On November 11, 2013, The Beatles will release their first "new" album in almost 20 years : On Air - Live at the BBC Volume 2 (a follow-up to their 1994 release of Live at the BBC). It will not only include 40 new musical tracks, but almost two dozen tracks of radio banter, "skits" & bits - which fans had previously only had access to via bootlegs.
On June 5, 2012, a new 4K, frame-by-frame digital restoration of The Beatles' classic 1968 animated feature film, Yellow Submarine, will be released on DVD and Blu-ray disc. It will also be shown in select theaters across the U.S. At the same time, a new digitally remastered soundtrack CD will be released as well. EMI's press release says that "due to the delicate nature of the hand-drawn original artwork, no automated software was used in the digital clean-up of the film's restored photochemical elements." All the work was done by hand, one frame at a time. According to EMI, the original melding of "live-action photography with animation, 3-dimensional sequences and kaleidoscopic 'rotoscoping'" (where film is traced frame by frame into drawings), "took nearly two years, 14 different scripts, 40 animators and 140 technical artists" to complete.
On November 16, 2010, after years of bitter wrangling and legal disputes, the entire Beatles catalog of thirteen studio albums, Past Masters and the Red and Blue greatest-hits albums were released for digital distribution on Apple, Inc.'s iTunes. The tracks were made available as either complete album purchases or individual downloads`. At the same time, a rare video recording of the fab four's first US concert (1964) was also released for purchase as part of a digital "boxed set" of the entire catalogue - and, for a limited time, for free streaming as well.
On September 9th, 2009, Harmonix Music Systems and MTV Games released The Beatles: RockBand music video game, including 45 digitally remixed Beatles songs (additional tracks have since become available as downloads). On the same day, after a painstaking four-year-long digital remastering process, the core Beatles catalogue was reissued, including the Past Masters compilation of rare and non-album tracks. Three months later, the catalogue was released digitally for the first time on an official, limited edition run of 30,000 USB flash drives - in both FLAC (Free Lossless Audio Codec), an open and royalty-free digital format, and the more widely used MP3 format (a patented audio encoding process of lesser quality). The Beatles had finally entered the digital age - with a bang!
In 2009, the Recording Industry Association of America certified that The Beatles have sold more albums in the United States than any other recording artist/s in history.
In 2008, Billboard magazine celebrated the U.S. singles chart's fiftieth anniversary by releasing a comprehensive list of the all-time top-selling Hot 100 artists - and the Beatles ranked number one - followed by Madonna, Elton John, Elvis Presley and Stevie Wonder. Paul McCartney and Wings came in at #11, the only former Beatle to make the Top 100.
The Beatles' 2006 compilation/remix album, Love, was their first album available in both stereo and 5.1 surround sound (as a DVD audio disc). Although not officially credited to The Beatles, the album won two GRAMMY Awards - which were shared by George & Giles Martin as producers and Paul Hicks and Tim Young, engineers.
Although the GRAMMY website only shows The Beatles as having won a total of 7 GRAMMY Awards - including three in 1996 for new recordings and music videos connected with The Beatles Anthology series - other sources, not counting individual, post-Beatle awards, credit the band with anywhere from 12 to 20 Grammies (often depending on what is defined as a Beatles award and what is considered an individual award).
The Beatles were inducted into the Rock and Roll Hall of Fame in 1988 with part of their bio stating that they "startled the ears and energized the lives of virtually all who heard them. Their arrival triggered the musical revolution of the Sixties, introducing a modern sound and viewpoint that parted ways" with the past. John Lennon , Paul McCartney , George Harrison  and producer George Martin  have each been inducted individually as well.
Unfortunately, the band's induction ceremony was marred by the ongoing, acrimonious peevishness which has tortured their fans since the 1970's. Paul McCartney refused to attend, leaving George, Ringo and Lennon's widow, Yoko Ono, to be inducted by fellow British legend Mick Jagger. McCartney released a brief statement that read: "After 20 years, the Beatles still have some business differences which I had hoped would have been settled by now. Unfortunately, they haven't been, so I would feel like a complete hypocrite waving and smiling with them at a fake reunion."
