menken (1993) Aladdin – Alan Menken (1994) Schindler's List
– John Williams (1995) Crimson Tide – Hans Zimmer (1996) Independence
Day – David Arnold (1997) The English Patient – Gabriel Yared (1998)
Saving Private Ryan – John Williams (1999) A Bug's Life – Randy Newman
(2000)
2001−2020
American Beauty: Original Motion
Picture Score – Thomas Newman (2001) Crouching Tiger, Hidden Dragon –
Tan Dun (2002) The Lord of the Rings: The Fellowship of the Ring –
Howard Shore & John Kurlander (engineer/mixer) (2003) The Lord of
the Rings: The Two Towers – Howard Shore, John Kurlander
(engineer/mixer) & Peter Cobbin (engineer/mixer) (2004) The Lord of
the Rings: The Return of the King – Howard Shore, John Kurlander
(engineer/mixer) & Peter Cobbin (engineer/mixer) (2005) Ray – Craig
Armstrong (2006) Memoirs of a Geisha – John Williams (2007) Ratatouille –
Michael Giacchino (2008) The Dark Knight: Original Motion Picture
Soundtrack – Hans Zimmer & James Newton Howard (2009) Up – Michael
Giacchino (2010) Toy Story 3 – Randy Newman (2011) The King's Speech –
Alexandre Desplat (2012) The Girl with the Dragon Tattoo – Trent Reznor
& Atticus Ross (2013) Skyfall: Original Motion Picture Soundtrack –
Thomas Newman (2014) The Grand Budapest Hotel – Alexandre Desplat (2015)
Birdman – Antonio S nchez (2016) Star Wars: The Force Awakens – John
Williams (2017) La La Land – Justin Hurwitz (2018) Black Panther –
Ludwig G ransson (2019) Chernobyl – Hildur Gu nad ttir (2020)
2021−present
Joker – Hildur Gu nad ttir (2021) The Queen's Gambit – Carlos Rafael
Rivera / Soul – Jon Batiste, Trent Reznor & Atticus Ross (2022)
vte
Grammy Lifetime Achievement Award
1963–1990
1963
Bing Crosby 1965
Frank Sinatra 1966
Duke Ellington 1967
Ella Fitzgerald 1968
Irving Berlin 1971
Elvis Presley 1972
Louis Armstrong Mahalia Jackson 1984
Chuck Berry Charlie Parker 1985
Leonard Bernstein 1986
Benny Goodman The Rolling Stones Andr s Segovia 1987
Roy Acuff Benny Carter Enrico Caruso Ray Charles Fats Domino Woody
Herman Billie Holiday B.B. King Isaac Stern Igor Stravinsky Arturo
Toscanini Hank Williams 1989
Fred Astaire Pablo Casals Dizzy
Gillespie Jascha Heifetz Lena Horne Leontyne Price Bessie Smith Art
Tatum Sarah Vaughan 1990
Nat King Cole Miles Davis Vladimir Horowitz Paul McCartney
1991–2000
1991
Marian Anderson Bob Dylan John Lennon Kitty Wells 1992
James Brown John Coltrane Jimi Hendrix Muddy Waters 1993
Chet Atkins Little Richard Thelonious Monk Bill Monroe Pete Seeger Fats Waller 1994
Bill Evans Aretha Franklin Arthur Rubinstein 1995
Patsy Cline Peggy Lee Henry Mancini Curtis Mayfield Barbra Streisand 1996
Dave Brubeck Marvin Gaye Georg Solti Stevie Wonder 1997
Bobby "Blue" Bland The Everly Brothers Judy Garland St phane Grappelli
Buddy Holly Charles Mingus Oscar Peterson Frank Zappa 1998
Bo Diddley The Mills Brothers Roy Orbison Paul Robeson 1999
Johnny Cash Sam Cooke Otis Redding Smokey Robinson Mel Torm 2000
Harry Belafonte Woody Guthrie John Lee Hooker Mitch Miller Willie Nelson
2001–2010
2001
The Beach Boys Tony Bennett Sammy Davis Jr. Bob Marley The Who 2002
Count Basie Rosemary Clooney Perry Como Al Green Joni Mitchell 2003
Etta James Johnny Mathis Glenn Miller Tito Puente Simon & Garfunkel 2004
Van Cliburn The Funk Brothers Ella Jenkins Sonny Rollins Artie Shaw Doc Watson 2005
Eddy Arnold Art Blakey The Carter Family Morton Gould Janis Joplin Led
Zeppelin Jerry Lee Lewis Jelly Roll Morton Pinetop Perkins The Staple
Singers 2006
David Bowie Cream Merle Haggard Robert Johnson Jessye Norman Richard Pryor The Weavers 2007
Joan Baez Booker T. & the M.G.'s Maria Callas Ornette Coleman The Doors The Grateful Dead Bob Wills 2008
Burt Bacharach The Band Cab Calloway Doris Day Itzhak Perlman Max Roach Earl Scruggs 2009
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