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Û²²Ûÿ±ÿ PROUDLY PRESENTS:ÿÿÿÿßßßßß ÿÿÿÿÿÿÿÿÿÿÿÛÿßßÿÜÜÜÛßßßßßßßÿÿÿÿÿÿÿÿÿÿ±ÿÛ²²Û
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ÛÛ²Û Û > The Beatles - Big Beat Box (Collectors Edition) Û Û²ÛÛ
Û²ÛÛ Û Û ÛÛ²Û
ÛÛ²Û Û Artist...[ The Beatles Û Û²ÛÛ
ÛÛÛÛ Û Title....[ Big Beat Box (Collectors Edition) Û ÛÛÛÛ
ßÛÛ Û Genre....[ Rock Û ÛÛß
Û Û Year.....[ 2008 Û Û
Û Û Encoder..[ LAME3.97 (-V2 --vbr-new) Û Û
Û Û Bitrate..[ VBRkbps Û Û
Û Û Quality..[ Joint-Stereo Û Û
ÜÛÛ Û kHz......[ 44.1kHz Û ÛÛÜ
Û°Û Û Source...[ CDDA Û Û°Û
Û±Û Û Date.....[ Feb-09-2008 Û Û±Û
Û²Û Û Type.....[ Album Û Û²Û
Û±Û Û Size.....[ 52,1 MB Û Û±Û
Û²Û Û Lable....[ WHE International Û Û²Û
Û²Û Û Cat.Nr...[ n/a Û Û²Û
ÛÛÛ Û URL......[ www.beatles.com Û ÛÛÛ
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ÜÛÛÛÛßßßßßßß Üß ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ ßÜ ßßßßßßßÛÛÛÛÜ
ÛÛÛÛß Üßßßßßßß ßßßßßßßÜ ßÛÛÛÛ
Û°ÛÛ Û Nr. ARTIST/TRACK. Time. Û ÛÛ°Û
Û°°Û Û --------------------------------------------------------------- Û Û°°Û
Û°±Û Û 01 in spite of all the danger 02:17 Û Û±°Û
Û°±Û Û 02 a taste of honey 02:05 Û Û±°Û
Û°±Û Û 03 words of love 02:10 Û Û±°Û
Û°±Û Û 04 anna (go to him) 02:58 Û Û±°Û
Û°±Û Û 05 in spite of all the danger 02:15 Û Û±°Û
Û°±Û Û 06 roll over beethoven 03:11 Û Û±°Û
Û°±Û Û 07 behind the bit 02:05 Û Û±°Û
Û°±Û Û 08 sgt. peppers lhc band 02:10 Û Û±°Û
Û°±Û Û 09 with a little help from my friends 04:01 Û Û±°Û
Û°±Û Û 10 lucy in the sky with diamonds 04:31 Û Û±°Û
Û°±Û Û 11 i am the walrus 04:25 Û Û±°Û
Û°±Û Û 12 shes leaving home 03:44 Û Û±°Û
Û°±Û Û 13 got to get you into my life 02:34 Û Û±°Û
Û²²Û Û ----- Û Û²²Û
ÛÛ²Û Û TOTAL: 38:26 minÛ²ÛÛ
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ÜÜÜÛÛÜÜÜÜÛÛß Ü ÛÛßÜ ÛÛÜÜ ÜÜÜÛ ÛÛ Û ÛÛÜÛ ÛÛ ÛÛÜÜ ÜÜÜÛ Ü ßÛÛÜÜÜÜÛÛÜÜÜ
ÜÛÛÛÛßßßßßßß Üß ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ ßÜ ßßßßßßßÛÛÛÛÜ
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Û°±Û Û Û Û±°Û
Û°²Û Û So much has been said and written about the Beatles -- and Û Û²°Û
Û°²Û Û their story is so mythic in its sweep -- that it's difficult to Û Û²°Û
Û°²Û Û summarize their career without restating clich?s that Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û have already been digested by tens of millions of rock fans. To Û Û²°Û
Û°²Û Û start with the obvious, they were the greatest and most Û Û²°Û
Û°²Û Û influential act of the rock era, and introduced more Û Û²°Û
Û°²Û Û innovations into popular music than any other rock band of the Û Û²°Û
Û°²Û Û 20th century. Moreover, they were among the few artists of any Û Û²°Û
Û°²Û Û discipline that were simultaneously the best at what they did Û Û²°Û
Û°²Û Û and the most popular at what they did. Relentlessly imaginative Û Û²°Û
Û°²Û Û and experimental, the Beatles grabbed a hold of the Û Û²°Û
Û°²Û Û international mass consciousness in 1964 and never let go for Û Û²°Û
Û°²Û Û the next six years, always staying ahead of the pack in terms Û Û²°Û
Û°²Û Û of creativity but never losing their ability to communicate Û Û²°Û
Û°²Û Û their increasingly sophisticated ideas to a mass audience. Û Û²°Û
Û°²Û Û Their supremacy as rock icons remains unchallenged to this day, Û Û²°Û
Û°²Û Û decades after their breakup in 1970. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Even when couching praise in specific terms, it's hard to Û Û²°Û
Û°²Û Û convey the scope of the Beatles' achievements in a mere Û Û²°Û
Û°²Û Û paragraph or two. They synthesized all that was good about Û Û²°Û
Û°²Û Û early rock & roll, and changed it into something original and Û Û²°Û
Û°²Û Û even more exciting. They established the prototype for the Û Û²°Û
Û°²Û Û self-contained rock group that wrote and performed its own Û Û²°Û
Û°²Û Û material. As composers, their craft and melodic inventiveness Û Û²°Û
Û°²Û Û were second to none, and key to the evolution of rock from its Û Û²°Û
Û°²Û Û blues/R&B-based forms into a style that was far more eclectic, Û Û²°Û
Û°²Û Û but equally visceral. As singers, both John Lennon and Paul Û Û²°Û
Û°²Û Û McCartney were among the best and most expressive vocalists in Û Û²°Û
Û°²Û Û rock; the group's harmonies were intricate and exhilarating. As Û Û²°Û
Û°²Û Û performers, they were (at least until touring had ground them Û Û²°Û
Û°²Û Û down) exciting and photogenic; when they retreated into the Û Û²°Û
Û°²Û Û studio, they were instrumental in pioneering advanced Û Û²°Û
Û°²Û Û techniques and multi-layered arrangements. They were also the Û Û²°Û
