The Info List - The Beatles

--- Advertisement ---

(i) (i) (i) (i) (i)

THE BEATLES were an English rock band formed in Liverpool
in 1960. With members John Lennon
John Lennon
, Paul McCartney
Paul McCartney
, George Harrison
George Harrison
and Ringo Starr , they became widely regarded as the foremost and most influential act of the rock era. Rooted in skiffle , beat and 1950s rock and roll , the Beatles later experimented with several musical styles , ranging from pop ballads and Indian music to psychedelia and hard rock , often incorporating classical elements and unconventional recording techniques in innovative ways. In 1963 their enormous popularity first emerged as " Beatlemania ", and as the group's music grew in sophistication in subsequent years, led by primary songwriters Lennon and McCartney , they came to be perceived as an embodiment of the ideals shared by the counterculture of the 1960s .

The Beatles
The Beatles
built their reputation playing clubs in Liverpool
and Hamburg
over a three-year period from 1960, with Stuart Sutcliffe initially serving as bass player. The core of Lennon, McCartney and Harrison went through a succession of drummers, including Pete Best , before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their popularity in the United Kingdom after their first hit, " Love Me Do ", in late 1962. They acquired the nickname "the Fab Four" as Beatlemania grew in Britain the next year, and by early 1964 became international stars, leading the " British Invasion " of the United States pop market. From 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums _ Rubber Soul
Rubber Soul
_ (1965), _Revolver _ (1966), _Sgt. Pepper\'s Lonely Hearts Club Band _ (1967), _ The Beatles
The Beatles
_ (commonly known as the White Album, 1968) and _Abbey Road _ (1969). After their break-up in 1970, they each enjoyed successful musical careers of varying lengths. McCartney and Starr, the surviving members, remain musically active. Lennon was shot and killed in December 1980, and Harrison died of lung cancer in November 2001.

The Beatles
The Beatles
are the best-selling band in history, with estimated sales of over 800 million physical and digital albums worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act. They are also the best-selling music artists in the United States , with 178 million certified units. In 2008, the group topped _Billboard _ magazine's list of the all-time most successful artists; as of 2017 , they hold the record for most number-one hits on the Hot 100 chart with twenty. They have received seven Grammy Awards , an Academy Award
Academy Award
for Best Original Song Score and fifteen Ivor Novello Awards . The group was inducted into the Rock and Roll Hall of Fame in 1988, and all four main members were inducted individually from 1994 to 2015. They were also collectively included in _Time _ magazine's compilation of the twentieth century\'s 100 most influential people .


* 1 History

* 1.1 1957–1962: Formation, Hamburg, and UK popularity

* 1.2 1963–1966: Beatlemania and touring years

* 1.2.1 _Please Please Me_ and _With the Beatles_ * 1.2.2 "British Invasion" * 1.2.3 _A Hard Day\'s Night_ * 1.2.4 _Beatles for Sale_, _Help!_ and _Rubber Soul_ * 1.2.5 Controversy, final tour and _Revolver_

* 1.3 1966–1970: Studio years and break-up

* 1.3.1 _Sgt. Pepper\'s Lonely Hearts Club Band_ * 1.3.2 _Magical Mystery Tour_, the White Album and _Yellow Submarine_ * 1.3.3 _Abbey Road_, _Let It Be_ and break-up

* 1.4 1970–present: After the break-up

* 1.4.1 1970s * 1.4.2 1980s * 1.4.3 1990s * 1.4.4 2000s * 1.4.5 2010s

* 2 Musical style and development

* 2.1 Influences * 2.2 Genres * 2.3 Contribution of George Martin
George Martin
* 2.4 In the studio

* 3 Legacy * 4 Awards and achievements * 5 Members * 6 Discography * 7 Song catalogue * 8 Notes * 9 Citations * 10 Sources * 11 Further reading * 12 External links



* The Quarrymen * In Hamburg
* At The Cavern Club * Decca audition

* Beatlemania

* United Kingdom * United States

* "More popular than Jesus" * In India * Break-up * Timeline

* v * t * e


In March 1957, John Lennon
John Lennon
, then aged sixteen, formed a skiffle group with several friends from Quarry Bank High School . They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a respected local group was already using the other name. Fifteen-year-old Paul McCartney
Paul McCartney
joined as a rhythm guitarist shortly after he and Lennon met that July. In February 1958, McCartney invited his friend George Harrison
George Harrison
to watch the band. The fifteen-year-old auditioned for Lennon, impressing him with his playing, but Lennon initially thought Harrison was too young to join them. After a month of Harrison's persistence, during a second meeting, arranged by McCartney, he performed the lead guitar part for the instrumental "Raunchy " on the upper deck of a Liverpool
bus, and they enlisted him as their lead guitarist . By January 1959, Lennon's Quarry Bank friends had left the group, and he began studies at the Liverpool
College of Art . The three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. Lennon's art school friend Stuart Sutcliffe
Stuart Sutcliffe
, who had recently sold one of his paintings and was persuaded to purchase a bass guitar, joined in January 1960, and it was he who suggested changing the band's name to Beatals, as a tribute to Buddy Holly and the Crickets . They used the name until May, when they became the Silver Beetles, before undertaking a brief tour of Scotland as the backing group for pop singer and fellow Liverpudlian Johnny Gentle . By early July, they had changed their name to the Silver Beatles and by the middle of August to the Beatles.

Allan Williams , the Beatles' unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960. The band, now a five-piece, left four days later, contracted to club owner Bruno Koschmider for what would be a 3½-month residency. Beatles historian Mark Lewisohn
Mark Lewisohn
writes: "They pulled into Hamburg
at dusk on 17 August, the time when the red-light area comes to life ... flashing neon lights screamed out the various entertainment on offer, while scantily clad women sat unabashed in shop windows waiting for business opportunities."

Koschmider had converted a couple of strip clubs in the district into music venues, and he initially placed the Beatles at the Indra Club . After closing the Indra due to noise complaints, he moved them to the Kaiserkeller in October. When he learned they had been performing at the rival Top Ten Club in breach of their contract, he gave the band one month's termination notice, and reported the underage Harrison, who had obtained permission to stay in Hamburg
by lying to the German authorities about his age. The authorities arranged for Harrison's deportation in late November. One week later, Koschmider had McCartney and Best arrested for arson after they set fire to a condom in a concrete corridor; the authorities deported them. Lennon returned to Liverpool
in early December, while Sutcliffe remained in Hamburg
until late February with his German fiancée Astrid Kirchherr , who took the first semi-professional photos of the Beatles.

During the next two years, the Beatles were resident for periods in Hamburg, where they used Preludin both recreationally and to maintain their energy through all-night performances. In 1961, during their second Hamburg
engagement, Kirchherr cut Sutcliffe's hair in the "exi " (existentialist) style, later adopted by the other Beatles. When Sutcliffe decided to leave the band early that year and resume his art studies in Germany, McCartney took up the bass. Producer Bert Kaempfert contracted what was now a four-piece group until June 1962, and he used them as Tony Sheridan 's backing band on a series of recordings for Polydor Records . As part of the sessions, the Beatles were signed to Polydor for one year. Credited to "Tony Sheridan "> Abbey Road Studios main entrance

Martin's first recording session with the Beatles took place at EMI's Abbey Road Studios in London
on 6 June 1962. Martin immediately complained to Epstein about Best's poor drumming and suggested they use a session drummer in his place. Already contemplating Best's dismissal, the Beatles replaced him in mid-August with Ringo Starr , who left Rory Storm and the Hurricanes to join them. A 4 September session at EMI
yielded a recording of " Love Me Do " featuring Starr on drums, but a dissatisfied Martin hired drummer Andy White for the band's third session a week later, which produced recordings of "Love Me Do", " Please Please Me " and "P.S. I Love You ". Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine. Released in early October, "Love Me Do" peaked at number seventeen on the _ Record Retailer _ chart. Their television debut came later that month with a live performance on the regional news programme _People and Places _. After Martin suggested rerecording "Please Please Me" at a faster tempo, a studio session in late November yielded that recording, of which Martin accurately predicted, "You've just made your first No.1."

In December 1962, the Beatles concluded their fifth and final Hamburg residency. By 1963, they had agreed that all four band members would contribute vocals to their albums – including Starr, despite his restricted vocal range, to validate his standing in the group. Lennon and McCartney had established a songwriting partnership, and as the band's success grew, their dominant collaboration limited Harrison's opportunities as a lead vocalist . Epstein, in an effort to maximise the Beatles' commercial potential, encouraged them to adopt a professional approach to performing. Lennon recalled him saying, "Look, if you really want to get in these bigger places, you're going to have to change – stop eating on stage, stop swearing, stop smoking ..." Lennon said: "We used to dress how we liked, on and off stage. He'd tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn't want us suddenly looking square. He'd let us have our own sense of individuality."


_Please Please Me_ And _With The Beatles_

Their logo was designed by Ivor Arbiter.

On 11 February 1963, the Beatles recorded ten songs during a single studio session for their debut LP, _ Please Please Me _. The album was supplemented by the four tracks already released on their first two singles. Martin originally considered recording the Beatles' debut LP live at The Cavern Club, but after deciding that the building's acoustics were inadequate, he elected to simulate a "live" album with minimal production in "a single marathon session at Abbey Road". After the moderate success of "Love Me Do", the single "Please Please Me" met with a more emphatic reception. Released in January 1963, two months ahead of the album of the same name, the song reached number one on every chart in London
except _Record Retailer_, where it stalled at number two. Recalling how the Beatles "rushed to deliver a debut album, bashing out _Please Please Me_ in a day", AllMusic 's Stephen Thomas Erlewine comments, "Decades after its release, the album still sounds fresh, precisely because of its intense origins." Lennon said little thought went into composition at the time; he and McCartney were "just writing songs _à la_ Everly Brothers , _à la_ Buddy Holly, pop songs with no more thought of them than that – to create a sound. And the words were almost irrelevant."

_ "She Loves You" Sample of " She Loves You ". The song's repeated use of "yeah" exclamations became a signature phrase for the group at the time. -------------------------

Problems playing this file? See media help ._

Released in March 1963, the album initiated a run during which eleven of their twelve studio albums released in the United Kingdom through 1970 reached number one. The band's third single, " From Me to You ", came out in April and was also a chart-topping hit, starting an almost unbroken string of seventeen British number-one singles for the Beatles, including all but one of the eighteen they released over the next six years. Issued in August, the band's fourth single, "She Loves You ", achieved the fastest sales of any record in the UK up to that time, selling three-quarters of a million copies in under four weeks. It became their first single to sell a million copies, and remained the biggest-selling record in the UK until 1978. Their commercial success brought increased media exposure, to which the Beatles responded with an irreverent and comical attitude that defied the expectations of pop musicians at the time, inspiring even more interest. The band toured the UK three times in the first half of the year: a four-week tour that began in February, the Beatles's first nationwide, preceded three-week tours in March and May–June. As their popularity spread, a frenzied adulation of the group took hold. Greeted with riotous enthusiasm by screaming fans, the press dubbed the phenomenon " Beatlemania ". Although not billed as tour leaders, the Beatles overshadowed American acts Tommy Roe and Chris Montez during the February engagements and assumed top billing "by audience demand", something no British act had previously accomplished while touring with artists from the US. A similar situation arose during their May–June tour with Roy Orbison . _ McCartney, Harrison, Swedish pop singer Lill-Babs and Lennon on the set of the Swedish television show Drop-In_, 30 October 1963

In late October, the Beatles began a five-day tour of Sweden, their first time abroad since the final Hamburg
engagement of December 1962. On their return to the UK on 31 October, according to Lewisohn, "several hundred screaming fans" greeted them in heavy rain at Heathrow Airport . Around 50 to 100 journalists and photographers as well as representatives from the BBC also joined the airport reception, the first of more than 100 such events. The next day, the band began its fourth tour of Britain within nine months, this one scheduled for six weeks. In mid-November, as Beatlemania intensified, police resorted to using high-pressure water hoses to control the crowd before a concert in Plymouth.

