1:10 - 1:21 She Loves You 1:21 - 1:39 Yes It Is 1:40 - 1:55 I Will 1:56 - 2:20 All My Loving 2:20 - 2:44 Birthday 2:45 - 3:10 Lucy in the Sky 3:10 - 3:26 Sgt. Pepper 3:26 - 3:42 I Am the Walrus 3:42 - 3:57 Magical Mystery Tour 3:57 - 4:13 Yes it Is (again) 4:13 - 4:24 She Loves You (again) 4:24 - 4:44 Ticket to Ride 4:44 - 5:05 Paperback Writer 5:05 - 5:30 Hey Jude 5:30 - 5:52 Get Back 5:53 - 6:02 I need help here, no idea what this one is 6:02 - 6:29 Ob La Di Ob La Da [ above is courtesy of HappyDaze01. Thx HaDz01"!] Origin Liverpool, England Rock/Pop - Years active 1960--1970 Parlophone, Capitol, Apple, Vee-Jay, Polydor, Swan, Tollie Related to Tony Sheridan, The Quarrymen, The Plastic Ono Band, The Dirty Mac, Wings, Traveling Wilburys, Rory Storm and the Hurricanes, Ringo Starr All-Starr Band, Billy Preston Members - Ever to Date John Lennon Paul McCartney George Harrison Ringo Starr Former members Stuart Sutcliffe Pete Best The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are the most commercially successful and critically acclaimed band in the history of popular music. The Beatles are the best-selling musical act of all time in the United States of America, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide. In 2004, Rolling Stone Magazine ranked The Beatles #1 on their list of 100 Greatest Artists of All Time. According to that same magazine, their innovative music and cultural impact helped define the 1960s,[2] and their influence on pop culture can still be felt today. The Beatles led the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s. 1957--1960: Formation The Quarrymen In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool.[6] Lennon and the Quarrymen met guitarist Paul McCartney at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957.[7] On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning school bus ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist[9] after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age.[10] Members continually joined and left the lineup during that period, and in January 1960 Lennon's art school friend Stuart Sutcliffe joined on bass.[11] Lennon and McCartney both played rhythm guitar and the group had a high turnover of drummers. The Quarrymen went through a progression of names — "Johnny and the Moondogs", "Long John and the Beatles", "the Silver Beetles" (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — before settling on "The Beatles". There are many theories as to the origin of the name and its unusual spelling. It is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a reference to Buddy Holly's band, the Crickets) and the word "beat". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[12] Lennon, who was well known for giving multiple versions of the same story joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'".[13] During an interview in 2001, Paul McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles, I said, 'how about the Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made." [14] In May 1960 The Beatles toured northeast Scotland as a back-up band with singer Johnny Gentle.[15] They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band.[16] For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others.[17] Soon after the tour, however, feeling the age gap was too great Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service in a few weeks. His departure posed a significant problem as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany.[19] 1960--1970: The Beatles Hamburg On 15 August 1960, McCartney invited Pete Best to become the group's permanent drummer. He had watched Best play with the Blackjacks[20] in the Casbah Club, owned by Pete's mother, Mona Best. This was a cellar club in West Derby, Liverpool, where The Beatles had played and often visited.[21] In the do#@!&entary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable." The Beatles started playing in Hamburg at the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club",[22] Harrison was deported for having lied to the German authorities about his age.[23] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[24] Lennon followed the others to Liverpool in mid-December. The reunited Beatles played their first engagement on 17 December 1960 at the Casbah Club and returned to Hamburg in April 1961. Whilst playing at the Top Ten Club they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[25] produced by famed bandleader Bert Kaempfert.[19] Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and the Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band.[26] In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and the Beat Brothers". A few copies were also pressed under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] (This was ironic, considering that by this time the then-unaffiliated British Decca had turned down the group's attempt to gain a recording contract.) When the group returned to Liverpool, Sutcliffe stayed on in Hamburg with his new German fiancee Astrid Kirchherr, [28] and McCartney took over bass duties.[29] Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club.[19] Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.[30] Epstein took over as the group's manager in January 1962 and led The Beatles' quest for a British recording contract. Epstein had been manager of the record department at North End Music Store (NEMS), an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein."[31] While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[32] White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles.[33] White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[34] Record contract After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who signed the group to EMI on a one-year renewable contract and scheduled their first recording session on 6 June at EMI's Abbey Road studios in north London.[35] Martin had not been particularly impressed by the band's demo recordings,[36] but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him was their wit and humour.[37] Martin did have a problem with Pete Best, [36] whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best was good-looking and popular with the group's fans, but the three founding members had become increasingly unhappy with his drumming and his personality.