On Sunday, June 25, 1967, The Beatles took part in the first live, international, globally linked satellite television broadcast in history - the Our World (International TV special). They sang their newest song, "All You Need Is Love", live (along with a prerecorded backing track) for the largest television audience ever up to that time - an estimated 400-700 million people worldwide. The two-and-a-half hour BBC/Eurovision program included creative artists representing nineteen different nations - each performing or appearing in separate segments featuring their respective countries. It was an incredibly complex undertaking - involving control rooms in over 31 countries around the world, three satellites (Intelsat I, Intelsat II, and ATS-1), over 1.5 million km of cable and some ten thousand technicians, producers, translators and staff.
Although the agreed upon ground rules (everything had to be live and no politicians or heads of state must be seen) attempted to depoliticize the event, given the tumultuous times, it was an imposable task. Four days before the broadcast, the Eastern Bloc countries, led by the Soviet Union, dropped out over the West's response to the "Six Day" Middle Eastern war - darkening a significant portion of the global audience. The broadcast was also taking place at the height of the Vietnam War and The Beatles wanted to convey a positive message of peace, hope and love. Their performance, transmitted live to the universe at 8:54 p.m. GMT, included some famous friends invited to help create a festive atmosphere and join in on the chorus'. Among the fortunate few were Mick Jagger, Keith Richards, Eric Clapton, Marianne Faithfull, Keith Moon, The Small Faces, Michael Nesmith and Graham Nash.
On March 28, 1964, The Beatles became the first rock and roll artists to be immortalized in London's famed Madame Tussauds waxwork museum. Dougie Millings, the group's personal tailor (who appeared as such in A Hard Day's Night), supplied the original collarless "Beatle suits" for the first set of wax figures. Because of the rapid-fire image changes the band went through, however, the museum had to regularly update both the statues hair and wardrobe styles - although currently, the display has returned to showcasing "the boys" in their initial 1964 "fab four", "Beatle-suited" fashion.
Forty-one years later (2005), after being rediscovered in a back room at Madame Tussauds, four waxwork heads of The Beatles were sold at auction for approximately $150,000. Three of the four heads, on loan from the waxwork museum, were used by artist Peter Blake in 1967 as part the backdrop for the Sgt. Pepper's Lonely Hearts Club Band album cover. The busts of John Lennon, George Harrison and Ringo Starr can be seen on the left side of the iconic cover, wearing conservative dark suits and ties. A different, albeit similar, waxwork head of Paul McCartney was used for his figure in the photo shoot. In July of the following year, the guitar on which Paul strummed his first chords to impress John Lennon, was auctioned as well - for over $600,000.
The Beatles final film, Let It Be (1970), won the 1971 Academy Award for Best Original Song Score, their only Academy Award.
On October 16, 1965, all four Beatles were appointed "Members of the Most Excellent Order of the British Empire" (MBE) by Queen Elizabeth II. Although the awards were justifiably based on the band's enormous economic contribution to Great Britain, which was in line with precedent, several previous recipients felt that the award was somehow "demeaned", and returned theirs publically. Prime Minister Harold Wilson, who recommended them for the honor, admitted that it was more than money which motivated him : "I saw the Beatles as having a transforming effect on the minds of youth, mostly for the good. It kept a lot of kids off the streets. They introduced many, many young people to music, which in itself was a good thing. A lot of old-stagers might have regarded it as idiosyncratic music, but the Mersey sound was a new, important thing. That's why they deserved such recognition."
The Beatles, as a singular entity, were included in Time magazine's compilation of the twentieth century's 100 most influential people. In a special issue, "TIME 100: Heroes & Icons of the 20th Century", the Beatles were referred to as "the world's most astonishing rock-'n'-roll band."
On August 14, 2005, each of the four Beatles was featured on the cover of TV Guide. The four issues have become collectors items.