_Please Please Me_ maintained the top position on the _Record Retailer_ chart for 30 weeks, only to be displaced by its follow-up, _ With the Beatles _, which EMI
released on 22 November to record advance orders of 270,000 copies. The LP topped a half-million albums sold in one week. Recorded between July and October, _With the Beatles_ made better use of studio production techniques than its predecessor. It held the top spot for 21 weeks with a chart life of 40 weeks. Erlewine described the LP as "a sequel of the highest order – one that betters the original". In a reversal of then standard practice, EMI
released the album ahead of the impending single "I Want to Hold Your Hand ", with the song excluded to maximise the single's sales. The album caught the attention of music critic William Mann of _ The Times _, who suggested that Lennon and McCartney were "the outstanding English composers of 1963". The newspaper published a series of articles in which Mann offered detailed analyses of the music, lending it respectability. _With the Beatles_ became the second album in UK chart history to sell a million copies, a figure previously reached only by the 1958 _South Pacific_ soundtrack . When writing the sleeve notes for the album, the band's press officer, Tony Barrow , used the superlative the "fabulous foursome", which the media widely adopted as "the Fab Four".

"British Invasion"

Main article: The Beatles in the United States

EMI's American subsidiary, Capitol Records
Capitol Records
, hindered the Beatles' releases in the United States for more than a year by initially declining to issue their music, including their first three singles. Concurrent negotiations with the independent US label Vee-Jay led to the release of some of the songs in 1963, but not all. Vee-Jay finished preparation for the album _ Introducing... The Beatles _, culled from most of the songs of Parlophone's _Please Please Me_, but a management shake-up led to the album not being released. Then when it surfaced that the label did not report royalties on their sales, the licence Vee-Jay signed with EMI
was voided. A new licence was granted to the Swan label for the single "She Loves You". The record received some airplay in the Tidewater area of Virginia by Gene Loving of radio station WGH and was featured on the "Rate-a-Record" segment of _ American Bandstand _, but it failed to catch on nationally.

Epstein arranged for a $40,000 US marketing campaign. American chart success began after disc jockey Carroll James of AM radio station WWDC (now WWRC ) in Washington, DC first played " I Want to Hold Your Hand " in mid-December 1963. It was not until the end of the first week of January 1964 that their records were played in New York City (also accompanied by a major marketing campaign and with similar play frequency), and then the rest of the country, initiating their music's spread across US radio. This caused an increase in demand, leading Capitol to rush-release "I Want to Hold Your Hand" later that month. Issued on 26 December 1963, with the band's previously scheduled debut there just weeks away, "I Want to Hold Your Hand" sold a million copies, becoming a number-one hit in the US by mid-January. In its wake, Vee-Jay released _Introducing... The Beatles_ to go along with Capitol's debut album, _ Meet the Beatles! _, while Swan reactivated production of "She Loves You". The Beatles
The Beatles
arriving at John F. Kennedy International Airport, 7 February 1964

On 7 February 1964, the Beatles left the United Kingdom with an estimated 4,000 fans gathered at Heathrow, waving and screaming as the aircraft took off. Upon landing at New York's John F. Kennedy Airport , an uproarious crowd estimated at 3,000 greeted them. They gave their first live US television performance two days later on _The Ed Sullivan Show _, watched by approximately 73 million viewers in over 23 million households, or 34 per cent of the American population. Biographer Jonathan Gould writes that, according to the Nielsen rating service, it was "the largest audience that had ever been recorded for an American television program". The next morning, the Beatles awoke to a negative critical consensus in the US, but a day later their first US concert saw Beatlemania erupt at Washington Coliseum . Back in New York the following day, the Beatles met with another strong reception during two shows at Carnegie Hall . The band then flew to Florida and appeared on the weekly _ Ed Sullivan
Ed Sullivan
Show_ a second time, before another 70 million viewers, before returning to the UK on 22 February.

_A Hard Day\'s Night_

Capitol Records' lack of interest throughout 1963 had not gone unnoticed, and a competitor, United Artists Records , encouraged their film division to offer the group a three-motion-picture deal, primarily for the commercial potential of the soundtracks. Directed by Richard Lester , _A Hard Day\'s Night _ involved the band for six weeks in March–April 1964 as they played themselves in a mock-documentary . The film premiered in London
and New York in July and August, respectively, and was an international success, with some critics drawing comparison with the Marx Brothers . According to Erlewine, the accompanying soundtrack album, _A Hard Day\'s Night _, saw them "truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and irresistible melodies." That "ringing guitar" sound was primarily the product of Harrison's 12-string electric Rickenbacker , a prototype given to him by the manufacturer, which made its debut on the record.

During the week of 4 April 1964, the Beatles held twelve positions on the _Billboard_ Hot 100 singles chart, including the top five. Their popularity generated unprecedented interest in British music, and a number of other UK acts subsequently made their own American debuts, successfully touring over the next three years in what was termed the British Invasion . Their hairstyle, unusually long for the era and mocked by many adults, became an emblem of rebellion to the burgeoning youth culture. McCartney, Harrison and Lennon performing on Dutch television in 1964

Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York.

In August, journalist Al Aronowitz arranged for the Beatles to meet Bob Dylan
Bob Dylan
. Visiting the band in their New York hotel suite, Dylan introduced them to cannabis . Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style " contrasted with their fans, "veritable 'teenyboppers ' – kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists." Within six months of the meeting, Gould writes, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona". Within a year, "the distinctions between the folk and rock audiences would have nearly evaporated audience ... showing signs of growing up."

_Beatles For Sale_, _Help!_ And _Rubber Soul_

According to Gould, _ Beatles for Sale _, the Beatles' fourth studio LP, evidenced a growing conflict between the commercial pressures of their global success and their creative ambitions. They had intended the album, recorded between August and October 1964, to continue the format established by _A Hard Day's Night_ which, unlike their first two LPs, contained only original songs. They had nearly exhausted their backlog of songs on the previous album, however, and given the challenges constant international touring posed to their songwriting efforts, Lennon admitted, "Material's becoming a hell of a problem". As a result, six covers from their extensive repertoire were chosen to complete the album. Released in early December, its eight original compositions stood out, demonstrating the growing maturity of the Lennon–McCartney songwriting partnership. Together in 1965, celebrating a Grammy win

In early 1965, while they were his guests for dinner, Lennon and Harrison's dentist secretly added LSD to their coffee. Lennon described the experience: "It was just terrifying, but it was fantastic. I was pretty stunned for a month or two." He and Harrison subsequently became regular users of the drug, joined by Starr on at least one occasion. McCartney was initially reluctant to try it, but eventually did so in late 1966. He became the first Beatle to discuss LSD publicly, declaring in a magazine interview that "it opened my eyes" and "made me a better, more honest, more tolerant member of society".

Controversy erupted in June 1965 when Queen Elizabeth II
Elizabeth II
appointed all four Beatles Members of the Order of the British Empire (MBE) after Prime Minister Harold Wilson
Harold Wilson
nominated them for the award. In protest – the honour was at that time primarily bestowed upon military veterans and civic leaders – some conservative MBE recipients returned their own insignia. _ The US trailer for Help! _ with (from the rear) Harrison, McCartney, Lennon and (largely obscured) Starr

Released in July, the Beatles' second film, _Help! _, was again directed by Lester. Described as "mainly a relentless spoof of Bond ", it inspired a mixed response among both reviewers and the band. McCartney said: "_Help!_ was great but it wasn't our film – we were sort of guest stars. It was fun, but basically, as an idea for a film, it was a bit wrong." The soundtrack was dominated by Lennon, who wrote and sang lead on most of its songs, including the two singles: "Help! " and " Ticket to Ride ". The accompanying album, the group's fifth studio LP, contained all original material save for two covers, " Act Naturally
Act Naturally
" and "Dizzy Miss Lizzy "; they were the last covers the band would include on an album, with the exception of _Let It Be _'s brief rendition of the traditional Liverpool
folk song "Maggie Mae ". The band expanded their use of vocal overdubs on _Help! _ and incorporated classical instruments into some arrangements, including a string quartet on the pop ballad "Yesterday ". Composed by McCartney, "Yesterday" would inspire the most recorded cover versions of any song ever written.

The group's third US tour opened with a performance before a world-record crowd of 55,600 at New York's Shea Stadium
Shea Stadium
on 15 August 1965 – "perhaps the most famous of all Beatles' concerts", in Lewisohn's description. A further nine successful concerts followed in other American cities. At a show in Atlanta, the Beatles gave one of the first live performances ever to make use of a foldback system of on-stage monitor speakers. Towards the end of the tour, they met with Elvis Presley
Elvis Presley
, a foundational musical influence on the band, who invited them to his home in Beverly Hills . September saw the launch of an American Saturday-morning cartoon series, _ The Beatles
The Beatles
_, that echoed _A Hard Day's Night_'s slapstick antics over its two-year original run. The series was a historical milestone as the first weekly television series to feature animated versions of real, living people.

_ "Norwegian Wood (This Bird Has Flown)" Sample of "Norwegian Wood" from Rubber Soul_ (1965). Harrison's use of a sitar on this song is representative of the Beatles' incorporation of unconventional instrumentation into rock music. -------------------------

_Problems playing this file? See media help ._

In mid-October 1965, the Beatles entered the recording studio; for the first time when making an album, they had an extended period without other major commitments. Until this time, according to George Martin, "we had been making albums rather like a collection of singles. Now we were really beginning to think about albums as a bit of art on their own." Released in December, _ Rubber Soul
Rubber Soul
_ has been hailed by critics as a major step forward in the maturity and complexity of the band's music. Their thematic reach was beginning to expand as they embraced deeper aspects of romance and philosophy. Biographers Peter Brown and Steven Gaines attribute the new musical direction to "the Beatles' now habitual use of marijuana", an assertion confirmed by the band – Lennon referred to it as "the pot album", and Starr said: "Grass was really influential in a lot of our changes, especially with the writers. And because they were writing different material, we were playing differently." After _Help!_'s foray into the world of classical music with flutes and strings, Harrison's introduction of a sitar on "Norwegian Wood (This Bird Has Flown) " marked a further progression outside the traditional boundaries of popular music. As their lyrics grew more artful, fans began to study them for deeper meaning. Of "Norwegian Wood" Lennon commented: "I was trying to be sophisticated in writing about an affair ... but in such a smokescreen way that you couldn't tell."

While many of _Rubber Soul_'s prominent songs were the product of Lennon and McCartney's collaborative songwriting, it also featured distinct compositions from each, though they continued to share official credit. The song " In My Life ", of which each later claimed lead authorship, is considered a highlight of the entire Lennon–McCartney catalogue. Harrison called _Rubber Soul_ his "favourite album" and Starr referred to it as "the departure record". McCartney has said, "We'd had our cute period, and now it was time to expand." However, recording engineer Norman Smith later stated that the studio sessions revealed signs of growing conflict within the group – "the clash between John and Paul was becoming obvious", he wrote, and "as far as Paul was concerned, George could do no right". In 2003, _ Rolling Stone _ ranked _Rubber Soul_ fifth among "The 500 Greatest Albums of All Time ", and AllMusic's Richie Unterberger describes it as "one of the classic folk-rock records".

Controversy, Final Tour And _Revolver_

Studios with George Martin
George Martin
in the mid-1960s

Capitol Records, from December 1963 when it began issuing Beatles recordings for the US market, exercised complete control over format, compiling distinct US albums from the band's recordings and issuing songs of their choosing as singles. In June 1966, _Yesterday and Today _, one of Capitol's compilation albums, caused an uproar with its cover, which portrayed the grinning Beatles dressed in butcher's overalls, accompanied by raw meat and mutilated plastic baby dolls. It has been incorrectly suggested that this was meant as a satirical response to the way Capitol had "butchered" the US versions of their albums. Thousands of copies of the LP had a new cover pasted over the original; an unpeeled "first-state" copy fetched $10,500 at a December 2005 auction. In England, meanwhile, Harrison met sitar maestro Ravi Shankar , who agreed to train him on the instrument.

During a tour of the Philippines the month after the _Yesterday and Today_ furore, the Beatles unintentionally snubbed the nation's first lady, Imelda Marcos , who had expected them to attend a breakfast reception at the Presidential Palace . When presented with the invitation, Epstein politely declined on the band members' behalf, as it had never been his policy to accept such official invitations. They soon found that the Marcos regime was unaccustomed to taking no for an answer. The resulting riots endangered the group and they escaped the country with difficulty. Immediately afterwards, the band members visited India for the first time. We're more popular than Jesus
now; I don't know which will go first – rock 'n' roll or Christianity. — John Lennon
John Lennon
to journalist Maureen Cleave , 1966

Almost as soon as they returned home, the Beatles faced a fierce backlash from US religious and social conservatives (as well as the Ku Klux Klan ) over a comment Lennon had made in a March interview with British reporter Maureen Cleave . "Christianity will go," Lennon had said. "It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right. ... Jesus
was alright but his disciples were thick and ordinary. It's them twisting it that ruins it for me." The comment went virtually unnoticed in England, but when US teenage fan magazine _ Datebook
_ printed it five months later – on the eve of the group's August US tour – it sparked a controversy with Christians in the American " Bible Belt
Bible Belt
". The Vatican issued a protest, and bans on Beatles' records were imposed by Spanish and Dutch stations and South Africa's national broadcasting service . Epstein accused _Datebook_ of having taken Lennon's words out of context; at a press conference Lennon pointed out, "If I'd said television was more popular than Jesus, I might have got away with it." Lennon claimed that he was referring to how other people viewed their success, but at the prompting of reporters, he concluded: "If you want me to apologise, if that will make you happy, then okay, I'm sorry."

