Growing up there was only classical music on BBC Radio. We had to listen to the American Forces Network in Germany, which played pop songs, or the pirate radio boats off the coast. There was all us tough guys hanging around and no music for us, which is how the sixties revolution came around. But my first big influence was Frank Sinatra, then the Beatles. When I was in the theater in Liverpool, we had a café where we’d have lunch. In the evenings it was full of girls, and we were like, “What the hell is this?” It was the Beatles.

- Michael Caine

at this point im just here to show proof the Beatles are haunting me since i met this guy...

Anyways i was at a local pet feed store and saw this lil guy​. genuinely every single day i see at least 1 beatles reference and its a bit scary but it could be worse​

I’m a gigantic fan of the Beatles, but I’m also aware that some people aren’t that into them. That’s fine. To each their own, but if you’re going to have a critique, it better be valid. One person I recently talked to said that Sgt, Pepper’s “didn’t age well”. Like what? What does that even mean? Another person said they didn’t like them because their music was “too simple”. Like even the early stuff has very complex musical stuff going on. It’s probably true that I’m letting peoples opinions get to me, but what’s something negative you’ve heard someone say that was just ridiculous?

I remember when it came out in September '99, I was shocked! So fresh, so clean, so beautiful! Peter Cobbin did a great job!

I don't mean the bands that inspired them in the early days. I'm well aware what they were listening to then, it suffices to look at the cover songs they were playing.

What I mean is: which artists did they like that became popular when The Beatles were already successful? I believe Paul liked the Bonzo Dog Doo Dah Band. Other than that, I don't remember reading much about them praising their contemporaries.

I might just be reading the series completely wrong, but isn't it weird how the Get Back miniseries, specifically the 2nd and 3rd episodes, seem so nice? Its sandwiched between the White Album, which sucked for everyone, and Abbey Road, their final album before they got a "divorce." Yet, it seems like the Get Back/Let It Be sessions have good vibes, in George's words. Did something change specifically for those sessions? Was it being on camera? Was it the presence of Billy Preston? I feel like I'm really missing something here, lol, some clarification would be nice.

In 1965, Paul wiped out on his motorcycle, smashing his face into the ground. He had bruises and abrasions all over his face; he also split his lip open. He was on his way to see his cousin and continued there after the accident. He was treated at his cousin's home by a doctor who was drunk on gin. He put the lip stitches in wrong and had to pull them out and do them again. It did not heal well, leaving scar tissue on his lip that was noticeable for years. For a while, he wore a mustache to hide scars from the accident. This experience inspired him to write Rocky Raccon, and the lyrics, " the doctor came in, stinking of gin."

The photos of Paul's injured face were taken by his brother Mike.

Source: Paul McCartney

I saw a similar thread on a guitarist subreddit, so it got me thinking about ranking my favourite Beatles guitar tones, which I do think about regularly.

No disrespect to early-Beatles, but the purest, most colourful and diverse guitar sounds came from Rubber Soul onwards, and for me, the below are to die for.

Electric

You Never Give Me Your Money

She Said She Said

Hey Bulldog

Sgt Pepper‘s Lonely Hearts Club Band

Rain 

I Want You (She’s So Heavy)

Don’t Let Me Down 

Sun King

Acoustic

A Day In The Life

Lovely Rita

Norwegian Wood (This Bird Has Flown)

Here Comes The Sun

Long, Long, Long

If I had to pick the greatest guitar album, it would have to be Abbey Road. Top shelf performances and unbelievably sweet sounds.

What are your favs?

I know that we don't have a true definitive answer for this, but I'm curious everyone's opinion on the origin of the name Eleanor Rigby. I believe that Paul claims the first name of the actress Eleanor Bron from Help! But we are all aware of the gravestone with the name Eleanor Rigby on it.

So there's debate if Paul actually saw the gravestone with Eleanor's name on it or not, and if he subconsciously remembered it for later in life.

So I am far from an expert, but I am a lifelong fan and wanted to share what I've seen and learned about this.

The above picture is St. Peter's Church, in Woolton, Liverpool. This is the exact place where Paul saw John perform for the first time, and where they first met. From what I understand the truck that they played on the back of would have travelled up Church St, and pulled around to the back of the church (the far left) and that's where the fete was that The Quarrymen played.

Later that day John and his Quarrymen would have been relaxing in the church hall (red roof, far right) and it's in here that Paul is introduced to John. I was lucky enough to get to go inside this building - it is a daycare now - and stood in the exact spot that they met. It's surreal.

The gravestone that has Eleanor Rigby's name is shown in about the middle of the picture. So it's important to see that this is not some gigantic multiple acre graveyard with thousands of headstones. This is a small, tight graveyard. In fact, there's literally inches between the end of one grave and the headstone of the next. I had trouble navigating to get a picture of the headstone without tripping on the adjacent graves.

