I have read a lot of books about The Beatles, so many that I began to lose faith in ever finding another one that would teach me something new or let me see them from a different perspective. I have become more and more picky about which books I will spend my time reading, especially when it comes to the Beatles — so much so that when I am in the midst of reading one and an author refers to John Lennon as the oldest Beatle, I stop reading. Because if you can’t get something that simple correct, what else are you mucking up? So, this past holiday season, when The Fest for Beatles fans touted not just one but three books as essential for every Beatles fan, I was skeptical. But oh, was I wrong! These three books are, you might say, the toppermost of the poppermost when it comes to Beatles reading…
1. All the Songs: The Story Behind Every Beatles Release by Jean-Michel Guesdon and Philippe Margotin
I adore this book so much I’ve already read it twice, stuffing it with post-it notes along the way. As the title suggests, this book gives you the full story about every Beatles release. This first includes an overview of each studio album and EP, and then a delicious (yes, delicious) track-by-track dissection — we’re talking the genesis of each song (i.e. what inspired them to write the song or, if it’s a cover, when they started working the song into their impressive and extensive repertoire), discussion of each song’s production, technical details, who played what, who wrote what, recording and mixing dates, the technical team (bless ‘em), and the number of takes (this gets kind of crazy around oh, I don’t know…”Maxwell’s Silver Hammer.” Bang, bang!). Oh, and there’s also little yellow boxes exclaiming “FOR BEATLES FANATICS” (…who else?), and they are packed with the tiniest, coolest tidbits…like how there is no bass after the first minute of “Strawberry Fields Forever” or the mono version of “She’s Leaving Home” is slightly faster and higher than the stereo version (boo, mono forever). Here’s what a typical spread looks like:
I’ve said it before, and I’ll say it again: Paul definitely has the best butt in the Beatles.
Isn’t it beautiful? The spread design, I mean — not Paul’s butt (although it is pretty great, let’s be real, people).
All the Songs is a great (albeit hefty) reference book that I know I will return to again and again. William J. Dowlding’s Beatlesongs has been my go-to when it comes to specifics about the Beatles’ music for years, but All the Songs just may replace it.
I love that this book’s main focus is on the Beatles as musicians, songwriters, and recording artists with minimal personal information or defamation. I thought I knew it all, but this book taught me so much more about their songwriting and recording processes, and I came away with an even greater appreciation of and love for their music and the Beatles as musicians — who would have thought that was even possible? Not I.
2. The Beatles: The BBC Archives: 1962-1970 by Kevin Howlett
Again, the title gives it all away — this book digs into the BBC Archives and gives readers every available detail about the Beatles relationship with the indomitable BBC (who, eager housekeepers that they were, got rid of so many of their performances). The book comes with reproductions of some of the documents Howlett uncovered in his extensive research, including manager Brian Epstein’s application for the Beatles (which, at the time, still included Pete Best on drums) to audition for the BBC radio and the staff’s subsequent response to their audition: “An unusual group, not as ‘rocky’ as most, more C+W [Country and Western], with a tendency to play music.” The same staffer approved of Lennon as a singer but not McCartney (“Paul McCartney — NO.”).
The early years are fascinating because, like the recordings now available on Live at the BBC and On Air: Live at the BBC, Volume 2, they tell us so much about the Beatles as musicians and their personalities. First, the Beatles worked hard and often a relentless, frantic pace. Their first album (well, ten of its fourteen tracks) was recorded in about ten hours; this is seen as a remarkable achievement, but, as Howlett writes, their work rate at the BBC was even higher: “Apart from when they were performing in front of an audience for a broadcast, The Beatles had to complete five or six songs in a short session. They were not fazed by this requirement.” Furthermore, their radio performances were limited by the BBC’s equipment: they had to record on mono machines and any mistakes would have to either be edited out and replaced with a separate take or a lengthy overdubbing process. Thus, most of their BBC performances were recorded live, direct to tape, revealing their strength and talent as musicians and what exciting performers they were.
The other aspect of their BBC performances is that they offer insight into the Beatles’ as music fans — what they liked to listen to and what inspired them. During their radio program Pop Go the Beatles, 39 of the songs heard in the series were not available on the Beatles’ records by the series’ conclusion and 26 of those 39 would remain unreleased during the Beatles’ recording career. Of course, many of these are now available on the Live at the BBC series, and they tell us what the Beatles liked — lots of Chuck Berry, Elvis, Buddy Holly, Carl Perkins, Smokey Robinson and the Miracles, and records and artists that remain rare and unheard to this day (“Devil in His Heart” by the Donays, anyone?). This large repertoire of songs that remained unreleased on record gives us an indication of what accomplished musicians they were and how much variety they were able to have in their set-lists in their early performing days. And not only did they cover these songs, they made them their own, they gave them the Beatles sound.
Then there were the interviews and on-air banter between the performers and presenters that tell us what naturally charming and witty people the Beatles were. Howlett’s book is full of transcripts of such banter, some available on the BBC recordings, some not (I would love to hear a recording of the 1964 interview with Paul by George, who, at the end of the interview, thanked Paul and told him he’d receive his “three shilling fee at a later date!”). They liked to call presenter Lee Peters Pee Litres (tee hee), and when presenter Rodney Burke introduced himself, “My name’s Rodney Burke, thank you very much!” John Lennon interjected, as only he could: “That’s your fault!”