As preparations were made for the US tour, the Beatles knew that their music would hardly be heard. Having originally used Vox AC30 amplifiers, they later acquired more powerful 100-watt amplifiers, specially designed by Vox for them as they moved into larger venues in 1964, but these were still inadequate. Struggling to compete with the volume of sound generated by screaming fans, the band had grown increasingly bored with the routine of performing live. Recognising that their shows were no longer about the music, they decided to make the August tour their last.

_ "Eleanor Rigby" Sample of " Eleanor Rigby " from Revolver_ (1966). The album involves innovative compositional approaches, arrangements and recording techniques. This song, primarily written by McCartney, prominently features classical strings in a novel fusion of musical styles. -------------------------

_Problems playing this file? See media help ._

_Rubber Soul_ had marked a major step forward; _Revolver _, released in August 1966 a week before the Beatles' final tour, marked another. _Pitchfork_ 's Scott Plagenhoef identifies it as "the sound of a band growing into supreme confidence" and "redefining what was expected from popular music". _Revolver_ featured sophisticated songwriting, studio experimentation, and a greatly expanded repertoire of musical styles, ranging from innovative classical string arrangements to psychedelic rock. Abandoning the customary group photograph, its cover – designed by Klaus Voormann , a friend of the band since their Hamburg
days – "was a stark, arty, black-and-white collage that caricatured the Beatles in a pen-and-ink style beholden to Aubrey Beardsley ", in Gould's description. The album was preceded by the single " Paperback Writer ", backed by " Rain
". Short promotional films were made for both songs; described by cultural historian Saul Austerlitz as "among the first true music videos", they aired on _The Ed Sullivan
Ed Sullivan
Show_ and _ Top of the Pops _ in June 1966.

Among the experimental songs that _Revolver_ featured was "Tomorrow Never Knows ", the lyrics for which Lennon drew from Timothy Leary 's _The Psychedelic Experience: A Manual Based on the Tibetan Book
of the Dead _. Its creation involved eight tape decks distributed about the EMI
building, each staffed by an engineer or band member, who randomly varied the movement of a tape loop while Martin created a composite recording by sampling the incoming data. McCartney's "Eleanor Rigby" made prominent use of a string octet ; Gould describes it as "a true hybrid, conforming to no recognisable style or genre of song". Harrison was developing as a songwriter, and three of his compositions earned a place on the record. In 2003, _Rolling Stone_ ranked _Revolver_ as the third greatest album of all time. During the US tour that followed its release, however, the band performed none of its songs. As Chris Ingham writes, they were very much "studio creations ... and there was no way a four-piece rock 'n' roll group could do them justice, particularly through the desensitising wall of the fans' screams. 'Live Beatles' and 'Studio Beatles' had become entirely different beasts." The band's final concert at San Francisco's Candlestick Park on 29 August was their last commercial concert. It marked the end of a four-year period dominated by almost nonstop touring that included over 1,400 concert appearances internationally.


_Sgt. Pepper\'s Lonely Hearts Club Band_

_ Front cover of Sgt. Pepper's Lonely Hearts Club Band_, "the most famous cover of any music album, and one of the most imitated images in the world"

Freed from the burden of touring, the Beatles embraced an increasingly experimental approach as they recorded _Sgt. Pepper\'s Lonely Hearts Club Band _, beginning in late November 1966. According to engineer Geoff Emerick
Geoff Emerick
, the album's recording took over 700 hours. He recalled the band's insistence "that everything on _Sgt. Pepper_ had to be different. We had microphones right down in the bells of brass instruments and headphones turned into microphones attached to violins. We used giant primitive oscillators to vary the speed of instruments and vocals and we had tapes chopped to pieces and stuck together upside down and the wrong way around." Parts of "A Day in the Life " featured a 40-piece orchestra. The sessions initially yielded the non-album double A-side single "Strawberry Fields Forever "/" Penny Lane " in February 1967; the _Sgt. Pepper_ LP followed in June. The musical complexity of the records, created using relatively primitive four-track recording technology, astounded contemporary artists. Among music critics, acclaim for the album was virtually universal. Gould writes:

The overwhelming consensus is that the Beatles had created a popular masterpiece: a rich, sustained, and overflowing work of collaborative genius whose bold ambition and startling originality dramatically enlarged the possibilities and raised the expectations of what the experience of listening to popular music on record could be. On the basis of this perception, _Sgt. Pepper_ became the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionise both the aesthetics and the economics of the record business in ways that far outstripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963.

_Sgt. Pepper_ was the first major pop/rock LP to include its complete lyrics, which appeared on the back cover. Those lyrics were the subject of critical analysis; for instance, in late 1967 the album was the subject of a scholarly inquiry by American literary critic and professor of English Richard Poirier , who observed that his students were "listening to the group's music with a degree of engagement that he, as a teacher of literature, could only envy". Poirier identified what he termed its "mixed allusiveness": "It's unwise ever to assume that they're doing only one thing or expressing themselves in only one style ... one kind of feeling about a subject isn't enough ... any single induced feeling must often exist within the context of seemingly contradictory alternatives." McCartney said at the time: "We write songs. We know what we mean by them. But in a week someone else says something about it, and you can't deny it. ... You put your own meaning at your own level to our songs." The album's elaborate cover also attracted considerable interest and study. A collage designed by pop artists Peter Blake and Jann Haworth , it depicted the group as the fictional band referred to in the album's title track standing in front of a crowd of famous people . The heavy moustaches worn by the group reflected the growing influence of hippie style, while cultural historian Jonathan Harris describes their "brightly coloured parodies of military uniforms" as a knowingly "anti-authoritarian and anti-establishment" display. In 2003, _Rolling Stone_ ranked it number one on its list of the "500 Greatest Albums of All Time". Brian Epstein was dead ... Paul and George were in complete shock. I don't think it could have been worse if they had heard that their own fathers had dropped dead … Brian had found them, believed in them, molded them, turned them into millionaires, and made them famous the world over … We knew that life would never be the same again. – Pattie Boyd , wife of George Harrison
George Harrison

On 25 June 1967, the Beatles performed their forthcoming single, "All You Need Is Love ", to an estimated 350 million viewers on _Our World _, the first live global television link. Released a week later, during the Summer of Love
Summer of Love
, the song was adopted as a flower power anthem. Two months later, the group suffered a loss that threw their career into turmoil. Having been introduced to Maharishi Mahesh Yogi only the previous night in London, on 25 August they travelled to Bangor for his Transcendental Meditation retreat. Two days later, their manager's assistant, Peter Brown, phoned to inform them that Epstein, only thirty-two years old, had died. The coroner ruled the death an accidental carbitol overdose, although it was widely rumoured to be a suicide. Epstein had been in a fragile emotional state, stressed by personal issues. His death left the group disoriented and fearful about the future. Lennon recalled: "We collapsed. I knew that we were in trouble then. I didn't really have any misconceptions about our ability to do anything other than play music, and I was scared. I thought, 'We've had it now.'"

_Magical Mystery Tour_, The White Album And _Yellow Submarine_

Filming a sequence for " I Am the Walrus
I Am the Walrus

_ Magical Mystery Tour _, the soundtrack to a forthcoming Beatles television film, was released in the UK as a six-track double extended play disc (EP) in early December 1967. In the United States, the six songs were issued on an identically titled LP that also included five tracks from the band's recent singles. Unterberger says of the US _Magical Mystery Tour_, "the psychedelic sound is very much in the vein of _Sgt. Pepper_, and even spacier in parts (especially the sound collages of ' I Am the Walrus
I Am the Walrus
')" and he calls its five songs culled from the band's 1967 singles "huge, glorious, and innovative". In its first three weeks, the album set a record for the highest initial sales of any Capitol LP, and it is the only Capitol compilation later to be adopted in the band's official canon of studio albums. First aired on Boxing Day , the _Magical Mystery Tour_ film, largely directed by McCartney, brought the group their first major negative UK press. It was dismissed as "blatant rubbish" by the _ Daily Express _; the _ Daily Mail
Daily Mail
_ called it "a colossal conceit"; and _ The Guardian
The Guardian
_ labelled the film "a kind of fantasy morality play about the grossness and warmth and stupidity of the audience". Gould describes it as "a great deal of raw footage showing a group of people getting on, getting off, and riding on a bus". Although the viewership figures were respectable, its slating in the press led US television networks to lose interest in broadcasting the film.

In January 1968, the Beatles filmed a cameo for the animated movie _Yellow Submarine _, which featured cartoon versions of the band members and a soundtrack with eleven of their songs, including four unreleased studio recordings that made their debut in the film. Released in June 1968, the film was praised by critics for its music, humour and innovative visual style. It would be seven months, however, before its soundtrack album appeared. _ The Beatles_, known as the White Album for its minimalist cover, conceived by pop artist Richard Hamilton "in direct contrast to _Sgt. Pepper_", while also suggesting a "clean slate"

In the interim came _ The Beatles
The Beatles
_, a double LP commonly known as the White Album for its virtually featureless cover. Creative inspiration for the album came from a new direction: without Epstein's guiding presence, the group had briefly turned to Maharishi Mahesh Yogi as their guru . At his ashram in Rishikesh
, India, a "Guide Course" scheduled for three months marked one of their most prolific periods , yielding numerous songs including a majority of the 30 included on the album. However, Starr left after only ten days, likening it to Butlins
, and McCartney eventually grew bored and departed a month later. For Lennon and Harrison, creativity turned to questioning when an electronics technician known as Magic Alex suggested that the Maharishi was attempting to manipulate them. When he alleged that the Maharishi had made sexual advances to women attendees, a persuaded Lennon left abruptly just two months into the course, bringing an unconvinced Harrison and the remainder of the group's entourage with him. In anger, Lennon wrote a scathing song titled "Maharishi", renamed " Sexy Sadie " to avoid potential legal issues. McCartney said, "We made a mistake. We thought there was more to him than there was."

During recording sessions for the White Album, which stretched from late May to mid-October 1968, relations between the Beatles grew openly divisive. Starr quit for two weeks, and McCartney took over the drum kit for " Back in the U.S.S.R.
Back in the U.S.S.R.
" (on which Harrison and Lennon drummed as well) and " Dear Prudence ". Lennon had lost interest in collaborating with McCartney, whose contribution "Ob-La-Di, Ob-La-Da " he scorned as "granny music shit". Tensions were further aggravated by Lennon's romantic preoccupation with avant-garde artist Yoko Ono , whom he insisted on bringing to the sessions despite the group's well-established understanding that girlfriends were not allowed in the studio. Describing the double album, Lennon later said: "Every track is an individual track; there isn't any Beatle music on it. John and the band, Paul and the band, George and the band." McCartney has recalled that the album "wasn't a pleasant one to make". Both he and Lennon identified the sessions as the start of the band's break-up.

Issued in November, the White Album was the band's first Apple Records album release, although EMI
continued to own their recordings. The new label was a subsidiary of Apple Corps , which Epstein had formed as part of his plan to create a tax-effective business structure. The record attracted more than 2 million advance orders, selling nearly 4 million copies in the US in little over a month, and its tracks dominated the playlists of American radio stations. Despite its popularity, it did not receive flattering reviews at the time. According to Gould:

The critical response ... ranged from mixed to flat. In marked contrast to _Sgt. Pepper_, which had helped to establish an entire genre of literate rock criticism, the White Album inspired no critical writing of any note. Even the most sympathetic reviewers ... clearly didn't know what to make of this shapeless outpouring of songs. _Newsweek_'s Hubert Saal, citing the high proportion of parodies, accused the group of getting their tongues caught in their cheeks.