Û°²Û Û first British rock group to achieve worldwide prominence, Û Û²°Û
Û°²Û Û launching a British Invasion that made rock truly an Û Û²°Û
Û°²Û Û international phenomenon. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û More than any other top group, the Beatles' success was very Û Û²°Û
Û°²Û Û much a case of the whole being greater than the sum of its Û Û²°Û
Û°²Û Û parts. Their phenomenal cohesion was due in large degree to Û Û²°Û
Û°²Û Û most of the group having known each other and played together Û Û²°Û
Û°²Û Û in Liverpool for about five years before they began to have hit Û Û²°Û
Û°²Û Û records. Guitarist and teenage rebel John Lennon got hooked on Û Û²°Û
Û°²Û Û rock & roll in the mid-'50s, and formed a band, the Quarrymen, Û Û²°Û
Û°²Û Û at his high school. Around mid-1957, the Quarrymen were joined Û Û²°Û
Û°²Û Û by another guitarist, Paul McCartney, nearly two years Lennon's Û Û²°Û
Û°²Û Û junior. A bit later they were joined by another guitarist, Û Û²°Û
Û°²Û Û George Harrison, a friend of McCartney. The Quarrymen would Û Û²°Û
Û°²Û Û change lineups constantly in the late '50s, eventually reducing Û Û²°Û
Û°²Û Û to the core trio of guitarists, who'd proven themselves to be Û Û²°Û
Û°²Û Û the best musicians and most personally compatible individuals Û Û²°Û
Û°²Û Û within the band. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û The Quarrymen changed their name to the Silver Beatles in 1960, Û Û²°Û
Û°²Û Û quickly dropping the "Silver" to become just the Beatles. Û Û²°Û
Û°²Û Û Lennon's art college friend Stuart Sutcliffe joined on bass, Û Û²°Û
Û°²Û Û but finding a permanent drummer was a vexing problem until Pete Û Û²°Û
Û°²Û Û Best joined in the summer of 1960. He successfully auditioned Û Û²°Û
Û°²Û Û for the combo just before they left for a several-month stint Û Û²°Û
Û°²Û Û in Hamburg, Germany. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Hamburg was the Beatles' baptism by fire. Playing grueling Û Û²°Û
Û°²Û Û sessions for hours on end in one of the most notorious Û Û²°Û
Û°²Û Û red-light districts in the world, the group was forced to Û Û²°Û
Û°²Û Û expand its repertoire, tighten up its chops, and invest its Û Û²°Û
Û°²Û Û show with enough manic energy to keep the rowdy crowds Û Û²°Û
Û°²Û Û satisfied. When they returned to Liverpool at the end of 1960, Û Û²°Û
Û°²Û Û the band -- formerly also-rans on the exploding Liverpudlian Û Û²°Û
Û°²Û Û "beat" scene -- were suddenly the most exciting act on the Û Û²°Û
Û°²Û Û local circuit. They consolidated their following in 1961 with Û Û²°Û
Û°²Û Û constant gigging in the Merseyside area, most often at the Û Û²°Û
Û°²Û Û legendary Cavern Club, the incubator of the Merseybeat sound. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û They also returned for engagements in Hamburg during 1961, Û Û²°Û
Û°²Û Û although Sutcliffe dropped out of the band that year to Û Û²°Û
Û°²Û Û concentrate on his art school studies there. McCartney took Û Û²°Û
Û°²Û Û over on bass, Harrison settled in as lead guitarist, and Lennon Û Û²°Û
Û°²Û Û had rhythm guitar; everyone sang. In mid-1961, the Beatles Û Û²°Û
Û°²Û Û (minus Sutcliffe) made their first recordings in Germany, as a Û Û²°Û
Û°²Û Û backup group to a British rock guitarist/singer based in Û Û²°Û
Û°²Û Û Hamburg, Tony Sheridan. The Beatles hadn't fully developed at Û Û²°Û
Û°²Û Û this point, and these recordings -- many of which (including a Û Û²°Û
Û°²Û Û couple of Sheridan-less tracks) were issued only after the Û Û²°Û
Û°²Û Û band's rise to fame -- found their talents in a most embryonic Û Û²°Û
Û°²Û Û state. The Hamburg stint was also notable for gaining the Û Û²°Û
Û°²Û Û Beatles sophisticated, artistic fans such as Sutcliffe's Û Û²°Û
Û°²Û Û girlfriend, Astrid Kirchherr, who influenced all of them Û Û²°Û
Û°²Û Û (except Best) to restyle their quiffs in the moptops that gave Û Û²°Û
Û°²Û Û the musicians their most distinctive visual trademark. Û Û²°Û
Û°²Û Û (Sutcliffe, tragically, would die of a brain hemorrhage in Û Û²°Û
Û°²Û Û April 1962). Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Near the end of 1961, the Beatles' exploding local popularity Û Û²°Û
Û°²Û Û caught the attention of local record store manager Brian Û Û²°Û
Û°²Û Û Epstein, who was soon managing the band as well. He used his Û Û²°Û
Û°²Û Û contacts to swiftly acquire a January 1, 1962, audition at Û Û²°Û
Û°²Û Û Decca Records that has been heavily bootlegged (some tracks Û Û²°Û
