The Beatles are fucking good.

[JesusAndYourBush]

This piece of audio turned up yesterday out of the blue. No one even knew it existed.

The Beatles - Live at EMI House, Manchester Square, London (April 5, 1963)
From Me To You / Please Please Me (live)
https://www.youtube.com/watch?v=nkhrDX-h_rE

[Retinend]

What strikes me is how much they shone while performing live, and how tightly they played together. If you want to understand the Beatles' music, then you need to not only learn to play it, but learn to play it with others. I have in mind the vocal harmony parts especially.

[gilbertharding]

This piece of audio turned up yesterday out of the blue. No one even knew it existed.

The Beatles - Live at EMI House, Manchester Square, London (April 5, 1963)
From Me To You / Please Please Me (live)
https://www.youtube.com/watch?v=nkhrDX-h_rE

There's a picture in that clip of Ringo with a very un-Beatles logo on his kit which reminded me of this twitter thread:

https://twitter.com/eddierobson/status/1478676754852159489

A THREAD on The Beatles' logo. Most people probably recognise it - a very simple design made distinctive by the drop "T" in the middle.

However, you won't find it on any album released by the group in their lifetime. In fact, many of their albums either didn't feature the group's name at all, or only featured it as part of the album's title.

The ones that did feature the group's name used typography specific to that release. This was typical of albums in the 60s - I can't think of a group that used a consistent "logo" across releases.

But there's one place the drop-T logo regularly featured: on Ringo's drum kit. And, in fact, this is exactly what it was designed for.

The excellent Beatles Bible site has an article about it here. The short version is that in April 1963 Ringo needed a new set of drums, and he and Brian Epstein went to Drum City on Shaftesbury Avenue to get some.

At the time Drum City was the exclusive supplier of Ludwig drums, and using the old "it'll be great exposure" argument, Epstein got them to give Ringo a new Ludwig kit for free in exchange for his battered Premier kit. Naturally Drum City wanted the Ludwig logo to be prominent.

Epstein agreed to a Ludwig logo being painted on the drum head, but also asked for THE BEATLES to be written on it. The shop's owner, Ivor Arbiter, sketched the drop-T logo on the spot: the larger B and T were to emphasise the word "Beat".

The Beatles logo - and the Ludwig logo - were then painted onto the drum head by sign writer Eddie Stokes. For these services Drum City was paid £5, and Ringo started using the kit after picking it up in May 1963.

Over the years Ringo would keep using the services of Drum City, and each time they'd paint the logo onto the head of the bass drum. You can see slight variations in it, being done by hand each time (and, quite possibly, from memory). It even appeared briefly in Let It Be.

After the group's demise, new Beatles albums kept to the practice of new typography for each release. Some were rather better than others. The drop-T logo was nowhere to be seen.

...and basically after more waffle, he remembers to tell us that the lettering didn't appear on a record until 20 Greatest Hits in 1982, and thereafter it became 'The' logo - Apple copywrited it in the 90s.

[Retinend]

That's an interesting history of how a small part of something comes to symbolize the whole. There was a snobby-sounding word I learned at university for that. Edit: oh yeah, "synecdoche"

[SteveDave]

Is anyone else struggling with "The Lyrics" book? I'm finding that he rarely talks about the lyrics and just tells the stories we know with a few occasional extra bits chucked in. The photos are nice but it feels like he's called it "The Lyrics" so he can appear like a literary guy.

[shagatha crustie]

Aye. I found it extremely frustrating. It's like it doesn't know what it wants to be - he's famously averse to/incapable of self-analysis, so it's all wrapped up in a package that promises serious literary criticism (with a quote from Hamlet as the epigraph, I mean come on) but then doesn't really deliver on that level at all. At points he seems to be an actual idiot. 'The Long and Winding Road' isn't just about a fucking dirt road you used to drive up in Scotland, Paul - didn't you watch Get Back like the rest of us? It's alright professing such ignorance in interviews, but you're selling this to your fans as actual emotional/intellectual insight. FOR SIXTY CUNTING QUID

The most interesting stuff is seeing his handwritten drafts, sketches etc, and the new photos. Where's 'Paul McCartney: The Music'? Surely that's the element in which he's more at home, and where he's better-known for his craftsmanship?