General critical opinion eventually turned in favour of the White Album, and in 2003, _Rolling Stone_ ranked it as the tenth greatest album of all time. Pitchfork's Mark Richardson describes it as "large and sprawling, overflowing with ideas but also with indulgences, and filled with a hugely variable array of material ... its failings are as essential to its character as its triumphs." Erlewine comments: "The two main songwriting forces were no longer on the same page, but neither were George and Ringo", yet "Lennon turns in two of his best ballads", McCartney's songs are "stunning", Harrison had become "a songwriter who deserved wider exposure", and Starr's composition was "a delight".

The _Yellow Submarine _ LP, issued in January 1969, contained only the four previously unreleased songs that had debuted in the film, along with the title track (already issued on _Revolver_), "All You Need Is Love" (already issued as a single and on the US _Magical Mystery Tour_ LP) and seven instrumental pieces composed by Martin. Because of the paucity of new Beatles music, AllMusic's Unterberger and Bruce Eder suggest the album might be "inessential" but for Harrison's "It\'s All Too Much ": "the jewel of the new songs ... resplendent in swirling Mellotron
, larger-than-life percussion, and tidal waves of feedback guitar ... a virtuoso excursion into otherwise hazy psychedelia".

_Abbey Road_, _Let It Be_ And Break-up

Although _ Let It Be _ was the Beatles' final album release, it was largely recorded before _ Abbey Road _. The project's impetus came from an idea Martin attributes to McCartney, who suggested they "record an album of new material and rehearse it, then perform it before a live audience for the very first time – on record and on film". Originally intended for a one-hour television programme to be called _Beatles at Work_, much of the album's content came from extensive rehearsals filmed by director Michael Lindsay-Hogg at Twickenham Film Studios , beginning in January 1969. Martin has said that the project was "not at all a happy recording experience. It was a time when relations between the Beatles were at their lowest ebb." Lennon described the largely impromptu sessions as "hell ... the most miserable ... on Earth", and Harrison, "the low of all-time". Irritated by both McCartney and Lennon, Harrison walked out for five days. Upon returning, he threatened to leave the band unless they "abandon all talk of live performance" and instead focused on finishing a new album, initially titled _Get Back_, using songs recorded for the TV special. He also demanded they cease work at Twickenham and relocate to the newly finished Apple Studio . The other band members agreed, and the idea came about to salvage the footage shot for the TV production for use in a feature film. _ Apple Corps building at 3 Savile Row, site of the Let It Be_ rooftop concert _ American soul musician Billy Preston (pictured in 1971) was, for a short time, considered a fifth Beatle during the recording of Get Back_.

In an effort to alleviate tensions within the band and improve the quality of their live sound, Harrison invited keyboardist Billy Preston to participate in the last nine days of sessions. Preston received label billing on the " Get Back
Get Back
" single – the only musician ever to receive that acknowledgment on an official Beatles release. At the conclusion of the rehearsals, the band could not agree on a location to film a concert, rejecting several ideas, including a boat at sea, a lunatic asylum, the Tunisian desert, and the Colosseum
. Ultimately, what would be their final live performance was filmed on the rooftop of the Apple Corps building at 3 Savile Row , London, on 30 January 1969. Five weeks later, engineer Glyn Johns , whom Lewisohn describes as _Get Back_'s "uncredited producer", began work assembling an album, given "free rein" as the band "all but washed their hands of the entire project".

New strains developed between the band members regarding the appointment of a financial adviser, the need for which had become evident without Epstein to manage business affairs. Lennon, Harrison and Starr favoured Allen Klein
Allen Klein
, who had managed the Rolling Stones and Sam Cooke ; McCartney wanted Lee and John Eastman – father and brother, respectively, of Linda Eastman , whom McCartney married on 12 March. Agreement could not be reached, so both Klein and the Eastmans were temporarily appointed: Klein as the Beatles' business manager and the Eastmans as their lawyers. Further conflict ensued, however, and financial opportunities were lost. On 8 May, Klein was named sole manager of the band, the Eastmans having previously been dismissed as the Beatles' attorneys. McCartney refused to sign the management contract with Klein, but he was out-voted by the other Beatles.

Martin stated that he was surprised when McCartney asked him to produce another album, as the _Get Back_ sessions had been "a miserable experience" and he had "thought it was the end of the road for all of us". The primary recording sessions for _Abbey Road_ began on 2 July 1969. Lennon, who rejected Martin's proposed format of a "continuously moving piece of music", wanted his and McCartney's songs to occupy separate sides of the album. The eventual format, with individually composed songs on the first side and the second consisting largely of a medley , was McCartney's suggested compromise. On 4 July, the first solo single by a Beatle was released: Lennon's " Give Peace a Chance ", credited to the Plastic Ono Band . The completion and mixing of "I Want You (She\'s So Heavy) " on 20 August 1969 was the last occasion on which all four Beatles were together in the same studio. Lennon announced his departure to the rest of the group on 20 September, but agreed to withhold a public announcement to avoid undermining sales of the forthcoming album.

Released six days after Lennon's declaration, _Abbey Road_ sold 4 million copies within three months and topped the UK charts for a total of seventeen weeks. Its second track, the ballad "Something ", was issued as a single – the only Harrison composition ever to appear as a Beatles A-side. _Abbey Road_ received mixed reviews, although the medley met with general acclaim. Unterberger considers it "a fitting swan song for the group", containing "some of the greatest harmonies to be heard on any rock record". Musicologist and author Ian MacDonald calls the album "erratic and often hollow", despite the "semblance of unity and coherence" offered by the medley. Martin has singled it out as his personal favourite of all the band's albums; Lennon said it was "competent" but had "no life in it". Recording engineer Emerick notes that the replacement of the studio's valve mixing console with a transistorised one yielded a less punchy sound, leaving the group frustrated at the thinner tone and lack of impact and contributing to its "kinder, gentler" feel relative to their previous albums.

For the still unfinished _Get Back_ album, one last song, Harrison's " I Me Mine ", was recorded on 3 January 1970. Lennon, in Denmark at the time, did not participate. In March, rejecting the work Johns had done on the project, now retitled _Let It Be_, Klein gave the session tapes to American producer Phil Spector , who had recently produced Lennon's solo single " Instant Karma! " In addition to remixing the material, Spector edited, spliced and overdubbed several of the recordings that had been intended as "live". McCartney was unhappy with the producer's approach and particularly dissatisfied with the lavish orchestration on " The Long and Winding Road ", which involved a fourteen-voice choir and 36-piece instrumental ensemble. McCartney's demands that the alterations to the song be reverted were ignored, and he publicly announced his departure from the band on 10 April 1970, a week before the release of his first, self-titled solo album .

On 8 May, the Spector-produced _Let It Be_ was released. Its accompanying single, "The Long and Winding Road", was the Beatles' last; it was released in the United States, but not in the UK. The _ Let It Be _ documentary film followed later that month, and would win the 1970 Academy Award
Academy Award
for Best Original Song Score . _Sunday Telegraph _ critic Penelope Gilliatt called it "a very bad film and a touching one ... about the breaking apart of this reassuring, geometrically perfect, once apparently ageless family of siblings". Several reviewers stated that some of the performances in the film sounded better than their analogous album tracks. Describing _Let It Be_ as the "only Beatles album to occasion negative, even hostile reviews", Unterberger calls it "on the whole underrated"; he singles out "some good moments of straight hard rock in 'I\'ve Got a Feeling ' and ' Dig a Pony '", and praises " Let It Be ", "Get Back", and "the folky 'Two of Us ', with John and Paul harmonising together". McCartney filed suit for the dissolution of the Beatles' contractual partnership on 31 December 1970. Legal disputes continued long after their break-up, and the dissolution was not formalised until 29 December 1974, when John Lennon
John Lennon
signed the paperwork terminating the partnership while on vacation with his family at Walt Disney World Resort in Florida.


See also: Collaborations between ex-Beatles


Lennon and McCartney in 1975 and 1976

Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's _Ringo _ (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as _A Toot and a Snore in \'74 _, Lennon and McCartney never recorded together again.

Two double-LP sets of the Beatles' greatest hits, compiled by Klein, _ 1962–1966 _ and _ 1967–1970 _, were released in 1973, at first under the Apple Records imprint. Commonly known as the _Red Album_ and _Blue Album_, respectively, each have earned a Multi-Platinum certification in the United States and a Platinum certification in the United Kingdom. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation _Rock \'n\' Roll Music _. The only one to feature previously unreleased material was _ The Beatles
The Beatles
at the Hollywood Bowl _ (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours.

The music and enduring fame of the Beatles was commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical _ John, Paul, George, Ringo … and Bert _, written by Willy Russell and featuring singer Barbara Dickson , opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun ". Displeased with the production's use of his song, Harrison withdrew his permission to use it. Later that year, the off-Broadway musical _Sgt. Pepper\'s Lonely Hearts Club Band on the Road _ opened. _All This and World War II _ (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon
Keith Moon
to the London
Symphony Orchestra . The Broadway musical _ Beatlemania _, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. _Sgt. Pepper\'s Lonely Hearts Club Band _ (1978), a musical film starring the Bee Gees and Peter Frampton , was a commercial failure and an "artistic fiasco", according to Ingham.

On 24 April 1976, during a broadcast of _ Saturday Night Live _, producer Lorne Michaels offered the Beatles $3,000 to reunite on his show. Unbeknownst to him, John Lennon
John Lennon
and Paul McCartney
Paul McCartney
were watching the live broadcast at John's apartment at The Dakota
The Dakota
in New York at the time, which was within walking distance of the studio where the show was being shot . The two men entertained the idea of hailing a cab to the studio and surprising Michaels by accepting his offer, but ultimately declined, for as Paul later said "It would have been work, and we were having a night off, so we elected not to go. It was a nice idea – we nearly did it."


Harrison and Starr performing at the Prince\'s Trust All-Star Rock Concert at Wembley Arena , 1987

After the murder of Lennon in December 1980, Harrison rewrote the lyrics to his song " All Those Years Ago " in Lennon's honour. With Starr on drums and McCartney and his wife, Linda , contributing backing vocals, the song was released as a single in May 1981. McCartney's own tribute, "Here Today ", appeared on his _Tug of War _ album in April 1982. In 1987, Harrison's _Cloud Nine _ album included " When We Was Fab ", a song about the Beatlemania era.

When the Beatles' studio albums were released on CD by EMI
and Apple Corps in 1987, their catalogue was standardised throughout the world, establishing a canon of the twelve original studio LPs as issued in the UK plus the US LP version of _Magical Mystery Tour_ (1967). All the remaining material from the singles and EPs which had not appeared on the original studio albums was gathered on the two-volume compilation _ Past Masters _ (1988). Except for the _Red_ and _Blue_ albums, EMI
deleted all its other Beatles compilations – including the _Hollywood Bowl_ record – from its catalogue.

In 1988, the Beatles were inducted into the Rock and Roll Hall of Fame , their first year of eligibility. Harrison and Starr attended the ceremony with Lennon's widow, Yoko Ono, and his two sons, Julian and Sean . McCartney declined to attend, citing unresolved "business differences" that would make him "feel like a complete hypocrite waving and smiling with them at a fake reunion". The following year, EMI/Capitol settled a decade-long lawsuit filed by the band over royalties, clearing the way to commercially package previously unreleased material.


_Live at the BBC _, the first official release of unissued Beatles performances in seventeen years, appeared in 1994. That same year McCartney, Harrison and Starr collaborated on the _Anthology _ project. _Anthology_ was the culmination of work begun in 1970, when Apple Corps director Neil Aspinall , their former road manager and personal assistant, had started to gather material for a documentary with the working title _The Long and Winding Road_. Documenting their history in the band's own words, the _Anthology_ project included the release of several unissued Beatles recordings. McCartney, Harrison and Starr also added new instrumental and vocal parts to two songs recorded as demos by Lennon in the late 1970s.

During 1995–96, the project yielded a television miniseries, an eight-volume video set, and three two-CD/three-LP box sets featuring artwork by Klaus Voormann. The two songs based on Lennon demos, "Free as a Bird " and "Real Love ", were issued as new Beatles singles. The releases were commercially successful and the television series was viewed by an estimated 400 million people. In 1999, to coincide with the re-release of the 1968 film _Yellow Submarine_, a new soundtrack compilation CD/LP, _ Yellow Submarine Songtrack _, was issued.


The Beatles' _1 _, a compilation album of the band's British and American number-one hits, was released on 13 November 2000. It became the fastest-selling album of all time, with 3.6 million sold in its first week and 13 million within a month. It topped albums charts in at least 28 countries, including the UK and US. As of April 2009 , the compilation had sold 31 million copies globally, and is the best-selling album of that decade in the United States.