[citation needed] There was speculation by some that Best's popularity[38] with fans was another source of friction. In addition, Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also had missed a number of engagements because of illness. The three founding members enlisted Epstein to dismiss Best - which he did on 16 August 1962.[39] They asked Ringo Starr (born Richard Starkey), the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band, as Starr had performed occasionally with The Beatles in Hamburg.[40] The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters.[41] Starr played on The Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.[42] Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[43] This royalty rate was further reduced for singles sold outside the UK, on which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[43] Their publishing contract with Dick James Music (DJM) was also standard for the time: songwriters received the statutory minimum of 50% of the gross monies received, with the publisher retaining the other 50%.[citation needed] The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17.[44] ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) On 26 November they recorded their second single "Please Please Me", which reached no. 2 in the official UK charts and no. 1 in the NME chart. Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on the People and Places programme transmitted live from Manchester by Granada Television on 17 October 1962.[45] As The Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed 'Beatlemania'. In November 1963 The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.[citation needed] America Although the band experienced huge popularity in the UK record charts from early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You (their first official no. 1 hit in the UK)".[46] Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963 making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were later cancelled for non-payment of royalties.[47] In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles. New York disc jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' show in January.[48] In early November 1963, Brian Epstein persuaded Ed Sullivan to present The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[49] On 7 December 1963 a clip of The Beatles was shown on the CBS Evening News (the story originally had been scheduled to air on 22 November and was aired on the CBS Morning News but was pre-empted by the assassination of John F. Kennedy). The clip inspired a teenage girl in Washington, D.C. to request a Beatles song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" — forcing Capitol Records to release the song ahead of schedule on 26 December. Several New York radio stations — first WMCA, then WINS (AM) and WABC — began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January). On 3 January 1964 a film of The Beatles performing "She Loves You" was aired on the late-night Jack Paar Show. Beatlemania crosses the Atlantic On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off for their first trip to America as a group.[51] They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight.[52] The pilot had radioed ahead, and as they prepared to land said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced such a crowd, estimated at about 3,000 screaming fans.[53] After a press conference (where they first met Murray the K) they were put into limousines and driven to New York. On the way McCartney turned on a radio and listened to a running commentary: "They [The Beatles] have just left the airport and are coming to New York City..."[54] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.[55] Their first live American television appearance was on the The Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper wrote that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[56] Their first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February.[57] After The Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to The Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles, which was essentially The Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This 2-LP set paired Introducing... The Beatles and The Golden Hits Of The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon," while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee Jay Beatles album Capitol Records could not reclaim. The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand," and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on the 1980 Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market, and all have been copiously bootlegged.[58] The Swan tracks ("She Loves You" and "I'll Get You") were issued on the Capitol LP The Beatles' Second Album. (Swan also issued the German-language version of "She Loves You," called "Sie Liebt Dich." This song later appeared (in stereo) on Capitol's US version of the Rarities compilation album.) In mid-1964 the band undertook their first appearances outside of Europe and North America. They toured Australia and New Zealand without Ringo Starr, who was ill and temporarily replaced by session drummer Jimmy Nicol. In Adelaide they were greeted by over 300,000 people who turned out at Adelaide Town Hall.[59] In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson (who also was the M.P. for Huyton, Liverpool).[60] The appointment — at that time primarily bestowed upon military veterans and civic leaders — sparked some conservative MBE recipients to return their insignia in protest.[61] The first two were returned on 14 June, before The Beatles received theirs on 26 October 1965.[62] On 15 August that year, The Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.[63] Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[64] Backlash and controversy In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace.[65] When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations.[66] The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of The Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[67] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[68] Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.[69] Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against The Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave,[70] Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now."[71] Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.[72] The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.[72] Elvis Presley disapproved of The Beatles's anti-war activism and open use of drugs, later asking President Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[73] Guralnick adds, "Presley indicated that he is of the opinion that The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[74] Despite Elvis' remarks, Lennon still had some positive feeling towards him: "Before Elvis, there was nothing."[75] The studio years The Beatles at their last concert, Candlestick Park.In April 1966, the group began recording what would be their most ambitious album to date, Revolver. During the recording sessions for the album, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music. The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[72] McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.[76] From then on, The Beatles concentrated on recording. Less than seven months after recording Revolver, The Beatles returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967. On 25 June 1967, The Beatles became the first band globally transmitted on television—before an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up, a show titled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show. The band's business affairs began to unravel after manager Brian Epstein died of an accidental prescription drug overdose on 27 August 1967 at the age of 32. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[77] Part of the criticism arose because colour was an integral part of the film, but in 1967 few viewers in the UK had colour televisions. The film's soundtrack, which features one of The Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version). The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[78] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily walking out. The band carried on, with McCartney recording the drums on the songs "Martha My Dear", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through almost all of the sessions, and that the others felt that McCartney was becoming too dominating.[79] Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles albums. On the business side, McCartney wanted Lee Eastman, the father of his then-girlfriend Linda Eastman, to manage The Beatles, but the other members wanted New York manager Allen Klein. All past Beatles' decisions had been unanimous, but this time the four could not agree. Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings. Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he [Lee Eastman] was biased against them." Their final live performance was on the rooftop of the Apple building in Savile Row, London, on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called because of complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film. The Beatles recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio. Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark when the song was recorded.[80] Breakup John Lennon announced his departure to the rest of the group on 20 September 1969 but agreed that no announcement was to be publicly made until a number of legal matters were resolved. In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production values went against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney. Pre-release copies included a press release with a self-written interview explaining the end of The Beatles and his hopes for the future.[81] On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the do#@!&entary film of the same name. The Beatles' partnership was finally dissolved in 1975.[82] 1970--present: After The Beatles Ringo Starr, 1968 Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs. 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. In the wake of the expiration in 1975 of The Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue. John Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. Shortly afterward, in 1981, the three surviving Beatles reunited to record "All Those Years Ago", released as a George Harrison solo single. Its original lyrics had been rewritten as a tribute to Lennon. The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio do#@!&entary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from The Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC. In 1988 The Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility.[83] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. Solo Beatles later inducted were Lennon in 1994, McCartney in 1999 and Harrison in 2004. Collage of the various covers of the Anthology seriesIn February 1994, the three surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television do#@!&entaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known The Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept. 450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the ninth best selling album of all time). George Harrison during this time showed his socio-political consciousness and earned respect for his contribution for arranging the Concert For Bangladesh in New York in August 1971 along with sitar maestro Ravi Shankar. Harrison died of lung cancer on 29 November 2001. More recently, in 2006, George Martin and his son Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love. Musical evolution The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967). The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Among those influences were Bob Dylan, who influenced songs such as "You've Got to Hide Your Love Away" and "Norwegian Wood (This Bird Has Flown)".[84] Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[85] Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar as in Norwegian Wood (This Bird Has Flown) and the swarmandel as in Strawberry Fields Forever. They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever", and the ondioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man". Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenburg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with "Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967. Influence on popular culture Lifestyle The Beatles' lifestyles were greatly altered by their success and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including The Beatles' — about life, marriage, and sexual relationships.[86] Recreational drug use In Hamburg, The Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[87] McCartney would usually take one, but Lennon would often take four or five.[87] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[88] McCartney remembered them all getting "very high" and giggling.[89] The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[90] In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley.[91] Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times. McCartney was more reluctant to try the drug, but finally did so in 1966 and was the first Beatle to talk about it in the press. The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[92] On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.[93] Meditation On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton, and a few days later went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[94] There, the Maharishi gave each of them a mantra.[95] Their time in early 1968 at the Maharishi's ashram in India was highly productive from a musical standpoint, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by Lennon, McCartney, and Harrison.[78] Discography Further information: List of Beatles songs by singer, The Beatles record sales, worldwide charts, The Beatles bootlegs, and List of Beatles hit singles Official CD catalogue In 1987, EMI released all 12 of The Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps to standardise The Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks. One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962--1970 that had not been issued on the original British studio albums. Magical Mystery Tour - 8 August 1987[96] Past Masters, Volume One - 7 March 1988 Past Masters, Volume Two - 7 March 1988 According to EMI and the Guinness Book of Records, The Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs). Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases. Song catalogue In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock. In 1985, after a short period in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney. A decade later Jackson and Sony merged its music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.) Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon and McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI. Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by The Beatles, "Don't Pass Me By" and "Octopus's Garden". The future of The Beatles catalogue The Beatles are but a few of the major artists (aside from Led Zeppelin and Garth Brooks) who have not to date allowed their entire recorded catalogue to be available through major online music services (iTunes, Napster, etc.). This may be due to the massive royalty fees demanded by the group. As a result, The Beatles' music (both officially and unofficially released) has been made available through illegal music search engines such as eMule and BearShare, and have apparently raised the ire of the entire music industry. However, sure signs that official online distributions may be coming is the fact that the video for Tomorrow Never Knows/Within You Without You (the remix from their album Love) is currently being distributed (as of June, 2007) via Napster, and many Internet radio networks (such as Pandora Internet Radio and Live365.com) are allowing Beatles songs to be broadcasted over the world wide web. There has been talk of negotiations to make such an official online distribution schedule possible. Officials at Apple Corps have hinted at this, as they have confirmed that the entire Beatles catalog has been digitally remastered for online distribution. On film Main article: The Beatles on film The Beatles appeared in several films, all of which featured associated soundtrack albums. The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the do#@!&entary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue. Other projects Anthology Main article: The Beatles Anthology Love Main article: Love (Cirque du Soleil) Instrumentation Rickenbacker, Gretsch, Epiphone, Gibson, Fender, and C.F. Martin & Company guitars Höfner, Fender and Rickenbacker basses Vox, Fender, and Selmer amplifiers Premier and Ludwig drums Zildjian cymbals Steinway, and Blüthner pianos Hammond, Vox and Lowrey electric organs Fender Rhodes, Wurlitzer, and Hohner Pianet electric pianos Moog Modular synthesiser Mellotron Polyphonic Keyboard Neumann, AKG, and STC microphones Bill Stoll Stollco video tampa fl

gle in 1963. The single was the Beatles' first number one in some of the United Kingdom charts, second in others, but failed to make an impact in the United States at the time of its initial release. It was one of the very last songs to be credited "McCartney/Lennon; soon afterwards their songs began appearing credited to "Lennon/McCartney". Composition Lennon and McCartney began writing "From Me to You" while on a coach heading to Shrewsbury as part of the Beatles' tour with Helen Shapiro. They had been reading the New Musical Express and noticed the letters section of the magazine: From You to Us. McCartney noted that their early songs tended to include the words I, me, or you in them, as a way of making them "very direct and personal". In his 1980 interview with Playboy, Lennon recalled writing the song: We were writing it in a car I think, and I think the first line was mine. I mean I know it was mine. [Hums melody of first line.] And then after that we took it from there. It was far bluesier than that when we wrote it. The notes—today you could rearrange it pretty funky. We were just writing the next single after 'She Loves You'." McCartney also talked about rearranging the song in 1964: "From Me to You"—it could be done as an old ragtime tune—especially the middle eight—and so we're not writing the tunes in any particular idiom. In five years time we may arrange the tunes differently. But we'll probably write the same old rubbish! McCartney was not the only one on the bus who called it rubbish—singer Kenny Lynch, upon hearing The Beatles singing "ooh", remarked "You can't do that. You'll sound like a bunch of #@!