Û°²Û Û were officially released in 1995). After weeks of deliberation, Û Û²°Û
Û°²Û Û Decca turned them down as did several other British labels. Û Û²°Û
Û°²Û Û Epstein's perseverance was finally rewarded with an audition Û Û²°Û
Û°²Û Û for producer George Martin at Parlophone, an EMI subsidiary; Û Û²°Û
Û°²Û Û Martin signed the Beatles in mid-1962. By this time, Epstein Û Û²°Û
Û°²Û Û was assiduously grooming his charges for national success by Û Û²°Û
Û°²Û Û influencing them to smarten up their appearance, dispensing Û Û²°Û
Û°²Û Û with their leather jackets and trousers in favor of tailored Û Û²°Û
Û°²Û Û suits and ties. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û One more major change was in the offing before the Beatles made Û Û²°Û
Û°²Û Û their Parlophone debut. In August 1962, drummer Pete Best was Û Û²°Û
Û°²Û Û kicked out of the group, a controversial decision that has been Û Û²°Û
Û°²Û Û the cause of much speculation since. There is still no solid Û Û²°Û
Û°²Û Û consensus as to whether it was because of his solitary, moody Û Û²°Û
Û°²Û Û nature; the other Beatles' jealousy of his popularity with the Û Û²°Û
Û°²Û Û fans; his musical shortcomings (George Martin had already told Û Û²°Û
Û°²Û Û Epstein that Best wasn't good enough to drum on recordings); or Û Û²°Û
Û°²Û Û his refusal to wear his hair in bangs. What seems most likely Û Û²°Û
Û°²Û Û was that the Beatles simply found his personality incompatible, Û Û²°Û
Û°²Û Û preferring to enlist Ringo Starr (born Richard Starkey), a Û Û²°Û
Û°²Û Û drummer with another popular Merseyside outfit, Rory Storm & Û Û²°Û
Û°²Û Û the Hurricanes. Starr had been in the Beatles for a few weeks Û Û²°Û
Û°²Û Û when they recorded their first single, "Love Me Do"/"P.S. I Û Û²°Û
Û°²Û Û Love You," in September 1962. Both sides of the 45 were Û Û²°Û
Û°²Û Û Lennon-McCartney originals, and the songwriting team would be Û Û²°Û
Û°²Û Û credited with most of the group's material throughout the Û Û²°Û
Û°²Û Û Beatles' career. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û The single, a promising but fairly rudimentary effort, hovered Û Û²°Û
Û°²Û Û around the lower reaches of the British Top 20. The Beatles Û Û²°Û
Û°²Û Û phenomenon didn't truly kick in until "Please Please Me," which Û Û²°Û
Û°²Û Û topped the British charts in early 1963. This was the prototype Û Û²°Û
Û°²Û Û British Invasion single: an infectious melody, charging Û Û²°Û
Û°²Û Û guitars, and positively exuberant harmonies. The same traits Û Û²°Û
Û°²Û Û were evident on their third 45, "From Me to You" (a British Û Û²°Û
Û°²Û Û number one), and their debut LP, Please Please Me. Although it Û Û²°Û
Û°²Û Û was mostly recorded in a single day, Please Please Me topped Û Û²°Û
Û°²Û Û the British charts for an astonishing 30 weeks, establishing Û Û²°Û
Û°²Û Û the group as the most popular rock & roll act ever seen in the Û Û²°Û
Û°²Û Û U.K. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û What the Beatles had done was take the best elements of the Û Û²°Û
Û°²Û Û rock and pop they loved and make them their own. Since the Û Û²°Û
Û°²Û Û Quarrymen days, they had been steeped in the classic early rock Û Û²°Û
Û°²Û Û of Elvis, Buddy Holly, Chuck Berry, Little Richard, Carl Û Û²°Û
Û°²Û Û Perkins, and the Everly Brothers; they'd also kept an ear open Û Û²°Û
Û°²Û Û to the early '60s sounds of Motown, Phil Spector, and the girl Û Û²°Û
Û°²Û Û groups. What they added was an unmatched songwriting savvy Û Û²°Û
Û°²Û Û (inspired by Brill Building teams such as Gerry Goffin and Û Û²°Û
Û°²Û Û Carole King), a brash guitar-oriented attack, wildly Û Û²°Û
Û°²Û Û enthusiastic vocals, and the embodiment of the youthful flair Û Û²°Û
Û°²Û Û of their generation, ready to dispense with postwar austerity Û Û²°Û
Û°²Û Û and claim a culture of their own. They were also unsurpassed in Û Û²°Û
Û°²Û Û their eclecticism, willing to borrow from blues, popular Û Û²°Û
Û°²Û Û standards, gospel, folk, or whatever seemed suitable for their Û Û²°Û
Û°²Û Û musical vision. Producer George Martin was the perfect foil for Û Û²°Û
Û°²Û Û the group, refining their ideas without tinkering with their Û Û²°Û
Û°²Û Û cores; during the last half of their career, he was Û Û²°Û
Û°²Û Û indispensable for his ability to translate their concepts into Û Û²°Û
Û°²Û Û arrangements that required complex orchestration, innovative Û Û²°Û
Û°²Û Û applications of recording technology, and an ever-widening Û Û²°Û