As a group, The Beatles have appeared in a number of films:
Starring Roles: A Hard Day's Night (1964), Help! (1965), Magical Mystery Tour (1967) and Yellow Submarine (1968 ) - although they only appeared briefly and their animated personas were voiced by others.
Documentaries: Myriad concerts and television programs were recorded by The Beatles over the years, most as-of-yet available only via bootlegs. The cream of those that have surfaced : The Beatles Live - Ready, Steady, Go! (1964), The Beatles: The First U.S. Visit (1964/1991), The Beatles at Shea Stadium (1965/1966), Let It Be (1969) and The Beatles Anthology (1995/1996).
Three members of The Beatles have appeared on The Simpsons:
In 2000, VH1 named "The 100 Greatest Rock Songs" and The Beatles had 9 of the top 79:
9 - "Hey Jude"
12 - "Yesterday"
20 - "A Day In The Life"
23 - "I Want To Hold Your Hand"
32 - "Let It Be"
57 - "Twist And Shout"
59 - "She Loves You"
61 - "Strawberry Fields Forever"
79 - "A Hard Day's Night"
In November of 2003 Rolling Stone magazine published a list of "The 500 Greatest Albums of All-Time" and The Beatles placed 11 albums on the list:
1 - Sgt. Pepper's Lonely Hearts Club Band
3 - Revolver
5 - Rubber Soul
10 - The Beatles ("The White Album")
14 - Abbey Road
39 - Please Please Me
59 - Meet The Beatles (U.S. release)
86 - Let It Be
332 - Help!
388 - A Hard Day's Night
420 - With The Beatles
On Monday, April 5, 1964, The Beatles were in Marylebone Station, London, filming the opening sequence for A Hard Day's Night, where frenzied fans charge after the lads through the train station and down the street (Boston Place). The scene, which is shown at the very beginning of the film during the titles, is meant to showcase Beatlemania in action. Meanwhile, back in the United States, some eight weeks after the Beatles first landed in New York City, real Beatlemania continued unabated. During the week of April 4, 1964, The Beatles held the top five spots on Billboard's "Hot 100" singles chart - simultaneously! Amazingly, seven other Beatle songs were also listed on the "Hot 100" that week. Neither feat has ever been accomplished by any other artist, ever:
1 - "Can't Buy Me Love" (Capitol)
2 - "Twist and Shout" (Tollie)
3 - "She Loves You" (Swan)
4 - "I Want to Hold Your Hand" (Capitol)
5 - "Please Please Me" (Vee Jay)
31 - "I Saw Her Standing There" (Capitol)
41 - "From Me To You" (Vee Jay)
46 - "Do You Want to Know a Secret?" (Vee Jay)
58 - "All My Loving" (Capitol)
65 - "You Can't Do That" (Capitol)
68 - "Roll Over Beethoven" (Capitol)
79 - "Thank You Girl" (Vee Jay)
Additionally, two Beatle tribute records were charting : "We Love You Beatles" by The Carefrees (#42) and "A Letter to the Beatles" by The Four Preps (#85) - giving the Fabs 14 of the top 85 spots. At the same time, they also had the top two albums in the country : Meet The Beatles (Capitol) and Introducing … The Beatles (Vee Jay). Not to be embarrassed by the colonies, UK fans saw to it that The Beatles had the #1 single and the #1 and #3 LP's there, as well.
Saturday Night Live had a running joke in the 1970s, where producer Lorne Michaels would appear on camera, and invite the Beatles to reunite for one more set on the show, for the handsome sum of $3200 (later upped to $3500). The joke spoofed both the grandiose offers made by Sid Bernstein and other promoters to the Beatles to perform again through those years, and the relatively small budget SNL was given to bring on top musical acts. On one show, Johnand Paul (who was visiting John in New York) happened to be watching, and nearly rode down to the studio, just for a laugh. George Harrison did appear on another night; a mock argument happened on camera when he was told he couldn't collect the whole fee, since the offer was only for the whole band.