[the science eel]

Aye. I found it extremely frustrating. It's like it doesn't know what it wants to be - he's famously averse to/incapable of self-analysis, so it's all wrapped up in a package that promises serious literary criticism (with a quote from Hamlet as the epigraph, I mean come on) but then doesn't really deliver on that level at all. At points he seems to be an actual idiot. 'The Long and Winding Road' isn't just about a fucking dirt road you used to drive up in Scotland, Paul - didn't you watch Get Back like the rest of us?

Well I suppose the dirt road inspires the title, and then he brings in other allegorical content - that's fair enough.

But yeah. Nice THING to own, and some lovely recollections, but there's a pretty large gap between its apparent intention and its actual content.

And to include this dreadful pile of farmyard shite just indicates a complete lack of modesty and/or self-awareness:


Look at the average person
Speak to the man in the street
Can you imagine the first one you'd meet?

Well, I'm talking to a former engine driver (driver)
Trying to find out what he used to do
Tells me that he always kept his engine (engine)
Spit and polished up as good as new
But he said his only great ambition
Was to work with lions in a zoo
(Oh, to work with lions in a zoo)
Yes dear, you heard right
Told me his ambition was to work with lions every night

Look at the average person
Speak to the man on the beat
Can you imagine the first one you'd meet?

Well, I met a woman working as a waitress (waitress)
I asked exactly what it was she did
Said she worked the summer crowd at seasides (seasides)
Winter time she ran away and hid
Once she had a Hollywood audition
But the part was given to a kid
Yes, the part was given to a kid
Yes sir, you heard right
Hollywood ambition made a starlet grow up overnight

Well I bumped into a man who'd been a boxer (boxer)
Asked him what had been his greatest night
He looked into the corners of his memory (memory)
Searching for a picture of the fight
But he said he always had a feeling
That he lacked a little extra height
(Could've used a little extra height)
Yes mate, you heard right
He always had a feeling that he might have lacked a little height

Look at the average person
Speak to the man in the queue
Can you imagine the first one is you?

Look at the average person

[gilbertharding]

Exhibit A:

"Dee dee dee deee... dee dee dee dee de dee that's nice."

[shagatha crustie]

Well I suppose the dirt road inspires the title, and then he brings in other allegorical content - that's fair enough.

Yeah - but he doesn't touch on the allegorical content AT ALL! He starts off by saying it's about a road, then basically excuses himself out of any further analysis by taking a detour into how when he paints he can pretend to be somebody else called 'Mr Blendini' (?) and then comes back to the song with a total non-conclusion. I know, it's his song, and his life, but it's just completely bizarre to me how far out of his way he'll go to avoid implicating his own personal experiences and emotions in his art.

And to include this dreadful pile of farmyard shite just indicates a complete lack of modesty and/or self-awareness:

This one has always been a good example to me of how his MUSICAL ability can elevate total claptrap - I love when he pulls the rhythm to a stop and hits those maj7 chords in each verse to articulate the character's disappointment and sadness: 'but the part was given to a kid,' etc. But yes exactly - standing on their own, the words are egregious. Why include them here?

[the science eel]

Yeah - but he doesn't touch on the allegorical content AT ALL! He starts off by saying it's about a road, then basically excuses himself out of any further analysis by taking a detour into how when he paints he can pretend to be somebody else called 'Mr Blendini' (?) and then comes back to the song with a total non-conclusion.

Ha ha ha ha!

He's off his rocker.

[Replies From View]

Look at the average person
Living with so little dosh
Can you imagine not being a multi-millionaire?

Well I stumbled into a teaching assistant
Couldn't believe that such people existed, why would you bother
Yes chums, why would you fucking bother
Just write songs instead and have loads of money

[Replies From View]

Exhibit A:

"Dee dee dee deee... dee dee dee dee de dee that's nice."

I still can't believe Neil Innes is no longer alive.  Is it true that Eric Idle treated him very badly?

[the science eel]

can I just jump in before anyone answers and post this because it's a work of unmitigated genius?

thanks

[kalowski]

Exhibit A:

"Dee dee dee deee... dee dee dee dee de dee that's nice."

Oh that's so good.

[famethrowa]

can I just jump in before anyone answers and post this because it's a work of unmitigated genius?

thanks

oh that's torn it

[SpiderChrist]

Exhibit A:

"Dee dee dee deee... dee dee dee dee de dee that's nice."