Harrison died from metastatic lung cancer in November 2001. McCartney and Starr were among the musicians who performed at the Concert for George , organised by Eric Clapton and Harrison's widow, Olivia . The tribute event took place at the Royal Albert Hall
Royal Albert Hall
on the first anniversary of Harrison's death. In addition to songs he composed for the group and during his solo career, the concert included a celebration of Indian classical music , which had significantly influenced Harrison.

In 2003, _ Let It Be... Naked _, a reconceived version of the _Let It Be_ album, with McCartney supervising production, was released. One of the main differences with the Spector-produced version was the omission of the original string arrangements. It was a top ten hit in both Britain and America. The US album configurations from 1964 to 1965 were released as box sets in 2004 and 2006 – _The Capitol Albums, Volume 1 _ and _Volume 2 _ included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of the music's original American release.

As a soundtrack for Cirque du Soleil 's Las Vegas Beatles stage revue, _Love _, George Martin
George Martin
and his son Giles remixed and blended 130 of the band's recordings to create what Martin called "a way of re-living the whole Beatles musical lifespan in a very condensed period". The show premiered in June 2006, and the _Love _ album was released that November when McCartney discussed his hope that " Carnival of Light ", a fourteen-minute experimental recording made at Abbey Road in 1967, would receive an official release. A rare live performance involving two ex-Beatles took place in April 2009 at a benefit concert organised by McCartney at New York's Radio City Music Hall , where he was joined by Starr for three songs. _ Starr and McCartney introduced the video game The Beatles: Rock Band _ at the 2009 E3 convention.

On 9 September 2009, the Beatles' entire back catalogue was reissued following an extensive digital remastering process that lasted four years. Stereo editions of all twelve original UK studio albums, along with _Magical Mystery Tour_ and the _Past Masters_ compilation, were released on compact disc both individually and as a box set . Comparing the new releases with the 1987 CDs, which had been widely criticised for their lack of clarity and dynamism, _Mojo _'s Danny Eccleston wrote, "the remastered vocals are purer, more natural-sounding and give the illusion of sitting slightly higher in the mix." A second collection, _ The Beatles
The Beatles
in Mono _, included remastered versions of every Beatles album released in true mono along with the original 1965 stereo mixes of _Help!_ and _Rubber Soul_ (which Martin had remixed for the 1987 editions). _The Beatles: Rock Band _, a music video game in the _ Rock Band _ series, was issued on the same day. In December 2009, the band's catalogue was officially released in FLAC and MP3 format in a limited edition of 30,000 USB flash drives .


Owing to a long-running royalty disagreement, the Beatles were among the last major artists to sign deals with online music services. Residual disagreement emanating from Apple Corps\' dispute with Apple, Inc. , iTunes ' owners, over the use of the name "Apple" was also partly responsible for the delay, although in 2008, McCartney stated that the main obstacle to making the Beatles' catalogue available online was that EMI
"want something we're not prepared to give them". In 2010, the official canon of thirteen Beatles studio albums, _Past Masters_, and the _Red_ and _Blue_ greatest-hits albums were made available on iTunes.

In 2012, EMI's recorded music operations were sold to Universal Music Group . In order for Universal Music to acquire EMI, the European Union , for antitrust reasons, forced EMI
to spin off assets including Parlophone. Universal was allowed to keep the Beatles' recorded music catalogue, managed by Capitol Records
Capitol Records
under its Capitol Music Group division. Also in 2012, the entire original Beatles album catalogue was reissued on vinyl, available either individually or as a box set.

In 2013, a second volume of BBC recordings entitled _On Air – Live at the BBC Volume 2 _ was released. December of that year saw the release of another 59 Beatles recordings on iTunes. The set, titled _ The Beatles
The Beatles
Bootleg Recordings 1963 _, had the opportunity to gain a 70-year copyright extension conditional on the songs being published at least once before the end of 2013. Apple Records released the recordings on 17 December to prevent them from going into the public domain and had them taken down from iTunes later that same day. Fan reactions to the release were mixed, with one blogger saying "the hardcore Beatles collectors who are trying to obtain everything will already have these."

On 26 January 2014, Paul McCartney
Paul McCartney
and Ringo Starr performed McCartney's " Queenie Eye " in Los Angeles
Los Angeles
at the 56th Annual Grammy Awards , held at the Staples Center in Los Angeles
Los Angeles
. The following day, _The Night That Changed America: A Grammy Salute to The Beatles
The Beatles
_ television special was taped in the Los Angeles
Los Angeles
Convention Center 's West Hall. It aired on 9 February, the exact date of – and at the same time, and on the same network as – the original broadcast of the Beatles' first US television appearance on _The Ed Sullivan
Ed Sullivan
Show_, 50 years earlier. The special included performances of Beatles songs by current artists as well as by McCartney and Starr, archival footage, and Paul and Ringo being interviewed by David Letterman
David Letterman
at the Ed Sullivan Theater , site of _The Ed Sullivan
Ed Sullivan

In December 2015, the Beatles released their catalogue for streaming on various streaming music services. On 18 May 2017, Sirius XM Radio launched a 24/7 radio channel, The Beatles
The Beatles
Channel. On 26 May 2017, _Sgt. Pepper's Lonely Hearts Club Band_ was reissued with new stereo mixes and unreleased material for the album's 50th anniversary. The reissue is available in five different formats – digital format, a single CD, a double CD set, a double vinyl set, and a six-CD deluxe edition box set.


See also: Lennon–McCartney

In _Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever_, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution:

In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R"> A Höfner "violin" bass guitar and Gretsch Country Gentleman guitar , models played by McCartney and Harrison, respectively; the Vox AC30 amplifier behind them is the model the Beatles used during performances in the early 1960s.

Although the 1965 song "Yesterday" was not the first pop record to employ orchestral strings, it marked the group's first recorded use of classical music elements. Gould observes: "The more traditional sound of strings allowed for a fresh appreciation of their talent as composers by listeners who were otherwise allergic to the din of drums and electric guitars." They continued to experiment with string arrangements to various effect; _Sgt. Pepper_'s "She\'s Leaving Home ", for instance, is "cast in the mold of a sentimental Victorian ballad", Gould writes, "its words and music filled with the clichés of musical melodrama".

The band's stylistic range expanded in another direction with their 1966 B-side "Rain", described by Martin Strong as "the first overtly psychedelic Beatles record". Other psychedelic numbers followed, such as "Tomorrow Never Knows" (recorded before "Rain"), "Strawberry Fields Forever", " Lucy in the Sky with Diamonds " and " I Am the Walrus
I Am the Walrus
". The influence of Indian classical music was evident in Harrison's "The Inner Light ", " Love You To " and " Within You Without You " – Gould describes the latter two as attempts "to replicate the raga form in miniature".

Innovation was the most striking feature of their creative evolution, according to music historian and pianist Michael Campbell: "'A Day in the Life' encapsulates the art and achievement of the Beatles as well as any single track can. It highlights key features of their music: the sound imagination, the persistence of tuneful melody, and the close coordination between words and music. It represents a new category of song – more sophisticated than pop ... and uniquely innovative. There literally had never before been a song – classical or vernacular – that had blended so many disparate elements so imaginatively." Philosophy professor Bruce Ellis Benson agrees: "the Beatles ... give us a wonderful example of how such far-ranging influences as Celtic music, rhythm and blues, and country and western could be put together in a new way."

Author Dominic Pedler describes the way they crossed musical styles: "Far from moving sequentially from one genre to another (as is sometimes conveniently suggested) the group maintained _in parallel_ their mastery of the traditional, catchy chart hit while simultaneously forging rock and dabbling with a wide range of peripheral influences from country to vaudeville. One of these threads was their take on folk music, which would form such essential groundwork for their later collisions with Indian music and philosophy." As the personal relationships between the band members grew increasingly strained, their individual tastes became more apparent. The minimalistic cover artwork for the White Album contrasted with the complexity and diversity of its music, which encompassed Lennon's " Revolution 9 " (whose musique concrète approach was influenced by Yoko Ono), Starr's country song "Don\'t Pass Me By ", Harrison's rock ballad " While My Guitar Gently Weeps ", and the "proto-metal roar" of McCartney's "Helter Skelter ".


George Martin
George Martin
's close involvement in his role as producer made him one of the leading candidates for the informal title of the "fifth Beatle ". He applied his classical musical training in various ways, and functioned as "an informal music teacher" to the progressing songwriters, according to Gould. Martin suggested to a sceptical McCartney that the arrangement of "Yesterday" should feature a string quartet accompaniment, thereby introducing the Beatles to a "hitherto unsuspected world of classical instrumental colour", in MacDonald's description. Their creative development was also facilitated by Martin's willingness to experiment in response to their suggestions, such as adding "something baroque " to a particular recording. In addition to scoring orchestral arrangements for recordings, Martin often performed on them, playing instruments including piano, organ and brass .

Collaborating with Lennon and McCartney required Martin to adapt to their different approaches to songwriting and recording. MacDonald comments, "while worked more naturally with the conventionally articulate McCartney, the challenge of catering to Lennon's intuitive approach generally spurred him to his more original arrangements, of which ' Being for the Benefit of Mr. Kite! ' is an outstanding example." Martin said of the two composers' distinct songwriting styles and his own stabilising influence:

Compared with Paul's songs, all of which seemed to keep in some sort of touch with reality, John's had a psychedelic, almost mystical quality ... John's imagery is one of the best things about his work – 'tangerine trees', 'marmalade skies', 'cellophane flowers' ... I always saw him as an aural Salvador Dalí , rather than some drug-ridden record artist. On the other hand, I would be stupid to pretend that drugs didn't figure quite heavily in the Beatles' lives at that time ... they knew that I, in my schoolmasterly role, didn't approve ... Not only was I not into it myself, I couldn't see the need for it; and there's no doubt that, if I too had been on dope, _Pepper_ would never have been the album it was. Perhaps it was the combination of dope and no dope that worked, who knows?

Harrison echoed Martin's description of his stabilising role: "I think we just grew through those years together, him as the straight man and us as the loonies; but he was always there for us to interpret our madness – we used to be slightly avant-garde on certain days of the week, and he would be there as the anchor person, to communicate that through the engineers and on to the tape."


See also: The Beatles\' recording technology

Making innovative use of technology while expanding the possibilities of recorded music, the Beatles urged experimentation by Martin and his recording engineers. Seeking ways to put chance occurrences to creative use, accidental guitar feedback, a resonating glass bottle, a tape loaded the wrong way round so that it played backwards – any of these might be incorporated into their music. Their desire to create new sounds on every new recording, combined with Martin's arranging abilities and the studio expertise of EMI
staff engineers Norman Smith, Ken Townsend and Geoff Emerick, all contributed significantly to their records from _Rubber Soul_ and, especially, _Revolver_ onwards. Along with innovative studio techniques such as sound effects , unconventional microphone placements, tape loops, double tracking and vari-speed recording, the Beatles augmented their songs with instruments that were unconventional in rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar in "Norwegian Wood" and the swarmandal in "Strawberry Fields Forever". They also used novel electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the "Strawberry Fields Forever" intro, and the clavioline , an electronic keyboard that created the unusual oboe-like sound on "Baby, You\'re a Rich Man ".


Main article: Cultural impact of the Beatles The Beatles Monument in Almaty , Kazakhstan

Former _Rolling Stone_ associate editor Robert Greenfield compared the Beatles to Picasso , as "artists who broke through the constraints of their time period to come up with something that was unique and original ... n the form of popular music, no one will ever be more revolutionary, more creative and more distinctive ..." The British poet Philip Larkin described their work as "an enchanting and intoxicating hybrid of Negro rock-and-roĺl with their own adolescent romanticism", and "the first advance in popular music since the War". They not only sparked the British Invasion of the US, they became a globally influential phenomenon as well. From the 1920s, the United States had dominated popular entertainment culture throughout much of the world, via Hollywood movies, jazz , the music of Broadway and Tin Pan Alley and, later, the rock and roll that first emerged in Memphis, Tennessee . The Beatles
The Beatles
are regarded as British cultural icons, with young adults from abroad naming the band among a group of people that they most associated with UK culture .