Their infamous "butcher cover" for the Yesterday and Today album originated from the Beatles' disdain for photo sessions in general and, in particular, for the way Capitol Records in America tended to "butcher" their British LPs in repackaging (Capitol's habit was to skim tracks off albums and release them, perhaps with a stereo mix of their newest single, as the latest "Beatles" album - ignoring the continuity and care that the band and producer George Martin had put into crafting the English versions). Raucous protests over the "butcher shop" cover from fans, parents and radio DJ's forced Capitol to recall the album and re-release it with a different (albeit horrid) cover. Soon afterwards, they also changed their policy and ceased editing the British LP's, releasing all future albums (other than Magical Mystery Tour, which they only added to) as The Beatles intended them to be released.
George Harrison nearly missed The Beatles' Ed Sullivan Show appearance, because he'd come down with the flu. He spent much of their rehearsal time sick in bed at the hotel and only made the show after a doctor came to their suite and administered enough medication to get him through the performance.
According to recent figures, The Beatles had more number one albums on the UK charts (15) and held down the top spot longer (174 weeks) than any other musical act ever.
A Brief Beatle Primer : In 1957, John Lennon formed a band called "The Quarrymen". Paul McCartney, who knew the words to all the key songs, joined shortly thereafter and young George Harrison, who knew some Chuck Berry licks and could play "Raunchy" note-for-note, joined them in early-1958. By the fall of 1959, they had changed their name several times, before settling briefly on "Johnny and the Moondogs", with Lennon being the obvious leader.
By January, 1960, Lennon's good friend, Stuart Sutcliffe, joined up as the bass player. Although he couldn't really play very well, he could afford a bass guitar and a big amplifier and he looked really cool in a James Dean kind of way, and that was good enough. The band kept evolving and changing its name, trying out "The Silver Beats", and later, "The Silver Beatles". Then, in August, 1960, in order to land a paying gig at a "strip joint" in Hamburg, Germany, they auditioned and hired drummer Pete Best and settled on calling themselves simply "The Beatles". In Hamburg they played their asses off and learned how to "mach schau". And the rest, as they say, is history.
The Beatles initial 1962 recording contract with Parlophone Records (a division of EMI) was for a series of singles - at a minimal royalty rate. After "Please Please Me" became a hit, however, EMI gave them a full five-year contract for singles and albums - with better royalties. When it expired in 1967, Brian Epstein negotiated a new deal for "the boys" just before he died. With those basic terms fulfilled by late-1969, Allen Klein was able to get The Beatles the highest royalty rate ever paid up to that time - a whopping 69¢ per album. John Lennon had already effectively quit the band, but he agreed to keep mum about it until the deal was completed. A few months later, as his first solo album was being released, Paul McCartney announced his departure and The Beatles were history.
Chronological List of Beatles Primary Sound Recording Releases
1962 (1-5). . . . . . . . . My Bonnie/The Saints (Single) - Tony Sheridan/The Beatles
1963 (3-22). . . . . . . . Please Please Me - Parlophone (LP)
1963 (4-11). . . . . . . . From Me to You/Thank You Girl - Parlophone (Single)
1963 (7-12). . . . . . . . My Bonnie (Polydor EP) - Tony Sheridan/The Beatles
1963 (8-23). . . . . . . . She Loves You/I'll Get You - Parlophone (Single)
1963 (11-22). . . . . . . With The Beatles - Parlophone (LP)
1964 (June). . . . . . . . .The Beatles First (Tony Sheridan) - Polydor (German LP)
1964 (6-19). . . . . . . . Long Tall Sally - Parlophone (EP)