&ing fairies!" Soon afterwards he stormed off, declaring the Beatles didn't know anything about songwriting. Roger Greenway recounted the story: John and Paul were sitting at the back of the coach and Kenny Lynch, who at this time fancied himself as a songwriter, sauntered up to the back of the coach and Kenny Lynch ... decided he would help them write a song. After a period of about half-an-hour had elapsed and nothing seemed to be coming from the back, Kenny rushed to the front and shouted, 'Well, that's it. I am not going to write any more of that bloody rubbish with those idiots. They don't know music from their backsides. That's it! No more help from me!'" Regardless, the song was regarded by the Beatles as innovative and catchy enough to be released as a single. This was one Lennon/McCartney song that the duo truly co-wrote; McCartney described it as "very much co-written". Recording and U.K. release The recording on 5 March 1963 at Abbey Road Studios went without a hitch and on 11 April Parlophone Records released "From Me to You" in Britain as a single, with "Thank You Girl" on the B-side. Nine days later, it kicked off a twenty-one week run in the British charts, culminating with reaching number one on 4 May, a position it would retain for seven weeks. "From Me to You" was the first song to reach number one in Britain and is widely considered to be their first chart-topping song, for although "Please Please Me" reached the summit on almost every chart, it was only number two on Record Retailer's chart, generally considered to be the most authoritative for the time. "From Me to You" would be the first of eleven consecutive British number one singles by the Beatles. "From Me to You" replaced Gerry and the Pacemakers' "How Do You Do It", a song that had been offered to the Beatles but rejected by them in favour of "Please Please Me". Lyrics: Da da da da da da da da Da da da da da da da da If there's anything that you want If there's anything I can do Just call on me and I'll send it along With love, from me to you I've got everything that you want Like a heart that's oh so true Just call on me and I'll send it along With love, from me to you I got arms that long to hold you and keep you by my side I got lips that long to kiss you and keep you satisfied Ooo, if there's anything that you want If there's anything I can do Just call on me and I'll send it along With love, from me to you To you, just call on me and I'll send it along With love, from me to you I got arms that long to hold you and keep you by my side I got lips that long to kiss you and keep you satisfied Ooo, if there's anything that you want If there's anything I can do Just call on me and I'll send it along With love, from me to you To you, to you, to you

was first recorded by the The Beatles and released on 5 October 1962 as the B-side of their "Love Me Do" single. It is also included on their 1963 album Please Please Me. Recording The version featured on the single and album was recorded in ten takes on 11 September 1962 at Abbey Road Studios, London. Session drummer Andy White (brought in by producer George Martin as he wasn't happy with Pete Best, and hadn't yet heard Ringo Starr) gave the recording a lightweight cha cha [2] treatment, and consequently it misses the distinctive heavy drum beat that characterised most of their early music. Starr plays maracas. The Beatles (with Ringo Starr playing drums) also recorded this song at the BBC on 25 October 1962; 27 November 1962 and 17 June 1963 for subsequent broadcast on the BBC radio programmes Here We Go, Talent Spot, and Pop Go the Beatles, respectively. Inspiration Written in 1961, while Paul McCartney was in Hamburg, this song is sometimes considered to be a dedication to his then-girlfriend, Dot Rhone. However, McCartney denies this; he described "P.S. I Love You" as " a theme song based on a letter... It was pretty much mine. I don't think John had much of a hand in it. There are certain themes that are easier than others to hang a song on, and a letter is one of them... It's not based in reality, nor did I write it to my girlfriend from Hamburg, which some people think. " John Lennon said about this song: " That's Paul's song. He was trying to write a Soldier Boy like the Shirelles. He wrote that in Germany, or when we were going to and from Hamburg. I might have contributed something. I can't remember anything in particular. It was mainly his song. " ("Soldier Boy" was a US #1 single for the Shirelles in 1962.) With a pleasant sounding melody, the verse and chorus could be considered typical McCartney, and its lyrics were popular with female fans. The young Lennon and McCartney would often introduce what might be considered incongruous sounding jazz chords into their very early compositions (almost certainly McCartney's influence, as he was the more advanced musician at this early stage[6] ) as is the case here inserting C#7 (on "write") between the chords G and D in its opening chorus. The Beatles admired Buddy Holly and the Crickets. In addition to the literal content of the song lyrics, writer Jonathan Cott suggested that the "P.S." part of the song was also a subtle reference to "Peggy Sue", from the lyric "I love you, Peggy Sue". Re-release On its twentieth anniversary, Parlophone re-issued "P.S. I Love You" as a picture disc, and shortly afterwards as a 12-inch disc Lyrics: As I write this letter Send my love to you Remember that I'll always Be in love with you Treasure these few words Till we're together Keep all my love forever P.S. I love you you, you, you I'll be comin' home again to you, love Until the day I do love P.S. I love you you, you, you As I write this letter Send my love to you (you know I want you to) Remember that I'll always Be in love with you (yeah) Treasure these few words Till we're together Keep all my love forever P.S. I love you you, you, you As I write this letter Send my love to you (you know I want you to) Remember that I'll always Be in love with you (yeah) I'll be comin' home again to you, love Until the day I do love P.S. I love you you, you, you you, you, you I love you