Their musical innovations and commercial success inspired musicians worldwide. Many artists have acknowledged the Beatles' influence and enjoyed chart success with covers of their songs . On radio, their arrival marked the beginning of a new era; in 1968 the programme director of New York's WABC radio station forbade his DJs from playing any "pre-Beatles" music, marking the defining line of what would be considered oldies on American radio. They helped to redefine the album as something more than just a few hits padded out with "filler ", and they were primary innovators of the modern music video. The Shea Stadium
Shea Stadium
show with which they opened their 1965 North American tour attracted an estimated 55,600 people, then the largest audience in concert history; Spitz describes the event as a "major breakthrough ... a giant step toward reshaping the concert business". Emulation of their clothing and especially their hairstyles, which became a mark of rebellion, had a global impact on fashion.

According to Gould, the Beatles changed the way people listened to popular music and experienced its role in their lives. From what began as the Beatlemania fad, the group's popularity grew into what was seen as an embodiment of sociocultural movements of the decade. As icons of the 1960s counterculture , Gould continues, they became a catalyst for bohemianism and activism in various social and political arenas, fuelling movements such as women\'s liberation , gay liberation and environmentalism . According to Peter Lavezzoli, after the "more popular than Jesus" controversy in 1966, the Beatles felt considerable pressure to say the right things and "began a concerted effort to spread a message of wisdom and higher consciousness".


See also: List of awards and nominations received by the Beatles

In 1965, Queen Elizabeth II
Elizabeth II
appointed Lennon, McCartney, Harrison and Starr Members of the Order of the British Empire (MBE) . The film _Let It Be_ (1970) won the 1971 Academy Award
Academy Award
for Best Original Song Score . The recipients of seven Grammy Awards and fifteen Ivor Novello Awards , the Beatles have been awarded six Diamond albums , as well as 24 Multi-Platinum albums , 39 Platinum albums and 45 Gold albums in the United States. In the UK, the Beatles have four Multi-Platinum albums , four Platinum albums , eight Gold albums and one Silver album . They were inducted into the Rock and Roll Hall of Fame in 1988.

The best-selling band in history, the Beatles have sold more than 800 million physical and digital albums as of 2013. They have had more number-one albums on the UK charts , fifteen, and sold more singles in the UK, 21.9 million, than any other act. In 2004, _Rolling Stone_ ranked the Beatles as the best artist of all time. They ranked number one on _Billboard _ magazine's list of the all-time most successful Hot 100 artists, released in 2008 to celebrate the US singles chart's 50th anniversary. As of 2017 , they hold the record for most number-one hits on the _Billboard_ Hot 100, with twenty. The Recording Industry Association of America certifies that the Beatles have sold 178 million units in the US, more than any other artist. They were collectively included in _Time _ magazine's compilation of the twentieth century\'s 100 most influential people . In 2014, they received the Grammy Lifetime Achievement Award .


Further information: List of members of bands featuring members of the Beatles


* John Lennon
John Lennon
– vocals, guitar, keyboards, harmonica (1960–1969) * Paul McCartney
Paul McCartney
– vocals, bass guitar, guitar, keyboards, drums (1960–1970) * George Harrison
George Harrison
– guitar, vocals, sitar (1960–1970) * Ringo Starr – drums, percussion, vocals (1962–1970)


* Pete Best – drums, vocals (1960–1962) * Stuart Sutcliffe
Stuart Sutcliffe
– bass guitar, vocals (1960–1961) * Chas Newby – bass guitar (1960–1961) * Norman Chapman – drums (1960) * Tommy Moore – drums (1960)


* Jimmie Nicol – drums (1964)



Main article: The Beatles
The Beatles
discography See also: List of songs recorded by the Beatles Further information: The Beatles\' recording sessions and The Beatles
The Beatles
bootleg recordings

* _ Please Please Me _ (1963) * _ With the Beatles _ (1963) * _A Hard Day\'s Night _ (1964) * _ Beatles for Sale _ (1964) * _Help! _ (1965) * _ Rubber Soul
Rubber Soul
_ (1965) * _Revolver _ (1966) * _Sgt. Pepper\'s Lonely Hearts Club Band _ (1967) * _ The Beatles
The Beatles
_ ("The White Album", 1968) * _Yellow Submarine _ (1969) * _ Abbey Road _ (1969) * _ Let It Be _ (1970)

When the above albums were reissued on CD in 1988, the American _ Magical Mystery Tour _ album (1967) and the double-CD compilation set _ Past Masters _ were included so that the full set would contain every track commercially released in the band's lifetime.


* John Lennon
John Lennon
discography * Paul McCartney
Paul McCartney
discography * George Harrison
George Harrison
discography * Ringo Starr discography * Collaborations between ex-Beatles


Through 1969, the Beatles' catalogue was published almost exclusively by Northern Songs Ltd. , a company formed in February 1963 by music publisher Dick James specifically for Lennon and McCartney, though it later acquired songs by other artists. The company was organised with James and his partner, Emmanuel Silver, owning a controlling interest, variously described as 51% or 50% plus one share. McCartney had 20%. Reports again vary concerning Lennon's portion – 19 or 20% – and Brian Epstein's – 9 or 10% – which he received in lieu of a 25% band management fee.

In 1965, the company went public. Five million shares were created, of which the original principals retained 3.75 million. James and Silver each received 937,500 shares (18.75% of 5 million); Lennon and McCartney each received 750,000 shares (15%); and Epstein's management company, NEMS Enterprises, received 375,000 shares (7.5%). Of the 1.25 million shares put up for sale, Harrison and Starr each acquired 40,000. At the time of the stock offering, Lennon and McCartney renewed their three-year publishing contracts, binding them to Northern Songs until 1973.

Harrison created Harrisongs to represent his Beatles compositions, but signed a three-year contract with Northern Songs that gave it the copyright to his work through March 1968, which included " Taxman " and " Within You Without You ". The songs on which Starr received co-writing credit before 1968, such as "What Goes On " and "Flying ", were also Northern Songs copyrights. Harrison did not renew his contract with Northern Songs when it ended, signing instead with Apple Publishing while retaining the copyright to his work from that point on. Harrisongs thus owns the rights to his later Beatles songs such as " While My Guitar Gently Weeps " and "Something". That year, as well, Starr created Startling Music , which holds the rights to his Beatles compositions, "Don't Pass Me By" and "Octopus\'s Garden ".

In March 1969, James arranged to sell his and his partner's shares of Northern Songs to the British broadcasting company Associated Television (ATV), founded by impresario Lew Grade , without first informing the Beatles. The band then made a bid to gain controlling interest by attempting to work out a deal with a consortium of London brokerage firms that had accumulated a 14% holding. The deal collapsed over the objections of Lennon, who declared, "I'm sick of being fucked about by men in suits sitting on their fat arses in the City ." By the end of May, ATV had acquired a majority stake in Northern Songs, controlling nearly the entire Lennon–McCartney catalogue, as well as any future material until 1973. In frustration, Lennon and McCartney sold their shares to ATV in late October 1969.

In 1981, financial losses by ATV's parent company, ACC, led it to attempt to sell its music division. According to authors Brian Southall and Rupert Perry, Grade contacted McCartney, offering ATV Music and Northern Songs for $30 million. According to an account McCartney gave in 1995, he met with Grade and explained he was interested solely in the Northern Songs catalogue, if Grade were ever willing to "separate off" that portion of ATV Music. Soon afterwards, Grade offered to sell him Northern Songs for £20 million, giving the ex-Beatle "a week or so" to decide. By McCartney's account, he and Ono countered with a £5 million bid that was rejected. According to reports at the time, Grade refused to separate Northern Songs, and turned down an offer of £21–25 million from McCartney and Ono for ATV Music. In 1982, ACC as a whole was sold to Australian business magnate Robert Holmes à Court for £60 million.

Three years later, Michael Jackson
Michael Jackson
purchased ATV for a reported $47.5 million. The acquisition gave him control over the publishing rights to more than 200 Beatles songs, as well as 40,000 other copyrights. In 1995, in a deal that earned him a reported $110 million, Jackson merged his music publishing business with Sony
, creating a new company, Sony/ATV Music Publishing , in which he held a 50% stake. The merger made the new company, then valued at over half a billion dollars, the third largest music publisher in the world. In 2016, Sony
acquired Jackson's share of Sony/ATV from the Jackson estate for $750 million.

Despite the lack of publishing rights to most of their songs, Lennon's estate and McCartney continue to receive their respective shares of the writers' royalties, which together are 33⅓% of total commercial proceeds in the US and which vary elsewhere around the world between 50 and 55%. Two of Lennon and McCartney's earliest songs – "Love Me Do" and "P.S. I Love You" – were published by an EMI
subsidiary, Ardmore -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;">

* ^ It was "Mull of Kintyre ", by McCartney's post-Beatles band Wings , that surpassed it in sales. * ^ Vee-Jay company president Ewart Abner resigned after it was disclosed he used company funds to cover gambling debts. * ^ Harrison's ringing 12-string inspired Roger McGuinn , who obtained his own Rickenbacker and used it to craft the trademark sound of the Byrds . * ^ During the same week in April 1964, a third American Beatles LP joined the two already in circulation; two of the three reached the first spot on the _Billboard_ albums chart , the third peaked at number two. * ^ Starr was briefly hospitalised after a tonsillectomy , and Jimmie Nicol sat in on drums for the first five dates. * ^ In September, the Beatles refused to play a show in Florida until the local promoter assured them that the audience would not be racially segregated . * ^ It was not until _Sgt. Pepper\'s Lonely Hearts Club Band _ in 1967 that a Beatles album was released with identical track listings in both the UK and the US. * ^ It was speculated that he was concerned that the band might not renew his management contract, due to expire in October, over discontent with his supervision of business matters, particularly regarding Seltaeb , the company that handled their US merchandising rights. * ^ The band unsuccessfully attempted to block the 1977 release of _Live! at the Star-Club in Hamburg, Germany; 1962 _. The independently issued album compiled recordings made during the group's Hamburg residency , taped on a basic recording machine using only one microphone.