Later, however, the Beatles simply had less time (and, likely, interest) to drop into the BBC and thus their final BBC session was in 1965. They still offered interviews and television appearances, and the details of these offer insight into how they were changing as a band and as people. For example, when interviewed for a program called The Lennon and McCartney Songbook, Howlett’s transcript indicates McCartney’s diplomatic nature, while Lennon is subdued, grumpy even, showing how he was becoming restless with being a Beatle (and likely very stressed and nervous about their upcoming tour of the US, who didn’t take kindly to his “more popular than Jesus” remark).
Interesting also is the interviews of 1969 and 1970, when relations between band members were very tense and strained at times. In 1970, George was asked about the split of the group and answered, in part: “It’s the end of The Beatles like maybe how people imagine The Beatles….I can see this year us all doing a separate album each and by that time people will probably think there’s no chance at all of there ever being Beatles again. And then suddenly, there’s Beatles again.” Only eleven days after this interview was broadcast, Paul McCartney announced he had quit the band (well, basically). Jerk!
The BBC Archives is a fascinating examination of the Beatles as recording artists and people, demonstrated by their recordings and interviews given to the BBC. I’d argue that the following statements made by Howlett are some of the most important to be written or uttered about this most-written and most-uttered-about band: “The brilliant innovations made by The Beatles in their latter years are, quite rightly, regarded as pioneering achievements that continue to influence musicians. But if you did not experience the group’s musical progression as it happened, listening to The Beatles without that chronological context can distort an historical view of their career. The picture on With the Beatles may not seem so now, but in 1963 it was extremely radical. So was the album’s music: energetic, visceral, and cutting edge. Indeed, the initial years of The Beatles’ success, 1963 and 1964, may well be their most revolutionary.” Yes, yes, yes!
This book, coupled with the Live at the BBC recordings, shows just how revolutionary and fun they were in those early years. In a BBC Audience Research Report, a solicitor, self-described as “definitely over-twenty,” wrote: ”How can anyone fail to like them? Their music is so gay and uninhibited, and they themselves are so full of joie-de-vivre.” Amen, brother.
3. The Beatles: All These Years, Volume 1: Tune In by Mark Lewisohn
When Mark Lewisohn, renowned Beatles scholar and author, told the late Neil Aspinall that he was beginning a three volume biography about The Beatles, Aspinall responded, “Does the world really need another Beatles book?” Yes, Neil, it does, and this is it!
This first installment of Lewisohn’s trilogy takes us up to the end of 1962, just on the cusp of Beatlemania. In other biographies, this section of the Beatles’ story is glossed over — not here. The book is just over 1100 pages (and there is an extended version of the book but it’s currently only available in print in the UK, what gives? This is the 21st century, where is our global village?). Other biographers, too, make this period of the Beatles’ story somewhat dry — not here. I couldn’t put this book down. I even dreamed about it. That’s normal, right? And other biographers — still, here, now, in 2014 — repeat (or even create) myths and legends that simply are not true — not here. Lewisohn is a scholar. He has source upon source upon source. And as a result, his writing is scholarly but, at the same time, engaging.
Lewisohn gives the full facts and truth about so many parts of the Beatles story — how they finally got that coveted recording contract, where those haircuts come from, and yes, not only did Pete Best have zero drumming talent but zero personality. It’s so refreshing (…especially after the headache that was Larry Kane’s When They Were Boys).
Similarly refreshing is how Lewisohn portrays and discusses the Beatles’ individual faults without making them out to be horrible people. He does not excuse their faults (John and Paul’s early views on women, Paul’s jealousy, John’s strange fixation with cripples, etc.), but he does put them in perspective by putting them in context of their lives and times, allowing some understanding of why they were the way they were.
Reading this book, I came away with a greater appreciation of how hard the Beatles worked and similarly how hard the people around them worked — specifically Brian Epstein, bless that man — to make their career happen. I appreciate how certain people, whose lives had run parallel to their own, had to come together with them to make it happen. The Beatles always had the potential to be the greatest, they always had the talent and charisma, and they certainly always had the belief that something would happen…but without certain people and opportunities, it would not have happened, and we would still be listening to Pat Boone records.
One of the most interesting things I learned was how Decca didn’t necessarily reject the Beatles — well, they kind of did, but they also offered to assist Epstein in getting the Beatles on a record. But Epstein, amazingly (albeit thankfully), refused. Lewisohn explains Epstein’s thinking: “The bottom line seems to have been that Brian couldn’t accept the Beatles’ records being made by someone who didn’t appreciate them and was doing it only for money. In a perfect world they would come under the wing of a man who, like him, could see their potential and was interested in adding his talents to theirs.” That man, of course, was George Martin who was actually forced to sign the Beatles! Oh, what stories are in this book.
I especially love Lewisohn’s thoughts about a recording of the Quarry Men’s evening performance the day Paul met John. Writing of the tape and this early Lennon vocal performance, Lewisohn hits so many things about Lennon (and by extension, the Beatles) that make them so remarkable:
“And this, even more than its highly improbably existence, is the most extraordinary thing about the tape: it is unmistakably John Lennon. Although inspired by Elvis and Lonnie, he’s not attempting to imitate their voices or their style, and more strikingly still he’s not adopting any phoney American or mid-Atlantic accent. Singers always start off as impersonators, mimicking whoever made the record they’re performing, some perhaps going on to develop their own voice. That John Lennon already had it at Woolton, that he was so audibly himself, is the mark of a true original. Not only does he have a great rock voice, it’s an honest one.”
Influenced, yes, but unmistakable an individual, an original — a natural, honest original, not painstakingly groomed for prime time but just being himself.
I just finished this yesterday, and I am so depressed. I just wanted it to keep…going. It took Lewisohn ten years to research and write this volume, and he hasn’t written the remaining two volumes, and I don’t know if I can sustain the will to live long enough to see them written and released. I hope so.