t first appeared on The Beatles' A Hard Day's Night album. Incomplete when first brought into Abbey Road Studios on Tuesday 2 June 1964,[1] Paul McCartney suggested an idea for the middle eight section based solely on chords, which was recorded with the intention of adding lyrics later. But by the time it was needed to be mixed however, the middle eight was still without words, and that is how it appears on the LP. What did get added at the mixing stage was the snare drum "crack" that opens the track (and side two of the album) edited from an unused take. The song was later covered by Nils Lofgren. The song was also covered by Dweezil Zappa on his 1991 album Confessions. Recorded Abbey Road Studios 2 June 1964 Lyrics: Any time at all Any time at all Any time at all all you've gotta do is call And I'll be there If you need somebody to love Just look into my eyes I'll be there to make you feel right If you're feeling sorry and sad I'd really sympathize Don't you be sad, just call me tonight Any time at all Any time at all Any time at all all you've gotta do is call And I'll be there If the sun has faded away I'll try to make it shine There is nothing I won't do If you need a shoulder to cry on I hope it will be mine Call me tonight and I'll come to you Any time at all Any time at all Any time at all all you've gotta do is call And I'll be there Any time at all Any time at all Any time at all all you've gotta do is call And I'll be there Any time at all all you've gotta do is call And I'll be there

"Drifting Heart" as the b-side. The lyrics of the song mention rock and roll and the desire for rhythm and blues to replace classical music. The song has been covered by many other artists and Rolling Stone ranked it #97 on their list the 500 Greatest Songs of All Time. Inspiration and lyrics According to Rolling Stone and Cub Koda of the All Music Guide (AMG), Berry wrote the song in response to his sister Lucy always using the family piano to play classical music when Berry wanted to play contemporary popular music. In addition to classical composers Beethoven and Tchaikovsky, the lyrics mention or allude to several popular artists. "Early in the morning" is the title of a Louis Jordan song and "Blue Suede Shoes" refers to Carl Perkins's song. Finally, "Hey diddle diddle" comes from the nursery rhyme, "The Cat and the Fiddle". Although the lyrics mention rocking and rolling, the music that the classics are supposed to step aside for is always referred to as "rhythm and blues". Arthur Alexander appropriated the lyric "a shot of rhythm and blues" for the title of his later song. As for the rest of the lyrics, a "rhythm review" describes the old style R&B show with many featured artists appearing on one bill in front of a big band. One phrase that has troubled some cover artists not familiar with the southern idiom for "a little bit more" is "move on up just a trifle further". Neither the Beatles nor the Electric Light Orchestra manage to sing the phrase correctly, despite having done two versions apiece. Like The Tennessee Waltz, "Roll Over Beethoven" is a self-referential metasong, i.e. a song about the song itself. Cover versions It is one of the most widely covered songs in popular music—"a staple of rock & roll bands" according to Koda[2]—with notable versions by Jerry Lee Lewis, The Beatles and the Electric Light Orchestra. Other covers were performed by Mountain, Status Quo, The Rolling Stones, The Byrds, The 13th Floor Elevators, The Sonics, Gene Vincent, Uriah Heep on Uriah Heep Live and the Australian band Buster Brown on their 1974 album Something to Say. In 1992, the English Heavy Metal band, Iron Maiden covered it as a B-side to its "From Here to Eternity" single. The Beatles "Roll Over Beethoven" was a favorite of John Lennon, Paul McCartney and George Harrison even before they had chosen "The Beatles" as their name, and they continued to play it live right into their American tours of 1964. Their version of "Roll Over Beethoven" was recorded on 30 July 1963 for their second British LP, With the Beatles, and features George Harrison on vocals and guitar.[5] In the United States, it was released 10 April 1964 as the opening track of The Beatles' Second Album.[6] In 1964, the Beatles released a live version of "Roll Over Beethoven" on Live at the BBC. This live version was recorded on 28 February 1964 and broadcast on 30 March 1964 as part of a BBC series starring the Beatles called From Us To You.[7] This version of "Roll Over Beethoven" was used in the film Superman III directed by Richard Lester who also directed a film for the Beatles, Help! Recorded:30 July 1963 Lyrics: Well gonna write a little letter Gonna mail it to my local D.J. It's a rockin' little record I want my jockey to play Roll over Beethoven I gotta hear it again today You know my temperature's risin' and the jukebox's blowin' a fuse My hearts beatin' rhythm and my soul keeps singing the blues Roll over Beethoven and tell Tchaikovsky the news I got a rockin' pneumonia I need a shot of rhythm and blues I think I got it off the writer sittin' down by the rhythm review Roll over Beethoven we're rockin' in two by two Well if you fell you like it Well get your lover and reel and rock it roll it over and move on up just jump around and reel and rock it roll it over Roll over Beethoven a rockin' in two by two , oh Well early in the mornin' I'm a givin' you the warnin' Don't you step on my blue suede showes Hey little little gonna play my fiddle Ain't got nothing to lose Roll over Beethoven and tell Tchaikovsky the news You know she winks like a glow worm Dance like a spinnin' top She got a crazy partner oughta see 'em reel an rock Long as she's got a dime the music will never stop Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven Roll over Beethoven and dig these rhythm and blues