1964 (7-10). . . . . . . . A Hard Day's Night - Parlophone (LP)
1964 (11-27). . . . . . . I Feel Fine/She's a Woman - Parlophone (Single)
1964 (12-4). . . . . . . . Beatles for Sale - Parlophone (LP)
1965 (8-6). . . . . . . . . Help! - Parlophone (LP)
1965 (12-3). . . . . . . . We Can Work It Out/Day Tripper - Parlophone (Single)
1965 (12-3). . . . . . . . Rubber Soul - Parlophone (LP)
1966 (6-10). . . . . . . . Paperback Writer/Rain - Parlophone (Single)
1966 (8-5). . . . . . . . . Revolver - Parlophone (LP)
1967 (6-1). . . . . . . . . Sgt. Pepper's Lonely Hearts Club Band - Parlophone (LP)
1967 (11-27). . . . . . . Magical Mystery Tour - Capitol (LP)
1968 (3-15). . . . . . . . Lady Madonna/The Inner Light - Parlophone (Single)
1968 (8-26). . . . . . . . Hey Jude/Revolution - Parlophone (Single)
1968 (11-22). . . . . . . The Beatles (White Album) - Parlophone (LP)
1969 (1-13). . . . . . . . Yellow Submarine - Parlophone (LP)
1969 (5-30). . . . . . . . Ballad of John & Yoko/Old Brown Shoe - Parlophone (Single)
1969 (9-26). . . . . . . . Abbey Road - Parlophone (LP)
1970 (3-6). . . . . . . . . Let It Be/You Know My Name - Parlophone (Single)
1970 (5-8 ). . . . . . . . .Let It Be - Parlophone (LP)
1977 (April). . . . . . . . Live at the Star-Club - Hamburg, 1962 - Bellaphon (German LP)
1977 (5-4). . . . . . . . . The Beatles at the Hollywood Bowl - Parlophone (LP)
1988 (3-7). . . . . . . . . Past Masters - Parlophone (CD)
1994 (11-30). . . . . . . Live at the BBC - Parlophone (CD)
1995 (11-21). . . . . . . The Beatles Anthology 1 - Parlophone (2 CD)
1995 (12-4). . . . . . . . Free As A Bird - Parlophone (EP CD)
1996 (3-4). . . . . . . . . Real Love - Parlophone (EP CD)
1996 (3-18 ) . . . . . . . The Beatles Anthology 2 - Parlophone (2 CD)
1996 (10-28 ) . . . . . . The Beatles Anthology 3 - Parlophone (2 CD)
2003 (11-17). . . . . . . Let It Be... Naked - Parlophone (CD)
2006 (11-20). . . . . . . Love - Parlophone (CD/DVD-Audio)
(All dates for UK releases (except Capitol/Polydor), only non-LP singles incl)
Paul: I knew the words to 25 rock songs, so I got in the group. "Long Tall Sally" and "Tutti-Frutti", that got me in. That was my audition.
Paul: I definitely did look up to John. We all looked up to John. He was older and he was very much the leader; he was the quickest wit and the smartest.
George: I didn't like the look of Rory's drummer, myself. He looked the nasty one, with his little grey streak of hair. But the nastier one turned out to be Ringo, the nicest of them all.
Paul: Hamburg totally wrecked us. I remember getting home to England and my dad thought I was half-dead. I looked like a skeleton. I hadn't noticed the change, I'd been having such a ball!
Brian Epstein (on seeing "the boys" at the Cavern): I was amazed by this … beat music.
Paul: If anyone was the Fifth Beatle, it was Brian.
John: We reckoned we could make it because there were four of us. None of us would've made it alone - because Paul wasn't quite strong enough, I didn't have enough girl-appeal, George was too quiet and Ringo was the drummer. But we thought that everyone would be able to dig at least one of us - and that's how it turned out.
Decca Records (rejecting The Beatles in 1962): We don't like their sound, and guitar music is on the way out.
George: The first time I heard "Love Me Do" on the radio, I went shivery all over. I couldn't believe it!
Ringo: We thought that if we lasted for two to three years that would be fantastic!
Paul: The things is, we're all really the same person. We're just four parts of the one.
Paul: What used to happen before we came on the scene, people used to have writers, so someone like Elvis would have people writing his stuff for him, Leiber and Stoller, people like that. We kind of upset the boat a bit. We came along and we were writing our own stuff. So we came along and put some of those people out of work, which you know, was okay for us, not so good for them.