Is it correct that three of The Fabs enjoyed The Rutles (Hari Georgeson was even in it) but that McCartney wasn't impressed? If so, I imagine the clip above (which seems to me to be hilariously accurate) may have touched a nerve. That and the joke about Dirk McQuickly forming a band with his wife called The Punk Floyd - "He sings, and she doesn't".

[shagatha crustie]

I heard it was cos he was trying to promote London Town, but the Rutles was all anyone would ask him about.

[Replies From View]

I'm not sure, but I think 'Get Up and Go' crossed too far into direct copying for McCartney's liking.


We know that Harrison loved Python (funding their movies) and would have gobbled up a project like this, possibly finding it cathartic.

[Replies From View]

You don't need me to copy paste from wikipedia, but fuck you because I am

The Beatles' reaction

- George Harrison was involved in the project from the beginning. Producer Gary Weis said, "We were sitting around in Eric's kitchen one day, planning a sequence that really ripped into the mythology and George looked up and said, 'We were the Beatles, you know!' Then he shook his head and said, 'Aw, never mind.' I think he was the only one of the Beatles who really could see the irony of it all." Harrison said, "The Rutles sort of liberated me from the Beatles in a way. It was the only thing I saw of those Beatles television shows they made. It was actually the best, funniest and most scathing. But at the same time, it was done with the most love."

- Ringo Starr liked the happier scenes in the film, but felt the scenes that mimicked sadder times hit too close.

- John Lennon loved the film and refused to return the videotape and soundtrack he was given for approval. He told Innes, however, that "Get Up and Go" was too close to the Beatles' "Get Back" and to be careful not to be sued by ATV Music, owners of the Beatles catalogue copyright at the time. The song was consequently omitted from the 1978 vinyl LP soundtrack.

- Paul McCartney, who had just released his own album, London Town, always answered, "No comment." According to Innes: "He had a dinner at some awards thing at the same table as Eric one night and Eric said it was a little frosty."  Idle claimed McCartney changed his mind because his wife Linda thought it was funny.

Idle claims on the All You Need Is Cash DVD commentary track that Harrison and Starr at one point discussed starting a band with Innes and Idle, based on the Beatles' and Rutles' shared and imaginary histories. Harrison and Starr also surprised him and Innes one day by singing a version of the Rutles' "Ouch!"

[Replies From View]

May as well add it to the thread, I suppose, since it ties in with Jackson's Get Back project quite reasonably.

Love Idle repeatedly turning back to look at the policeman around 1:38

[Ballad of Ballard Berkley]

I also like Barry Wom refusing to be removed from his drum stool.

[Replies From View]

I also like Barry Wom refusing to be removed from his drum stool.

The Beatles were reportedly quite pissed off that the police weren't rougher with them on the roof, to give their Let It Be film a better ending.

It looks like Get Up And Go was an opportunity to create a more ideal version.

[Ballad of Ballard Berkley]

John also wanted to kick a technician off the roof, but Michael Lindsay-Hogg vetoed that. I'm glad that John lived long enough to see his dream come true.

[Ballad of Ballard Berkley]

Double Post: sorry.

[JesusAndYourBush]

The Beatles were reportedly quite pissed off that the police weren't rougher with them on the roof, to give their Let It Be film a better ending.

It looks like Get Up And Go was an opportunity to create a more ideal version.

I remember a quote of one of them saying they wanted the police to drag Ringo off of the drumkit with his arms still drumming away.

[Replies From View]

I remember a quote of one of them saying they wanted the police to drag Ringo off of the drumkit with his arms still drumming away.

It can be found in the Anthology series; not sure if they talked about it elsewhere as well.

[SteveDave]

"Get off them drums! But no...they just bumbled in..."You gotta turn that sound down" but it would've been great"

[Menu]

I never understood that. If that's really how they wanted it to play out, why didn't they just tell the police to fuck off, and carry on playing?

[studpuppet]

The Rutles even got their Anthology parodies spot on.

Did I read somewhere that The Rutles were George's own little way of getting the Beatles story out there, because the 'Long & Winding Road' doc hadn't got off the ground?

[kalowski]

I never understood that. If that's really how they wanted it to play out, why didn't they just tell the police to fuck off, and carry on playing?

Pretty sure you hear John complaining about how cold his hands had got and that it's getting harder to play.