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d first recorded and released in 1967, on the The Beatles' Sgt. Pepper's album. The song appears twice on the album: as the opening track (segueing into "With A Little Help From My Friends"), and as "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", the penultimate track (segueing into "A Day In The Life"). As the title track, the lyrics introduce the fictional band which performs in the album. Since its original album release, the song has also been released on singles, on compilation albums, and has been performed by several other artists including Jimi Hendrix, Paul McCartney, and McCartney with U2. Authorship and recording In November 1966, on the flight back to England after a holiday, McCartney conceived an idea in which an entire album would be role-played, with each of The Beatles assuming an alter-ego in the "Lonely Hearts Club Band", which would then perform a concert in front of an audience. The inspiration is said to have come when roadie Mal Evans innocently asked McCartney what the letters "S" and "P" stood for on the pots on their in-flight meal trays, and McCartney explained it was for salt and pepper. This then led to the Sgt. Pepper's Lonely Hearts Club Band concept, as well as the song. According to producer George Martin, the song was recorded before the album, but he also said that it started the idea of a concept album based around the main Sgt. Pepper character. The group's road manager Neil Aspinall suggested the idea of Sergeant Pepper being the compère, as well as the reprise at the end of the album. According to his diaries, Evans may have also contributed to the song. John Lennon attributed the idea for Sgt. Pepper to McCartney, although the song is officially credited to Lennon/McCartney. The song was recorded in Abbey Road's number 2 studio, with Martin producing, and Geoff Emerick engineering. Work on the song started on 1 February 1967, and after three further sessions the recording was complete on 6 March 1967. On the Sgt. Pepper's Lonely Hearts Club Band album, the song opens to the sound of a chattering audience, and an orchestra tuning up, which was taken from the 10 February orchestra session for "A Day in the Life".[7] The crowd sounds edited into the song were recorded in 1960 by Martin, during live recordings for the Goon Show. When the song itself begins, the band introduces its members.[8] The song's structure is: Introduction (instrumental) Verse Bridge (instrumental) Refrain Bridge Verse Instrumental bridge and transition into "With a Little Help from My Friends. "Sgt. Pepper's Lonely Hearts Club Band" was never performed live by The Beatles. It was performed by three of the Beatles (Paul, George and Ringo) plus Eric Clapton on May 19th 1979 at Clapton's wedding party. John Lennon said later that he would have attended the party if he had received an invitation. In 1967, Jimi Hendrix played the song live at The Saville Theatre in Shaftesbury Avenue, which was leased by Brian Epstein, only three days after it had been released on record, with McCartney in the audience. Another live version by Hendrix recorded at the Isle of Wight Festival was included on a posthumous live album, Blue Wild Angel: Live at the Isle of Wight. In 2006, the reprise was re-released on the album Love, which was a theatrical production by Cirque du Soleil. The updated version is a remix featuring samples of other Beatles songs. Lyrics: It was twenty years ago today Sgt. Pepper taught the band to play They've been going in and out of style But they're guaranteed to raise a smile So may I introduce to you the act you've know for all these years Sgt. Pepper's Lonely Heart's Club Band We're Sgt. Pepper's Lonely Heart's Club Band We hope you will enjoy the show Sgt. Pepper's Lonely Heart's Club Band Sit back and let the evening go Sgt. Pepper's Lonely, Sgt. Pepper's Lonely Sgt. Pepper's Lonely Heart's Club Band It's wonderful to be here It's certainly a thrill You're such a lovely audience We'd like to take you home with us We'd love to take you home I don't really want to stop the show But I thought you might like to know that the singers going to sing a some And he wants you all the sing along So may I introduce to you The one and only Billy Shears Sgt. Pepper's Lonely Heart's Club Band

ext time we'll do a whole telly (TV) show, and everybody watches at once, through a satellite, that's the only way that everybody could see us. George - It was supposedly the very first satellite hook-up around the world. I dont know how many millions of people but it was supposed to be some phenomenal amount of people. And it was probably the very earliest technology that enabled that kind of satellite link. George Martin - John wrote All You Need Is Love specially for the television show. It was a commission. Brian suddenly whirled in and said: "We are to represent Britain in this round the world hook-up, and you've go to write a song". George - Because of the mood of the time, it seemed to be a great idea to do that song, because while everybody else was showing people knitting in Canada and Irish clog dancers in Venezuela, we thought "we will just sing All You Need Is Love", because it's a kind of subtle bit of PR for God, basically. I dont know if the song was written before that, because we were making an album at the time, so there was kind of lots of songs in circulation. Paul may know more about that. Over to you, Paul. Paul - I'm not sure... it was John's song, mainly. I don't' think it was written specially for it, but it was one of the songs we had, and.... i dont know. I should, George Martin might have a bit better idea on that. [...] It was certainly tailored to it, once we had it. But I've got a feeling it was just one of John's songs that was coming there. We went down to Olympic Studios in Barnes and recorded it... and then it became the song they said: "ah, this is the one we should use". I don't actually think it was written for it. Ringo - Yeah, they wrote it specifically for that, and we all dressed up again, so we were getting to love dressing up! And we had another suit, but mine was so bloody heavy. Simon and Marijke from The Fool - that was the company - had all this beading on - as we'll cut to right now - and it just weighed a ton. It was