John (during the Royal Variety Performance before members of the British Royal Family): For our last number, I'd like to ask your help. Would the people in the cheaper seats clap your hands? And the rest of you, if you just rattle your jewelry …
(excerpts from first U.S. press conference at JFK Airport on February 7, 1964)
Woman: Would you please sing something?
Beatles: NO! (laughter)
Ringo: Sorry …
Reporter: There's some doubt that you can sing.
John: No, we need money first.
Reporter: Aren't you afraid of what the American Barbers' Association is going to think of you?
Ringo: Well, we run quicker than the English ones. We'll have a go here, you know.
Paul (asked why fans get so excited): We don't know, really.
John: If we knew, we'd form another group and be managers.
Ringo: There's a woman in the United States who predicted the plane we were traveling on would crash. Now, a lot of people would like to think we were scared into saying a prayer. What we did actually - we drank.
Paul (told the French had not made up their mind about The Beatles and asked what he thought of them): Oh, we like the Beatles, they're gear!
John (asked if not hearing himself during concerts bothered him): No, we don't mind. We've got the records at home.
John (asked if the adulation of teenage girls affected him): When I feel my head start to swell, I look at Ringo and know perfectly well we're not supermen.
John (asked how he felt about teenagers imitating the band by wearing Beatle wigs): They're not imitating us because we don't wear Beatle wigs.
Interviewer: Do you worry about smoking in public? Do you think it might set a bad example for your younger fans?
George: We don't set examples. We smoke because we've always smoked. Kids don't smoke because we do. They smoke because they want to. If we changed, we'd be putting on an act.
Ringo (whispering): We even drink.
John (told some adults have said their haircuts are "un-American"): Well, it was very observant of them because we aren't American, actually.
Paul: Somebody said to me, "But The Beatles were anti-materialistic!" That's a huge myth. John and I literally used to sit down and say, "Now, let's write a swimming pool".
Paul: Still, we'd be idiots to say that it isn't a constant inspiration to be making a lot of money. It always is, to anyone. I mean, why do big business tycoons stay big business tycoons? It's not because they're inspired at the greatness of big business; they're in it because they're making a lot of money at it. We'd be idiots if we pretended we were in it solely for kicks. In the beginning we were, but at the same time we were hoping to make a bit of cash. It's a switch around now, though, from what it used to be. We used to be doing it mainly for kicks and not making a lot of money and now we're making a lot of money without too many kicks … except that we happen to like the money we're making. But we still enjoy making records, going on-stage, making films and all that business.
John: We love every minute of it, Beatle people!
John: We're not cruel, we've seen enough tragedy in Merseyside. But when a mother shrieks "Just touch my son and maybe he'll walk again", we want to run, cry, empty our pockets … We're going to remain normal if it kills us.
Paul (on Buckingham Palace): We've played many palaces, including Frisco's Cow Palace, but never this one before. It's a keen pad and I like the staff. Thought they'd be dukes and things, but they were just fellas.
Playboy: You guys seem to be pretty irreverent characters. Are any of you churchgoers?
Paul: Not particularly. But we're not antireligious. We probably seem antireligious because of the fact that none of us believe in God.
John: If you say you don't believe in God, everybody assumes you're antireligious, and you probably think that's what we mean by that. We're not quite sure what we are, but I know that we're more agnostic than atheistic.
Playboy: Are you speaking for the group, or just for yourself?
John: For the group.
George: John's our official religious spokesman.
John: I'm not saying we're better or greater, or comparing us with Jesus Christ as a person, or God as a thing, or whatever it is. I just said what I said, and it was wrong, or it was taken wrong. And now it's all this.
George (about the Beatle record burning furor): They've got to buy them before they can burn them.
John (asked if they planned to record any anti-war songs): All our songs are anti-war.
George: They used us as an excuse to go mad and then blamed it on us.
John (asked if fans could look forward to any more Beatle movies): Well, there'll be many more, but I don't know whether you can look forward to them or not.
Paul: George wrote Taxman and I played guitar on it. He wrote it in anger at finding out what the taxman did. He'd never known before then what could happen to your money.