Û°²Û Û array of instruments. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Just as crucially, the Beatles were never ones to stand still Û Û²°Û
Û°²Û Û and milk formulas. All of their subsequent albums and singles Û Û²°Û
Û°²Û Û would show remarkable artistic progression (though never at the Û Û²°Û
Û°²Û Û expense of a damn catchy tune). Even on their second LP, With Û Û²°Û
Û°²Û Û the Beatles (1963), it was evident that their talents as Û Û²°Û
Û°²Û Û composers and instrumentalists were expanding furiously, as Û Û²°Û
Û°²Û Û they devised ever more inventive melodies and harmonies, and Û Û²°Û
Û°²Û Û boosted the fullness of their arrangements. "She Loves You" and Û Û²°Û
Û°²Û Û "I Want to Hold Your Hand" established the group not just as a Û Û²°Û
Û°²Û Û popular music act, but as a phenomenon never before seen in the Û Û²°Û
Û°²Û Û British entertainment business, as each single sold over a Û Û²°Û
Û°²Û Û million copies in the U.K. After some celebrated national TV Û Û²°Û
Û°²Û Û appearances, Beatlemania broke out across the British Isles in Û Û²°Û
Û°²Û Û late 1963, and the group generating screams and hysteria at all Û Û²°Û
Û°²Û Û of their public appearances, musical or otherwise. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Capitol, which had first refusal of the Beatles' recordings in Û Û²°Û
Û°²Û Û the United States, had declined to issue the group's first few Û Û²°Û
Û°²Û Û singles, which ended up appearing on relatively small American Û Û²°Û
Û°²Û Û independents. Capitol took up its option on "I Want to Hold Û Û²°Û
Û°²Û Û Your Hand," which stormed to the top of the U.S. charts within Û Û²°Û
Û°²Û Û weeks of its release on December 26, 1963. The Beatles' Û Û²°Û
Û°²Û Û television appearances on The Ed Sullivan Show in February of Û Û²°Û
Û°²Û Û 1964 launched Beatlemania (and the entire British Invasion) on Û Û²°Û
Û°²Û Û an even bigger scale than it had reached in Britain. In the Û Û²°Û
Û°²Û Û first week of April 1964, the Beatles had the Top Five Û Û²°Û
Û°²Û Û best-selling singles in the U.S.; they also had the first two Û Û²°Û
Û°²Û Û slots on the album charts, as well as other entries throughout Û Û²°Û
Û°²Û Û the Billboard Top 100. No one had ever dominated the market for Û Û²°Û
Û°²Û Û popular music so heavily; it's doubtful that anyone ever will Û Û²°Û
Û°²Û Û again. The Beatles themselves would continue to reach number Û Û²°Û
Û°²Û Û one with most of their singles and albums until their 1970 Û Û²°Û
Û°²Û Û breakup. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Hard as it may be to believe today, the Beatles were often Û Û²°Û
Û°²Û Û dismissed by cultural commentators of the time as nothing more Û Û²°Û
Û°²Û Û than a fad that would vanish within months as the novelty wore Û Û²°Û
Û°²Û Û off. The group ensured this wouldn't happen by making A Hard Û Û²°Û
Û°²Û Û Day's Night in early 1964, a cin?ma v?rit?-style motion picture Û Û²°Û
Û°²Û Û comedy/musical that cemented their image as "the Fab Four": Û Û²°Û
Û°²Û Û happy-go-lucky, individualistic, cheeky, funny lads with Û Û²°Û
Û°²Û Û nonstop energy. The soundtrack was also a triumph, consisting Û Û²°Û
Û°²Û Û entirely of Lennon-McCartney tunes, including such standards as Û Û²°Û
Û°²Û Û the title tune, "And I Love Her," "If I Fell," "Can't Buy Me Û Û²°Û
Û°²Û Û Love," and "Things We Said Today." George Harrison's resonant Û Û²°Û
Û°²Û Û 12-string electric guitar leads were hugely influential; the Û Û²°Û
Û°²Û Û movie helped persuade the Byrds, then folksingers, to plunge Û Û²°Û
Û°²Û Û all out into rock & roll, and the Beatles (along with Bob Û Û²°Û
Û°²Û Û Dylan) would be hugely influential on the folk-rock explosion Û Û²°Û
Û°²Û Û of 1965. The Beatles' success, too, had begun to open the U.S. Û Û²°Û
Û°²Û Û market for fellow Brits like the Rolling Stones, the Animals, Û Û²°Û
Û°²Û Û and the Kinks, and inspired young American groups like the Beau Û Û²°Û
Û°²Û Û Brummels, Lovin' Spoonful, and others to mount a challenge of Û Û²°Û
Û°²Û Û their own with self-penned material that owed a great debt to Û Û²°Û
Û°²Û Û Lennon-McCartney. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Between riotous international tours in 1964 and 1965, the Û Û²°Û
Û°²Û Û Beatles continued to squeeze out more chart-topping albums and Û Û²°Û
Û°²Û Û singles. (Until 1967, the group's British albums were often Û Û²°Û
Û°²Û Û truncated for release in the States; when their [CENSORED] was Û Û²°Û
Û°²Û Û transferred to CD, the albums were released worldwide in their Û Û²°Û