a fabulous time, musically and spiritually. George Martin - And we had prepared a track, a basic track for the recording, for the television show, but we were going to do a lot live. There was an orchestra that was live, and the singing was live and the audience and so on. We knew it was to be a live television show. And just.. there was also a camera in the control room, on us doing our bit, and just about 30 seconds to go on the air, there was a phone call. It was the producer of the show on to me, saying "I'm a fraid I've lost all contact with the studio. You'll going to relay instuctions to them cos we're goinge on air at any moment now". And I thought.. my God, if you're going to make a fool of yourself you mustn't do it properly in front of 200 million people! George - The man upstairs pointed his finger and we did it, one take. [All You Need Is Love. Our World - Global Satellite Broadcast, 25th June 1967] John - I still believe all you need is love, you know, but i dont believe that just to saying it is gonna do it, you know. I mean, I still believe in the fact that love is what we all need. Ringo - And it was for love! It was for love and bloody peace again. You know, it was a fabulous time. That was it meant to be, that's... you know... I'm getting excited now when i realise that's what it was for. People putting flowers in guns, San Francisco was just exploding. Here was fabulous California, were we are, LA. It was just exciting times. And all for this loving feeling, you know. [from Beatles Anthology vol. Seven]

Yo, from his new CD The Year of the Gentleman ( Def Jam, Universal Records). Ne-Yo 's song was featured on Jimmy Kimmel Live, Dancing With the stars ( DWTS ) BET , American Music Awards ( AMA) and So You Think You Can Dance on Fox Television. Among his other songs: Mad , Roll With Me , My Diamond , Miss Independent (ft Keri Hilson) So You Can Cry Take a Bow , Single ( New Kids on the Block featuring Ne-Yo) Breaking Up , She Got Her Own ( Jamie Foxx ) Because of You , So Sick. He Worked with Rihanna, Beyonce ( If I were a Boy , Single Ladies ) Jay Z, Mario Valquez, Paula DeAnda; wrote songs for Whitney Houston, Celine Dion, Enrique Iglesias ; will work with Usher, Chris Brown, Leona Lewis , Will.i.am. Linsey Lohan, Ciara, Jennifer Hudson ( Spotlight ) and others. Ne-Yo appeared on The Tonight Show with Jay Leno, The Late Show with Letterman, Jimmy Kimmel Live, The Tyra Banks Show, All My Children and others. He also appeared at the BET Awards along with Usher, Alicia Keys, Chris Brown, Kanye West ( Heartless , Love Lockdown ) Lil Wayne, Nelly and Rihanna. He will produce the music for the film Venice Beach and will appear on the Rosie Live ( Rosie O'Donnell 's variety show ) along with Alanis Morissette , Alec Baldwin ( 30 Rock ), Conan O'Brien, Clay Aiken , Gloria Estefan , Kathy Griffin and Liza Minnelli ). Closer Prelude is a part of a NEW CONCEPT: "Immortalizing" selected songs (hip-hop, R&B, pop, alternative, rock, dance), presenting them in classical forms of music. This concept was created in appreciation of contemporary artists' music. Among the songs are Viva La Vida Rhapsody ( Coldplay ) With You / Kiss Kiss Overture ( Chris Brown, T-Pain) 4 Minutes Concerto ( Madonna, Justin Timberlake, Timbaland), No One Concerto ( Alicia Keys), What goes Around Rhapsody, My Love Concerto ( Justin Timberlake, TI, Timbaland), Apologize ( Timbaland, One Republic), Sweet Escape Suite ( Gwen Stefani, Akon), Umbrella ( Rihanna, Jay-Z, Chris Brown), What I've Done (Linkin Park, ft. in Steven Spielberg 's "The Transformers"), Makes Me Wonder ( Maroon 5), What I Are ( Timbaland, Keri Hilson), Big Girls Don't Cry ( Fergie), How Far We've Come ( Matchbox 20), Runaway Love (Ludacris, Mary J. Blige, Keri Hilson), I'll Be Missing You / Fielf of Gold ( Sting , P. Diddy ) Gimme More Sonata ( Britney Spears ) and others. This version is not intended to sound like a copy of the original song. The music might be A MIXTURE OF GENRES, WITH INTENTIONAL CONSTANT CHANGES IN TEMPO AND RHYTHM (personal interpretation). This original concept is presented, arranged and performed b Marrina. Award-winning concert pianist/composer/conductor Marrina has performed in concerts since she was 8 years old. Her styles of music are ranging from classical, to pop, to dance, to R&B, to hip-hop. Her high school musical compositions were featured in films and theater. After her performance in the Super Bowl Halftime Show Marrina continued to perform in concerts, in films and on television. She has appeared in the film Face/Off with John Travolta ( Pulp Fiction; Quentin Tarantino ) and Nicolas Cage (producers: Michael Douglas, Barrie Osborne, Director: john Woo ) and on television shows such as The Tonight Show with Jay Leno, The Today Show, Jimmy Kimmel Live, Entertainment Tonight, Extra; (ABC, NBC, CBS, Fox, PBS ) and others. She conducted and performed with the group she founded in front of presidents (President Clinton, President Meri of Estonia) and royalty, appearing in major events, from the Olympic games events to the Grammy Fest. She has appeared with and in front of well-known artists and personalities such as Sting, Liza Minnelli, Natalie Cole, Whitney Houston (My Love Is Your Love), Jessica Simpson, John Travolta, Tom Hanks, Brad Pitt , Tom Cruise, Robert DeNiro, Warren Beatty, Robert Downey Jr., Rob Reiner , Barbra Streisand, Celine Dion, Josh Groban, Roma Downey, Mark Burnett, Billy Ray Cyrus , Will Smith. Larry King, Bruce Springsteen, Ashton Kutcher, Gary Marshall and others. In appreciation of their artistic and humanitarian contributions, Marrina has written special compositions in honor of Steven Spielberg, Stevie Wonder, Oprah Winfrey and Sir Paul Mccartney. Youtube and Google made it possible to present these videos to you (thank you Chad Hurley, Steve Chen, Sergey Brin and Larry Page ); The purposes of the videos of this channel are: 1. To present selected songs in classical FORMS of music, in effort to "immortalize" them. This concept was created in appreciation of the artists' music. 2. To encourage acceptance and combining various styles of music. 3. To inspire and encourage playing a musical instrument and being creative.