George: I believe I love my guitar more than the others love theirs. For John and Paul, songwriting is pretty important and guitar playing is a means to an end. While they're making up new tunes I can thoroughly enjoy myself just doodling around with a guitar for a whole evening. I'm fascinated by new sounds I can get from different instruments I try out. I'm not sure that makes me particularly musical - just call me a guitar fanatic instead and I'll be satisfied.
George Martin: If I had been doing drugs at the time The Beatles were doing drugs, I doubt you'd have got the records you've got now.
Paul: There's a lot of random in our songs … writing, thinking, letting others think of bits - then bam, you've the jigsaw puzzle.
George Martin: Looking back on Pepper, it was quite an icon. It probably did change the face of recording so it became a different kind of art form.
Paul: The world was a problem, but we weren't. You know, that was the best thing about the Beatles, until we started to break up, like during the White Album and stuff. Even the studio got a bit tense then.
Ringo: (about returning to the band after quitting) : And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying "Welcome Home". So then we got it together again. I always felt it was better on the White one for me. We were more like a band, you know?
Paul: I had this song called "Helter Skelter", which is just a ridiculous song. So we did it like that, 'cuz I like noise.
George Martin: I think that one of the nice things about the Yellow Submarine movie is that it seems to be perennial. People enjoy watching from each generation. And it was like the Beatles themselves, you know. The Beatles seem to find a new audience each time another generation comes along.
John: One has to completely humiliate oneself to be what the Beatles were, and that's what I resent. I didn't know, I didn't foresee. It happened bit by bit, gradually, until this complete craziness is surrounding you, and you're doing exactly what you don't want to do with people you can't stand - the people you hated when you were ten.
John: You know, they gave their money and they gave their screams, but the Beatles kinda gave their nervous systems … which is … a much more difficult thing to give.
John: I've always thought there was this underlying thing in Paul's "Get Back". When we were in the studio recording it, every time he sang the line "Get back to where you once belonged", he'd look at Yoko.
Paul: By the time we made Abbey Road, John and I were openly critical of each other's music, and I felt John wasn't much interested in performing anything he hadn't written himself.
George Martin (on Phil Spector's overdubs to the "Let It Be" album): It was so uncharacteristic of The Beatles. It went against everything they wanted to do with the record. He tried to use the same techniques that he used on other people's records and it didn't work. I could understand why Paul got so mad over it.
John: I didn't leave the Beatles. The Beatles have left The Beatles - but no one wants to be the one to say the party's over.
Paul: A hundred years from now, people will listen to the music of The Beatles the same way we listen to Mozart.
George: We laughed a lot. That's one thing we forgot about for a few years - laughing. When we went through all the lawsuits, it looked as if everything was bleak, but when I think back to before that, I remember we used to laugh all the time.
George Martin: John and Paul were equal talents who collaborated but, more important, who competed. When one guy did something, the other would say, "My God, that's good. I wonder if I can do better?" That spurred them on. They were great individually, but they never quite reached the Olympian heights that they achieved when they were The Beatles.
Paul: The further away you get from the heyday of The Beatles, the more amazing it becomes. It's grown in stature. At the time, we thought we'd be lucky to last for five years.
George (1981): As far as I'm concerned, there won't be a Beatles reunion as long as John Lennon remains dead.
Ringo: We just pretended that John had gone on holiday or out for tea and had left us the tape to play with. That was the only way we could deal with it and get over the hurdle, because it was really very emotional.
George: I think we just, you know, we've had so much … of the same background … our musical background and where we came from and what we listened to, you know, in common - and then all those years we played together - you know, it's somehow, it's-it's made a very deep groove in our memories and it doesn't take much to lock in.
Ringo: Recording the new songs didn't feel contrived at all, it felt very natural and it was a lot of fun, but emotional too at times. But it's the end of the line, really. There's nothing more we can do as The Beatles.
John: I'd like to say "Thank You" on behalf of the group and ourselves and I hope we passed the audition.
Lennon/McCartney: And in the end, the love you take is equal to the love you make.
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