Û°²Û Û British configurations.) In retrospect, critics have judged Û Û²°Û
Û°²Û Û Beatles for Sale (late 1964) and Help! (mid-1965) as the band's Û Û²°Û
Û°²Û Û least impressive efforts. To some degree, that's true. Touring Û Û²°Û
Û°²Û Û and an insatiable market placed heavy demands upon their Û Û²°Û
Û°²Û Û songwriting, and some of the originals and covers on these Û Û²°Û
Û°²Û Û records, while brilliant by many group's standards, were filler Û Û²°Û
Û°²Û Û in the context of the Beatles' best work. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û But when at the top of their game, the group was continuing to Û Û²°Û
Û°²Û Û push forward. "I Feel Fine" had feedback and brilliant guitar Û Û²°Û
Û°²Û Û leads; "Ticket to Ride" showed the band beginning to Û Û²°Û
Û°²Û Û incorporate the ringing, metallic, circular guitar lines that Û Û²°Û
Û°²Û Û would be appropriated by bands like the Byrds; "Help!" was Û Û²°Û
Û°²Û Û their first burst of confessional lyricism; "Yesterday" Û Û²°Û
Û°²Û Û employed a string quartet. John Lennon in particular was Û Û²°Û
Û°²Û Û beginning to exhibit a Dylanesque influence in his songwriting Û Û²°Û
Û°²Û Û on such folky, downbeat numbers as "I'm a Loser" and "You've Û Û²°Û
Û°²Û Û Got to Hide Your Love Away." And tracks like "I Don't Want to Û Û²°Û
Û°²Û Û Spoil the Party" and "I've Just Seen a Face" had a strong Û Û²°Û
Û°²Û Û country flavor. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Although the Beatles' second film, Help!, was a much sillier Û Û²°Û
Û°²Û Û and less sophisticated affair than their first feature, it too Û Û²°Û
Û°²Û Û was a huge commercial success. By this time, though, the Û Û²°Û
Û°²Û Û Beatles had nothing to prove in commercial terms; the remaining Û Û²°Û
Û°²Û Û frontiers were artistic challenges that could only be met in Û Û²°Û
Û°²Û Û the studio. They rose to the occasion at the end of 1965 with Û Û²°Û
Û°²Û Û Rubber Soul, one of the classic folk-rock records. Lyrically, Û Û²°Û
Û°²Û Û Lennon, McCartney, and even Harrison (who was now writing some Û Û²°Û
Û°²Û Û tunes on his own) were evolving beyond boy-girl scenarios into Û Û²°Û
Û°²Û Û complex, personal feelings. They were also pushing the limits Û Û²°Û
Û°²Û Û of studio rock by devising new guitar and bass textures, Û Û²°Û
Û°²Û Û experimenting with distortion and multi-tracking, and using Û Û²°Û
Û°²Û Û unconventional (for rock) instruments like the sitar. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û As much of a progression as Rubber Soul was relative to their Û Û²°Û
Û°²Û Û previous records, it was but a taster for the Û Û²°Û
Û°²Û Û boundary-shattering outings of the next few years. The Û Û²°Û
Û°²Û Û "Paperback Writer"/"Rain" single found the group abandoning Û Û²°Û
Û°²Û Û romantic themes entirely, boosting the bass to previously Û Û²°Û
Û°²Û Û unknown levels, and fooling around with psychedelic imagery and Û Û²°Û
Û°²Û Û backward tapes on the B-side. Drugs (psychedelic and otherwise) Û Û²°Û
Û°²Û Û were fueling their already fertile imaginations, but they felt Û Û²°Û
Û°²Û Û creatively hindered by their touring obligations. Revolver, Û Û²°Û
Û°²Û Û released in the summer of 1966, proved what the group could be Û Û²°Û
Û°²Û Û capable of when allotted months of time in the studio. Hazy Û Û²°Û
Û°²Û Û hard guitars and thicker vocal arrangements formed the bed of Û Û²°Û
Û°²Û Û these increasingly imagistic, ambitious lyrics; the group's Û Û²°Û
Û°²Û Û eclecticism now encompassed everything from singalong novelties Û Û²°Û
Û°²Û Û ("Yellow Submarine") and string quartet-backed character Û Û²°Û
Û°²Û Û sketches ("Eleanor Rigby") to Indian-influenced swirls of echo Û Û²°Û
Û°²Û Û and backward tapes ("Tomorrow Never Knows"). Some would Û Û²°Û
Û°²Û Û complain that the Beatles had abandoned the earthy rock of Û Û²°Û
Û°²Û Û their roots for clever mannerism. But Revolver, like virtually Û Û²°Û
Û°²Û Û all of the group's singles and albums from "She Loves You" on, Û Û²°Û
Û°²Û Û would be a worldwide chart-topper. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û For the past couple of years, live performance had become a Û Û²°Û
Û°²Û Û rote exercise for the group, tired of competing with thousands Û Û²°Û
Û°²Û Û of screaming fans that drowned out most of their voices and Û Û²°Û
Û°²Û Û instruments. A 1966 summer worldwide tour was particularly Û Û²°Û
Û°²Û Û grueling: the group's entourage was physically attacked in the Û Û²°Û
Û°²Û Û Philippines after a perceived snub of the country's first lady, Û Û²°Û