* ^ Unterberger, Richie. The Beatles
The Beatles
at AllMusic . Retrieved 5 July 2013. * ^ Spitz 2005 , pp. 47–52. * ^ Spitz 2005 , pp. 93–99. * ^ Miles 1997 , p. 47; Spitz 2005 , p. 127. * ^ Miles 1997 , p. 47. * ^ Lewisohn 1992 , p. 13. * ^ Harry 2000a , p. 103. * ^ Lewisohn 1992 , p. 17. * ^ Harry 2000b , pp. 742–743. * ^ Lewisohn 1992 , p. 18. * ^ _A_ _B_ _C_ Gilliland 1969 , show 27, track 4. * ^ Lewisohn 1992 , pp. 18–22. * ^ Lewisohn 1992 , pp. 21–25. * ^ Lewisohn 1992 , p. 22. * ^ Lewisohn 1992 , p. 23. * ^ Lewisohn 1992 , pp. 24, 33. * ^ Gould 2007 , p. 88. * ^ Lewisohn 1992 , p. 24. * ^ Lewisohn 1992 , pp. 24–25. * ^ Lewisohn 1992 , p. 25. * ^ Spitz 2005 , pp. 222–224. * ^ Miles 1997 , pp. 66–67. * ^ Lewisohn 1992 , p. 32. * ^ Miles 1997 , p. 76. * ^ Gould 2007 , pp. 89, 94. * ^ Spitz 2005 , pp. 249–251. * ^ Lewisohn 2013 , p. 450. * ^ Everett 2001 , p. 100. * ^ Lewisohn 1992 , p. 33. * ^ Miles 1997 , pp. 84–87. * ^ Lewisohn 1992 , pp. 34–35. * ^ Miles 1997 , pp. 84–88. * ^ Winn 2008 , p. 10. * ^ _A_ _B_ Lewisohn 1992 , p. 56. * ^ Lewisohn 2013 , p. 612, 629. * ^ _A_ _B_ _C_ The Beatles
The Beatles
2000 , p. 67. * ^ _A_ _B_ _C_ _D_ Lewisohn 1992 , p. 59. * ^ Spitz 2005 , pp. 318, 322. * ^ Miles 1998 , pp. 49–50. * ^ Lewisohn 1992 , pp. 59–60. * ^ Lewisohn 1992 , pp. 81, 355. * ^ The Beatles
The Beatles
2000 , p. 90. * ^ Lewisohn 1992 , pp. 62, 84. * ^ Harry 2000a , p. 875. * ^ Lewisohn 1992 , pp. 62, 86. * ^ Gould 2007 , p. 191. * ^ Harry 2000a , p. 494. * ^ Gould 2007 , pp. 128, 133–134. * ^ Womack 2007 , p. 76. * ^ Gould 2007 , p. 147. * ^ Lewisohn 1992 , pp. 88, 351. * ^ Erlewine 2009a . * ^ Sheff 1981 , p. 129. * ^ Davies 1968 , p. 200. * ^ Lewisohn 1988 , p. 35. * ^ Lewisohn 1992 , pp. 90, 351. * ^ Lewisohn 1992 , pp. 89, 350–351. * ^ Gould 2007 , p. 159. * ^ _A_ _B_ Harry 2000a , p. 990. * ^ Gould 2007 , pp. 166–169. * ^ Lewisohn 1992 , pp. 90, 98–105, 109–112. * ^ Spitz 2005 , pp. 444–445. * ^ Lewisohn 1992 , p. 88. * ^ Lewisohn 1992 , p. 90. * ^ Miles 1998 , p. 86. * ^ Harry 2000a , p. 1088. * ^ Lewisohn 1992 , pp. 92–93. * ^ Lewisohn 1992 , pp. 127–133. * ^ Davies 1968 , pp. 184–185. * ^ Lewisohn 1992 , pp. 90, 92, 100. * ^ Lewisohn 1992 , p. 93. * ^ _A_ _B_ Gould 2007 , p. 187. * ^ Harry 2000a , p. 1161. * ^ Erlewine 2009b . * ^ Gould 2007 , pp. 187–188. * ^ Harry 2000a , p. 1162. * ^ Harry 2000b , p. 978. * ^ Harry 2000a , p. 402. * ^ _A_ _B_ _C_ Lewisohn 1992 , p. 350. * ^ Spizer 2004 , p. 36. * ^ Spizer 2004 , p. 40. * ^ Harry 2000a , pp. 225–226, 228, 1118–1122. * ^ CBS (16 January 2004). "Beatles\' \'Helping Hand\' Shuns Fame". CBS News . Retrieved 28 June 2017. * ^ Everett 2001 , p. 206. * ^ Lewisohn 1992 , pp. 136, 350. * ^ Spizer 2004 , p. 96. * ^ Davies 1968 , p. 218. * ^ Spitz 2005 , p. 457. * ^ Spitz 2005 , p. 459. * ^ _A_ _B_ Lewisohn 1992 , p. 137. * ^ Gould 2007 , p. 3. * ^ Spitz 2005 , pp. 473–474. * ^ Harry 2000a , pp. 1134–1135. * ^ Lewisohn 1992 , pp. 137, 146–147. * ^ Harry 2000a , pp. 483–484. * ^ Gould 2007 , pp. 230–232. * ^ Harry 2000a , pp. 489–490. * ^ Erlewine 2009c . * ^ _A_ _B_ Gould 2007 , pp. 286–287. * ^ Lewisohn 1992 , p. 138. * ^ _A_ _B_ Lewisohn 1992 , p. 351. * ^ Gould 2007 , pp. 9, 250, 285. * ^ _A_ _B_ Gould 2007 , p. 345. * ^ Lewisohn 1992 , pp. 161–165. * ^ Lewisohn 1992 , pp. 160–161, 163. * ^ _A_ _B_ Gould 2007 , p. 249. * ^ Gould 2007 , p. 252. * ^ Miles 1997 , p. 185. * ^ _A_ _B_ _C_ Gould 2007 , pp. 252–253. * ^ Lewisohn 1992 , p. 171. * ^ Gould 2007 , pp. 255–56. * ^ Lewisohn 1992 , pp. 167–176. * ^ _A_ _B_ Gould 2007 , pp. 255–256. * ^ Gould 2007 , p. 256. * ^ Gould 2007 , p. 316. * ^ Gould 2007 , p. 317. * ^ Brown & Gaines 2002 , p. 228. * ^ _A_ _B_ Spitz 2005 , p. 556. * ^ Spitz 2005 , p. 557. * ^ Gould 2007 , p. 275. * ^ Gould 2007 , p. 274. * ^ Gould 2007 , pp. 276–277. * ^ Gould 2007 , pp. 276–280. * ^ Gould 2007 , pp. 290–292. * ^ Guinness World Records . * ^ _A_ _B_ Lewisohn 1992 , p. 181. * ^ Emerson 2009 . * ^ Harry 2000a , pp. 882–883. * ^ Gould 2007 , pp. 283–284. * ^ McNeil 1996 , p. 82. * ^ "Animators". _beatlescartoon.com_. Retrieved 12 April 2016. * ^ _A_ _B_ Unterberger 2009b . * ^ Lewisohn 1992 , p. 202. * ^ Hertsgaard, Mark (1995). _A Day In The Life: the Music and Artistry of the Beatles_. New York: Delacorte Press . pp. 149–150. ISBN 0-385-31377-2 . * ^ Brown & Gaines 2002 , pp. 181–182. * ^ Brown & Gaines 2002 , p. 182. * ^ _A_ _B_ _C_ The Beatles
The Beatles
2000 , p. 194. * ^ Gould 2007 , pp. 297–298, 423. * ^ Spitz 2005 , pp. 584–592. * ^ Miles 1997 , pp. 268, 276, 278–279. * ^ Spitz 2005 , p. 587. * ^ Spitz 2005 , p. 591. * ^ The Beatles
The Beatles
2000 , p. 197. * ^ Harry 2000b , p. 780. * ^ _A_ _B_ _C_ _D_ Rolling Stone 2003 . * ^ Unterberger 2009a . * ^ Gould 2007 , pp. 295–296. * ^ Southall & Perry 2006 , p. 59. * ^ Harry 2000a , p. 1187. * ^ Gaffney 2004 . * ^ _A_ _B_ Lavezzoli 2006 , p. 176. * ^ Spitz 2005 , p. 619. * ^ Spitz 2005 , p. 620. * ^ Spitz 2005 , p. 623. * ^ Lavezzoli 2006 , p. 177. * ^ _A_ _B_ Gould 2007 , pp. 307–9. * ^ _A_ _B_ Lewisohn 1992 , pp. 212–213. * ^ Norman 2008 , p. 449. * ^ _A_ _B_ Gould 2007 , p. 346. * ^ Harry 2000a , p. 1093. * ^ Lewisohn 1992 , pp. 210, 230. * ^ _A_ _B_ _C_ Gould 2007 , p. 348. * ^ Plagenhoef 2009 . * ^ _A_ _B_ Lewisohn 1992 , pp. 350–351. * ^ Austerlitz 2007 , p. 18. * ^ Lewisohn 1992 , pp. 221–222. * ^ Gould 2007 , pp. 364–366. * ^ Gould 2007 , pp. 350, 402. * ^ Lewisohn 1992 , p. 224. * ^ Lewisohn 1992 , pp. 361–365. * ^ Ingham 2006 , p. 44. * ^ Miles 1997 , pp. 293–295. * ^ Gould 2007 , pp. 5–6, 249, 281, 347. * ^ _A_ _B_ Harry 2000a , p. 970. * ^ Lewisohn 1992 , p. 232. * ^ Emerick & Massey 2006 , p. 190. * ^ _A_ _B_ Gould 2007 , pp. 387–388. * ^ MacDonald 2005 , p. 221. * ^ MacDonald 2005 , p. 220. * ^ Gould 2007 , pp. 420–425. * ^ Gould 2007 , p. 418. * ^ Lewisohn 1992 , p. 236. * ^ Inglis 2008 , p. 96. * ^ _A_ _B_ _C_ Gould 2007 , pp. 423–425. * ^ Gould 2007 , pp. 394–95. * ^ MacDonald 2005 , p. 312. * ^ The Beatles
The Beatles
2000 , p. 248. * ^ The Beatles
The Beatles
2000 , p. 236. * ^ Harris 2005 , pp. 12–13. * ^ Boyd 2008 , pp. 106-107. * ^ Lewisohn 1992 , pp. 237, 259–260. * ^ Gould 2007 , pp. 428–429. * ^ Spitz 2005 , pp. 709, 713–719. * ^ Brown & Gaines 2002 , p. 249. * ^ Brown & Gaines 2002 , pp. 227–228. * ^ The Beatles
The Beatles
2000 , p. 268. * ^ Gould 2007 , p. 452. * ^ Unterberger 2009c . * ^ Harry 2000a , p. 699. * ^ _A_ _B_ Gould 2007 , pp. 455–456. * ^ Harry 2000a , p. 703. * ^ Gould 2007 , p. 485. * ^ Gould 2007 , pp. 487, 505–506. * ^ _A_ _B_ Lewisohn 1992 , pp. 304, 350. * ^ Gould 2007 , pp. 510–511. * ^ Gould 2007 , p. 510. * ^ _A_ _B_ _C_ Harry 2000a , pp. 705–706. * ^ Harry 2000a , pp. 108–109. * ^ _A_ _B_ Gould 2007 , pp. 463–468. * ^ Lewisohn 1992 , pp. 283–304. * ^ Winn 2009 , pp. 205–207. * ^ Gould 2007 , pp. 513, 516. * ^ Emerick & Massey 2006 , p. 246. * ^ Harry 2000b , p. 103. * ^ Gould 2007 , p. 509. * ^ The Beatles
The Beatles
2000 , p. 310. * ^ The Beatles
The Beatles
2000 , p. 237. * ^ Harry 2000b , p. 102. * ^ Lewisohn 1992 , p. 278. * ^ Gould 2007 , p. 470. * ^ _A_ _B_ Gould 2007 , p. 528. * ^ Richardson 2009 . * ^ _A_ _B_ Erlewine 2009d . * ^ Unterberger & Eder 2009 . * ^ _A_ _B_ _C_ _D_ Harry 2000b , p. 539. * ^ Lewisohn 1992 , p. 306–307. * ^ Lewisohn 1992 , p. 310. * ^ Lewisohn 1992 , p. 307. * ^ Lewisohn 1992 , pp. 306–307, 309. * ^ Lewisohn 1992 , pp. 309–314. * ^ Harry 2000a , pp. 451, 660. * ^ Lewisohn 1992 , pp. 307–308, 312. * ^ Lewisohn 1992 , pp. 309, 316–323. * ^ _A_ _B_ Harry 2000a , p. 612. * ^ Doggett 2011 , pp. 70, 132. * ^ Miles 2001 , p. 336. * ^ Doggett 2011 , pp. 71–72. * ^ Goodman 2015 , pp. 164–166. * ^ Lewisohn 1992 , p. 322. * ^ Goodman 2015 , pp. 174–175. * ^ Gould 2007 , p. 560. * ^ Lewisohn 1992 , p. 324. * ^ _A_ _B_ Gould 2007 , p. 563. * ^ Lewisohn 1988 , p. 191. * ^ Norman 2008 , pp. 622–624. * ^ _A_ _B_ Gould 2007 , p. 593. * ^ Miles 1997 , p. 553. * ^ Unterberger 2009d . * ^ MacDonald 2005 , p. 367. * ^ Emerick & Massey 2006 , pp. 277–278. * ^ Lewisohn 1992 , p. 342. * ^ Lewisohn 1992 , pp. 342–343. * ^ _A_ _B_ Lewisohn 1992 , p. 349. * ^ Harry 2000a , p. 682. * ^ Spitz 2005 , p. 853. * ^ _A_ _B_ Southall & Perry 2006 , p. 96. * ^ Gould 2007 , p. 600. * ^ Gould 2007 , p. 601. * ^ Unterberger 2009e . * ^ Harry 2002 , p. 139. * ^ Harry 2002 , p. 150. * ^ Pang, May (2008). _Instamatic Karma: Photographs of John Lennon_. Macmillan. p. 118. ISBN 9781429993975 . Retrieved 7 April 2015. * ^ Gould 2007 , pp. 601–604. * ^ Gould 2007 , pp. 603–604. * ^ Sandford 2006 , pp. 227–229. * ^ Ingham 2006 , p. 69. * ^ _A_ _B_ RIAA 2009b . * ^ _A_ _B_ British Phonographic Industry 2009 . * ^ Southall & Perry 2006 , p. 109. * ^ _A_ _B_ Ingham 2006 , pp. 66, 69. * ^ Harry 2000a , pp. 124–126. * ^ Southall & Perry 2006 , pp. 109–110. * ^ "The Theater: Contagious Vulgarity". _TIME.com_. 2 December 1974. Retrieved 27 August 2015. * ^ Rodriguez 2010 , pp. 306–307. * ^ _A_ _B_ Ingham 2006 , pp. 66–67. * ^ Ingham 2006 , p. 66. * ^ Lifton, Dave. "How John Lennon
John Lennon
and Paul McCartney
Paul McCartney
Almost Reunited on ‘Saturday Night Live’". _Ultimate Classic Rock_. Retrieved 12 May 2017. * ^ Badman 1999 , p. 284. * ^ Harry 2002 , pp. 412–413. * ^ Doggett 2009 , p. 292. * ^ _A_ _B_ EMI
& 7 April 2009 . * ^ Rock and Roll Hall of Fame
Rock and Roll Hall of Fame
2009 . * ^ _A_ _B_ Harry 2002 , p. 753. * ^ Kozinn 1989 . * ^ Harry 2002 , p. 192. * ^ Harry 2000a , pp. 661–663. * ^ Harry 2000a , pp. 110–111. * ^ Harry 2000a , pp. 111–112, 428, 907–908. * ^ Harry 2000a , pp. 111–112. * ^ Doggett 2009 , p. 342. * ^ CNN.com 2000 . * ^ _A_ _B_ Gould 2007 , p. 9. * ^ Southall & Perry 2006 , p. 204. * ^ Lewis 2009 . * ^ Levine 2009 . * ^ The Smoking Gun 2001 . * ^ BBC News Online 2001 . * ^ Harry 2003 , p. 119. * ^ Harry 2003 , pp. 138–139. * ^ Hurwitz 2004 . * ^ Womack 2007 , p. 100. * ^ NME 2006 . * ^ Collett-White 2008 . * ^ Lustig 2009 . * ^ Eccleston 2009 . * ^ Collett-White 2009 . * ^ _A_ _B_ Gross 2009 . * ^ Martens 2009 . * ^ La Monica 2005 . * ^ Kaplan 2008 . * ^ Aswad 2010 . * ^ Ingham, Tim. "Universal\'s Capitol takes shape: Barnett in, Beatles on roster". _Music Week_. Retrieved 28 February 2013. * ^ Lewis 2012 . * ^ Brown, Mark (12 December 2013). "Beatles for sale: copyright laws force Apple to release 59 tracks". _ The Guardian
The Guardian
_. Retrieved 19 December 2013. * ^ Knopper, Steve (17 December 2013). "Beatles Surprise With \'Beatles Bootleg Recordings 1963 Release\'". _Rolling Stone_. Retrieved 19 December 2013. * ^ " Paul McCartney
Paul McCartney
and Ringo Starr Share Grammy Stage for Rare Performance". _Rolling Stone_. 26 January 2014. * ^ "GRAMMY Beatles Special
To Air Feb. 9, 2014". Grammy Awards. Retrieved 13 November 2013. * ^ "Paul McCartney, Ringo Starr to be interviewed by David Letterman for \'Grammy Salute to the Beatles\'". _Cleveland Plain Dealer_. 7 February 2014. * ^ Dillet, Romain. " The Beatles
The Beatles
Come To Spotify, Apple Music And Other Streaming Services". _Techcrunch_. Retrieved 31 January 2016. * ^ "Release Date and Formats Revealed for Beatles Expanded ‘Sgt. Pepper’ Reissue". Ultimate Classic Rock. Retrieved 9 April 2017 * ^ Schinder & Schwartz 2007 , p. 160. * ^ Everett 1999 , p. 9. * ^ MacDonald 2005 , p. 12. * ^ MacDonald 2005 , pp. 382–383. * ^ Harry 2000a , pp. 140, 660, 856–858, 881. * ^ Harry 2000a , p. 660. * ^ Harry 2000a , p. 881. * ^ Harry 2000a , pp. 289, 526, 830. * ^ Spitz 2005 , pp. 111, 123, 131, 133. * ^ Harry 2000a , pp. 99, 217, 357, 1195. * ^ Gould 2007 , pp. 333–335, 359. * ^ Lavezzoli 2006 , pp. 147, 150, 162, 169. * ^ Miles, Barry (November 1966). "A Conversation with Paul McCartney". _International Times_. London. * ^ Granata 2003 , p. 17. * ^ Lavezzoli 2006 , pp. 147, 165, 177. * ^ "Merseybeat – Significant Albums, Artists and Songs". AllMusic. Retrieved 27 August 2015. * ^ Gould 2007 , pp. 30–32, 100–107. * ^ Gould 2007 , p. 255. * ^ Gould 2007 , p. 296. * ^ Gould 2007 , p. 278. * ^ Gould 2007 , p. 402. * ^ Strong 2004 , p. 108. * ^ Gould 2007 , pp. 406, 462–463. * ^ Campbell 2008 , p. 196. * ^ Benson 2003 , p. 43. * ^ Pedler 2003 , p. 256. * ^ Harry 2000a , p. 721. * ^ Gould 2007 , p. 121, 290. * ^ MacDonald 2005 , p. 158. * ^ Gould 2007 , p. 290. * ^ Gould 2007 , pp. 382, 405, 409, 443, 584. * ^ MacDonald 2005 , p. 238. * ^ Martin 1979 , pp. 205–206. * ^ Harry 2003 , p. 264. * ^ _A_ _B_ Hertsgaard 1995 , p. 103. * ^ MacDonald 2005 , p. 212. * ^ MacDonald 2005 , p. 219. * ^ MacDonald 2005 , p. 259. * ^ Drabble, Margaret (2000). _The Oxford Companion To English Literature, Sixth Edition_. Oxford University Press. pp. 76–77. ISBN 0-19-866244-0 . * ^ Everett 1999 , p. 277. * ^ _A_ _B_ Gould 2007 , p. 8. * ^ "Shakespeare \'a cultural icon\' abroad". BBC. 9 April 2017. * ^ "Culture, attraction and soft power" (PDF). British Council. 9 April 2017. * ^ BBC Radio 2 2009 . * ^ Fisher 2007 , p. 198. * ^ Everett 1999 , p. 91. * ^ Spitz 2005 , pp. 609–610. * ^ Spitz 2005 , pp. 576–578. * ^ Gould 2007 , pp. 8–9. * ^ Grammy.com . * ^ Harry 2000a , pp. 559–560. * ^ RIAA 2009c . * ^ " The Beatles
The Beatles
and Bravado Come Together" (Press release). Universal Music Group. 12 June 2013. Retrieved 13 June 2017 – via PR Newswire. Apple Corps Ltd. was founded by The Beatles
The Beatles
in 1968 to oversee the band's own creative and business interests. As part of its management of The Beatles' entire intellectual property canon, the London-based company has administered the legendary band's recorded catalogue, with more than 800 million physical and digital albums sold to date. * ^ "Beatles". London
: Official Charts Company . 2010. Archived from the original on 3 November 2013. * ^ Official Chart Company 2012 . * ^ Costello 2004 . * ^ Billboard 2008a . * ^ Rutherford, Kevin (30 March 2017). "The Beatles, Aerosmith & Godsmack: A History of \'Come Together\' on the Charts". _Billboard _. Retrieved 31 March 2017. * ^ RIAA 2009a . * ^ Loder 1998 . * ^ " Paul McCartney
Paul McCartney
and Ringo Starr Share Grammy Stage for Rare Performance". _Rolling Stone_. 26 January 2014. Retrieved 30 January 2014. * ^ Southall & Perry 2006 , pp. 15–17. * ^ Norman 1996 , pp. 169–71, 368–369. * ^ Brown & Gaines 2002 , p. 178. * ^ Southall & Perry 2006 , pp. 37–38. * ^ Southall & Perry 2006 , p. 42. * ^ Southall & Perry 2006 , p. 45. * ^ Southall & Perry 2006 , pp. 46–47. * ^ Southall & Perry 2006 , pp. 60–61. * ^ MacDonald 2005 , p. 351. * ^ Norman 1996 , pp. 369–372. * ^ Norman 1996 , p. 372. * ^ Miles 1998 , p. 296. * ^ Everett 1999 , p. 236. * ^ Southall & Perry 2006 , p. 129. * ^ Southall & Perry 2006 , p. 130. * ^ Southall & Perry 2006 , pp. 130, 139. * ^ Southall & Perry 2006 , pp. 140, 174, 176. * ^ Southall & Perry 2006 , p. 198. * ^ Christman, Ed. " Sony
Finalizes Acquisition of Michael Jackson Estate's Stake in Sony/ATV Publishing" _Billboard_ 30 September 2016 * ^ Southall & Perry 2006 , p. 195. * ^ Southall & Perry 2006 , pp. 192–193. * ^ Harry 2002 , p. 536. * ^ "We can\'t work it out: Paul McCartney
Paul McCartney
to sue Sony
for rights to Beatles classics". _The Guardian_. 18 January 2017. ISSN 0261-3077 . Retrieved 19 January 2017. * ^ "Sir Paul McCartney
Paul McCartney
sues Sony
over Beatles songs". BBC News. 19 January 2017. Retrieved 19 January 2017.