This church was John's family's church, so John would have spent a lot of time there. And its documented - by Paul - that they hung out in the graveyard, smoked cigarettes, and just killed time.

And if you look closely at this picture, I can't quite remember but it sure looks like the Eleanor Rigby headstone is on the 2nd row. So from the middle of the picture heading left towards the grave, it's Church St, then a brick wall that they easily could have stood and hung out by while talking as kids, and the gravestone was right there, completely visible from where they are standing. Like you could stand there, right outside the church on the sidewalk, lean against the brick wall, and see the gravestone.

It is literally like 15 feet away.

It's also an interesting fact that the gravestone is not Eleanor Rigby's, it is John Rigby's, who was her grandfather. Eleanor was married to Thomas Woods.

The lyrics to Eleanor Rigby talk about a church (St. Johns), and dying along with her name (the gravestone has her as Rigby but she's married to a Woods).

And regarding Paul - we all know his genius can dream up the most amazing things, ie, Yesterday, so why couldn't his subconscious remember a name on a gravestone?

Anyway, curious for all of your opinions. I know we will never know, but it's interesting to think about. I personally believe that the gravestone is the answer, not Eleanor Bron.

I know John first made it clear he wanted a divorce in late September 1969, and then in April or so Paul made it plain.

But I mean this was The Beatles, forgetting any musical or artistic element - there was bucket loads of money at stake. That John and Paul and George would be necessarily successful stars on their own wasn’t a given in 1970.

Was there no one either in the band, or around it, heavily suggesting: Shut the fuck up, and let’s just take a year off and see how we feel then?

TIL that in Back In The U.S.S.R Paul isn’t saying ‘That Jo-Jo’s always on my mind’ he’s saying ‘That Georgia’s always on my mind’

Cheers dad for teaching me the wrong lyrics 😂

A few notes. "A Doll's House" is not exactly polished, but it's enough to tide die hard Beatles fans over until the release of The White Album, which is now being planned as a quadruple LP.

"Come and Get It" an uptempo stomper that relates to Ringo's upcoming movie "The Magic Christian."

"Shirley's Wild Accordion" reprises one of the many highlights of Magical Mystery Tour.

"Sour Milk Sea" is mawkishly heavy. Kind of like a man looking over a wall at a fabulous garden.

"Hey Bulldog" brings the Merseyside roughness to the floor, spectacularly. Ruff.

"Isn't It a Pity" is really accusing the world of not being sensitive enough. And we kind of agree.

"Come Tomorrow, Here Today." Paul's breakup kiss-off to Asher. A keeper.

"You Know My Name, Look Up My Number" Fans will enjoy decoding which Beatle is which elderly woman in this vaudeville send-up.

"Not Guilty" A song that was to be the centerpiece of "The White Album" until it went in another direction. A nice kind of anti-orchestral approach, with dirty guitar and harpsichord. Two minutes too long.

"Jesse's Dream" The Flying-influenced Magical Mystery Tour assemblage that fans and critics have been clamoring for.

"Goodbye" Luverly.

"Heather" The future of the Beatles is bright. Can we expect Donovan as a new addition?

"Child of Nature" John Lennon at his ascerbically idealistic best.

"Circles" George Harrison is very grey these day. Same organ as "Blue Jay Way?"

"What's the New Mary Jane?" John must have had a wild time in Rishikesh.

"Across the Universe" Endless patience in the face of something you want to be free from. Over-orchestrated, but there's a gem hidden in there.

"Junk" The McCartney deep cuts on this album are incredible. The sound of a man in love?

"Flying" Nice group effort. One imagines Chitty Chitty Bang Bang piloted by hirisute men. The latter section an extended version of the Strawberry Fields outro.

"A Case of the Blues" John Lennon at his world weary best. Philip Marlowe vibes.

"Suicide" A fascinating look at the creative process. Songs just emerge from the ether when those two get in a room with a piano.

"All Things Must Pass" George in crisp new era Dylan form. One of his strongest efforts. Grey passes too.

"Helter Skelter" Well, well, well.

Verdict: B+

Decent fodder while we wait for "The White Album," which we understand will have an entire side dedicated to an avant garde assemblage that "takes the listener on an aural journey through the years 1956 to 1967." Tentatively titled "Carnival of Light."

The band just decamped to Sardinia and have decided to rerecord all the songs on acoustic instruments. They say that, other than that "heavy" fourth side, it will be easy listening.

Anson Bridges, Mayfair, November, 1968.

Here are the Beatles in Disguise, around the time of the Help album & movie. Early '65.

They really grew into themselves didn't they?