Û°²Û Û and a casual remark by John Lennon about the Beatles being Û Û²°Û
Û°²Û Û bigger than Jesus Christ was picked up in the States, resulting Û Û²°Û
Û°²Û Û in the burning of Beatle records in the Bible belt and demands Û Û²°Û
Û°²Û Û for a repentant apology. Their final concert of that American Û Û²°Û
Û°²Û Û tour (in San Francisco on August 29, 1966) would be their last Û Û²°Û
Û°²Û Û in front of a paying audience, as the group decided to stop Û Û²°Û
Û°²Û Û playing live in order to concentrate on their studio Û Û²°Û
Û°²Û Û recordings. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û This was a radical (indeed, unprecedented) step in 1966, and Û Û²°Û
Û°²Û Û the media was rife with speculation that the act was breaking Û Û²°Û
Û°²Û Û up, especially after all four spent late 1966 engaged in Û Û²°Û
Û°²Û Û separate personal and artistic pursuits. The appearance of the Û Û²°Û
Û°²Û Û "Penny Lane"/"Strawberry Fields Forever" single in February Û Û²°Û
Û°²Û Û 1967 squelched these concerns. Frequently cited as the Û Û²°Û
Û°²Û Û strongest double A-side ever, the Beatles were now pushing Û Û²°Û
Û°²Û Û forward into unabashedly psychedelic territory in their use of Û Û²°Û
Û°²Û Û orchestral arrangements and Mellotron, without abandoning their Û Û²°Û
Û°²Û Û grasp of memorable melody and immediately accessible lyrical Û Û²°Û
Û°²Û Û messages. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Sgt. Pepper, released in June 1967 as the Summer of Love Û Û²°Û
Û°²Û Û dawned, was the definitive psychedelic soundtrack. Or, at Û Û²°Û
Û°²Û Û least, so it was perceived at the time: subsequent critics have Û Û²°Û
Û°²Û Û painted the album as an uneven affair, given a conceptual unity Û Û²°Û
Û°²Û Û via its brilliant multi-tracked overdubs, singalong melodies, Û Û²°Û
Û°²Û Û and fairy tale-ish lyrics. Others remain convinced, as millions Û Û²°Û
Û°²Û Û did at the time, that it represented pop's greatest triumph, or Û Û²°Û
Û°²Û Û indeed an evolution of pop into art with a capital A. In Û Û²°Û
Û°²Û Û addition to mining all manner of roots influences, the Û Û²°Û
Û°²Û Û musicians were also picking up vibes from Indian music, Û Û²°Û
Û°²Û Û avant-garde electronics, classical, music hall, and more. When Û Û²°Û
Û°²Û Û the Beatles premiered their hippie anthem "All You Need Is Û Û²°Û
Û°²Û Û Love" as part of a worldwide TV broadcast, they had been truly Û Û²°Û
Û°²Û Û anointed as spokespersons for their generation (a role they had Û Û²°Û
Û°²Û Û not actively sought), and it seemed they could do no wrong. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Musically, that would usually continue to be the case, but the Û Û²°Û
Û°²Û Û group's strength began to unravel at a surprisingly quick pace. Û Û²°Û
Û°²Û Û In August 1967, Brian Epstein -- prone to suicidal depression Û Û²°Û
Û°²Û Û over the past year -- died of a drug overdose, leaving them Û Û²°Û
Û°²Û Û without a manager. They pressed on with their next film Û Û²°Û
Û°²Û Û project, Magical Mystery Tour, directed by themselves; lacking Û Û²°Û
Û°²Û Û focus or even basic professionalism, the picture bombed when it Û Û²°Û
Û°²Û Û was premiered on BBC television in December 1967, giving the Û Û²°Û
Û°²Û Û media the first real chance they'd ever had to roast the Û Û²°Û
Û°²Û Û Beatles over a flame. (Another film, the animated feature Û Û²°Û
Û°²Û Û Yellow Submarine, would appear in 1968, although the Beatles Û Û²°Û
Û°²Û Û had little involvement with the project, either in terms of the Û Û²°Û
Û°²Û Û movie or the soundtrack.) In early 1968, the Beatles decamped Û Û²°Û
Û°²Û Û to India for a course in transcendental meditation with the Û Û²°Û
Û°²Û Û Maharishi; this too became something of a media embarrassment Û Û²°Û
Û°²Û Û as each of the four would eventually depart the course before Û Û²°Û
Û°²Û Û its completion. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û The Beatles did use their unaccustomed peace in India to Û Û²°Û
Û°²Û Û compose a wealth of new material. Judged solely on musical Û Û²°Û
Û°²Û Û merit, The White Album, a double LP released in late 1968, was Û Û²°Û
Û°²Û Û a triumph. While largely abandoning their psychedelic Û Û²°Û
Û°²Û Û instruments to return to guitar-based rock, they maintained Û Û²°Û
Û°²Û Û their whimsical eclecticism, proving themselves masters of Û Û²°Û
Û°²Û Û everything from blues-rock to vaudeville. As individual Û Û²°Û
Û°²Û Û songwriters, too, it contains some of their finest work (as Û Û²°Û
Û°²Û Û does the brilliant non-LP single from this era, "Hey Û Û²°Û
Û°²Û Û Jude"/"Revolution"). Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û The problem, at least in terms of the group's long-term health, Û Û²°Û
Û°²Û Û was that these were very much individual songs, as opposed to Û Û²°Û
Û°²Û Û collective ones. Lennon and McCartney had long composed most of Û Û²°Û
Û°²Û Û their tunes separately (you can almost always tell the composer Û Û²°Û
Û°²Û Û by the lead vocalist). But they had always fed off of each Û Û²°Û
Û°²Û Û other not only to supply missing bits and pieces that would Û Û²°Û
Û°²Û Û bring a song to completion, but to provide a competitive edge Û Û²°Û
Û°²Û Û that would bring out the best in the other. McCartney's Û Û²°Û
Û°²Û Û romantic melodicism and Lennon's more acidic, gritty wit were Û Û²°Û
Û°²Û Û perfect complements for one another. By The White Album, it was Û Û²°Û
Û°²Û Û clear (if only in retrospect) that each member was more Û Û²°Û
Û°²Û Û concerned with his own expression than that of the collective Û Û²°Û
Û°²Û Û group: a natural impulse, but one that was bound to lead to Û Û²°Û
Û°²Û Û difficulties. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û In addition, George Harrison was becoming a more prolific and Û Û²°Û
Û°²Û Û skilled composer as well, imbuing his own melodies (which were Û Û²°Û
Û°²Û Û nearly the equal of those of his more celebrated colleagues) Û Û²°Û
Û°²Û Û with a cosmic lightness. Harrison was beginning to resent his Û Û²°Û
Û°²Û Û junior status, and the group began to bicker more openly in the Û Û²°Û
Û°²Û Û studio. Ringo Starr, whose solid drumming and good nature could Û Û²°Û
Û°²Û Û usually be counted upon (as was evident in his infrequent lead Û Û²°Û
Û°²Û Û vocals), actually quit for a couple of weeks in the midst of Û Û²°Û
Û°²Û Û the White Album sessions (though the media was unaware of this Û Û²°Û
Û°²Û Û at the time). Personal interests were coming into play as well: Û Û²°Û
Û°²Û Û Lennon's devotion to romantic and artistic pursuits with his Û Û²°Û
Û°²Û Û new girlfriend (and soon-to-be wife) Yoko Ono was diverting his Û Û²°Û
Û°²Û Û attentions from the Beatles. Apple Records, started by the Û Û²°Û
Û°²Û Û group earlier in 1968 as a sort of utopian commercial Û Û²°Û
Û°²Û Û enterprise, was becoming a financial and organizational Û Û²°Û
Û°²Û Û nightmare. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û These weren't the ideal conditions under which to record a new Û Û²°Û
Û°²Û Û album in January 1969, especially when McCartney was pushing Û Û²°Û
Û°²Û Û the group to return to live performing, although none of the Û Û²°Û
Û°²Û Û others seemed especially keen on the idea. They did agree to Û Û²°Û
Û°²Û Û try and record a "back-to-basics," live-in-the-studio-type LP, Û Û²°Û
Û°²Û Û the sessions being filmed for a television special. That plan Û Û²°Û
Û°²Û Û almost blew up when Harrison, in the midst of tense arguments, Û Û²°Û
Û°²Û Û left the group for a few days. Although he returned, the idea Û Û²°Û
Û°²Û Û of playing live concerts was put on the back burner; Harrison Û Û²°Û
Û°²Û Û enlisted American soul keyboardist Billy Preston as kind of a Û Û²°Û
Û°²Û Û fifth member on the sessions, both to beef up the arrangements Û Û²°Û
Û°²Û Û and to alleviate the uncomfortable atmosphere. Exacerbating the Û Û²°Û
Û°²Û Û problem was that the Beatles didn't have a great deal of Û Û²°Û
Û°²Û Û first-class new songs to work with, although some were Û Û²°Û
Û°²Û Û excellent. In order to provide a suitable concert-like Û Û²°Û
Û°²Û Û experience for the film, the group did climb the roof of their Û Û²°Û
Û°²Û Û Apple headquarters in London to deliver an impromptu Û Û²°Û
Û°²Û Û performance on January 30, 1969, before the police stopped it; Û Û²°Û
Û°²Û Û this was their last live concert of any sort. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Generally dissatisfied with these early-1969 sessions, the Û Û²°Û
Û°²Û Û album and film -- at first titled Get Back, and later to emerge Û Û²°Û
Û°²Û Û as Let It Be -- remained in the can as the group tried to Û Û²°Û
Û°²Û Û figure out how the projects should be mixed, packaged, and Û Û²°Û
Û°²Û Û distributed. A couple of the best tracks, "Get Back"/"Don't Let Û Û²°Û
Û°²Û Û Me Down," were issued as a single in the spring of 1969. By Û Û²°Û
Û°²Û Û this time, the Beatles' quarrels were intensifying in a dispute Û Û²°Û
Û°²Û Û over management: McCartney wanted their affairs to be handled Û Û²°Û
Û°²Û Û by his new father-in-law, Lee Eastman, while the other members Û Û²°Û
Û°²Û Û of the group favored a tough American businessman, Allen Klein. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û It was something of a miracle, then, that the final album Û Û²°Û
Û°²Û Û recorded by the group, Abbey Road, was one of their most Û Û²°Û
Û°²Û Û unified efforts (even if, by this time, the musicians were Û Û²°Û
Û°²Û Û recording many of their parts separately). It certainly boasted Û Û²°Û
Û°²Û Û some of their most intricate melodies, harmonies, and Û Û²°Û
Û°²Û Û instrumental arrangements; it also heralded the arrival of Û Û²°Û
Û°²Û Û Harrison as a composer of equal talent to Lennon and McCartney, Û Û²°Û
Û°²Û Û as George wrote the album's two most popular tunes, "Something" Û Û²°Û
Û°²Û Û and "Here Comes the Sun." The Beatles were still progressing, Û Û²°Û
Û°²Û Û but it turned out to be the end of the road, as their business Û Û²°Û
Û°²Û Û disputes continued to magnify. Lennon, who had begun releasing Û Û²°Û
Û°²Û Û solo singles and performing with friends as the Plastic Ono Û Û²°Û
Û°²Û Û Band, threatened to resign in late 1969, although he was Û Û²°Û
Û°²Û Û dissuaded from making a public announcement. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Most of the early-1969 tapes remained unreleased, partially Û Û²°Û
Û°²Û Û because the footage for the planned television broadcast of Û Û²°Û
Û°²Û Û these sessions was now going to be produced as a documentary Û Û²°Û
Û°²Û Û movie. The accompanying soundtrack album, Let It Be, was Û Û²°Û
Û°²Û Û delayed so that its release could coincide with that of the Û Û²°Û
Û°²Û Û film. Lennon, Harrison, and Allen Klein decided to have Û Û²°Û
Û°²Û Û celebrated American producer Phil Spector record some Û Û²°Û
Û°²Û Û additional instrumentation and do some mixing. Thus the Û Û²°Û
Û°²Û Û confusion that persists among most rock listeners to this day: Û Û²°Û
Û°²Û Û Let It Be, although the last Beatles album to be released, was Û Û²°Û
Û°²Û Û not the last one to be recorded. Abbey Road should actually be Û Û²°Û
Û°²Û Û considered as the Beatles' last album; most of the material on Û Û²°Û
Û°²Û Û Let It Be, including the title track (which would be the last Û Û²°Û
Û°²Û Û single released while the group was still together), was Û Û²°Û
Û°²Û Û recorded several months before the Abbey Road sessions began in Û Û²°Û
Û°²Û Û earnest, and a good 15 months or so before its May 1970 Û Û²°Û
Û°²Û Û release. Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û By that time, the Beatles were no more. In fact, there had been Û Û²°Û
Û°²Û Û no recording done by the group as a unit since August 1969, and Û Û²°Û
Û°²Û Û each member of the band had begun to pursue serious outside Û Û²°Û
Û°²Û Û professional interests independently via the Plastic Ono Band, Û Û²°Û
Û°²Û Û Harrison's tour with Delaney & Bonnie, Starr's starring role in Û Û²°Û
Û°²Û Û the Magic Christian film, or McCartney's first solo album. The Û Û²°Û
Û°²Û Û outside world for the most part remained almost wholly unaware Û Û²°Û
Û°²Û Û of the seriousness of the group's friction, making it a Û Û²°Û
Û°²Û Û devastating shock for much of the world's youth when McCartney Û Û²°Û
Û°²Û Û announced that he was leaving the Beatles on April 10, 1970. Û Û²°Û
Û°²Û Û (The "announcement" was actually contained in a press release Û Û²°Û
Û°²Û Û for his new album, in which his declaration of his intention to Û Û²°Û
Û°²Û Û work on his own effectively served as a notice of his Û Û²°Û
Û°²Û Û departure.) Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û Û Û²°Û
Û°²Û Û The final blow, apparently, was the conflict between the Û Û²°Û
Û°²Û Û release dates of Let It Be and McCartney's debut solo album. Û Û²°Û
Û°²Û Û The rest of the group asked McCartney to delay his release Û Û²°Û
Û°²Û Û until after Let It Be; McCartney refused and, for good measure, Û Û²°Û
Û°²Û Û was distressed by Spector's post-production work on Let It Be, Û Û²°Û
Û°²Û Û particularly the string overdubs on "The Long and Winding Û Û²°Û
Û°²Û Û Road," which became a posthumous Beatles single that spring. Û Û²°Û
Û°²Û Û Although McCartney received much of the blame for the split, it Û Û²°Û
Û°²Û Û should be remembered that he had done more than any other Û Û²°Û
Û°²Û Û member to keep the group going since Epstein's death, and that Û Û²°Û
Û°²Û Û each of the other Beatles had threatened to leave well before Û Û²°Û
Û°²Û Û McCartney's departure. With hindsight, the breakup seemed Û Û²°Û
Û°²Û Û inevitable