* Aswad, Jem (16 November 2010). "Beatles End Digital Boycott, Catalog Now on iTunes". _Rolling Stone_. New York. Retrieved 17 November 2010. * Austerlitz, Saul (2007). _Money for Nothing: A History of the Music Video, from The Beatles
The Beatles
to The White Stripes_. Ann Arbor: University of Michigan Press . ISBN 0-7119-7520-5 . * Badman, Keith (1999). _ The Beatles
The Beatles
After the Breakup 1970–2000: A Day-by-Day Diary_ (2001 ed.). London: Omnibus. ISBN 978-0-7119-8307-6 . Retrieved 31 March 2014. * " George Harrison
George Harrison
Dies". BBC News. 30 November 2001. Retrieved 27 September 2009. * "60s Season – Documentaries". BBC Radio 2. Retrieved 25 July 2009. * The Beatles
The Beatles
(2000). _ The Beatles
The Beatles
Anthology_. San Francisco: Chronicle Books . ISBN 978-0-8118-2684-6 . Retrieved 31 March 2014. * Benson, Bruce Ellis (2003). _The Improvisation of Musical Dialogue: A Phenomenology of Music_. Cambridge and New York: Cambridge University Press . ISBN 978-0-521-00932-4 . Retrieved 31 March 2014. * "The Billboard Hot 100 All-Time Top Artists (20-01)". _Billboard_. 11 September 2008. Archived from the original on 13 September 2008. Retrieved 13 September 2008. * "Most No. 1s By Artist (All-Time)". _Billboard_. 2008. Retrieved 20 March 2016. * Boyd, Pattie (2008). _Wonderful Tonight: George Harrison, Eric Clapton, and Me_. Three Rivers Press . ISBN 0307407837 . * "Certified Awards Search". _ British Phonographic Industry _. Archived from the original on 11 January 2013. Retrieved 6 October 2009. * Brown, Peter ; Gaines, Steven (2002). _The Love You Make: An Insider's Story of The Beatles_. New York: New American Library . ISBN 978-0-451-20735-7 . * Campbell, Michael (2008). _Popular Music in America: The Beat Goes On_. East Windsor, CT: Wadsworth. ISBN 978-0-495-50530-3 . Retrieved 31 March 2014. * Collett-White, Mike (17 November 2008). "McCartney Hints at Mythical Beatles Track Release". Reuters. Retrieved 20 October 2009. * Collett-White, Mike (7 April 2009). "Original Beatles digitally remastered". Reuters. Retrieved 13 October 2009. * Costello, Elvis (2004). "100 Greatest Artists: The Beatles". _Rolling Stone_. Retrieved 25 June 2013. * "Universal plans to launch Capitol UK". Complete Music Update. 7 November 2012. Retrieved 12 November 2012. * "Beatles \'1\' is fastest selling album ever". CNN
. Reuters. 6 December 2000. Retrieved 26 February 2012. * Davies, Hunter (1968). _The Beatles_ (Revised 2009 ed.). New York & London: W. W. Norton . ISBN 978-0-393-33874-4 . Retrieved 31 March 2014. * Dillon, Mark (2012). _Fifty Sides of the Beach Boys: The Songs That Tell Their Story_. ECW Press . ISBN 978-1-77090-198-8 . * Doggett, Peter (2009). _You Never Give Me Your Money: The Beatles After the Breakup_ (1st US hardcover ed.). New York: Harper . ISBN 978-0-06-177446-1 . Retrieved 31 March 2014. * Doggett, Peter (2011). _You Never Give Me Your Money: The Beatles After the Breakup_. New York, NY: It Books. ISBN 978-0-06-177418-8 . * Eccleston, Danny (9 September 2009). "Beatles Remasters Reviewed". _Mojo_. Archived from the original on 7 October 2009. Retrieved 13 October 2009. * Emerick, Geoff ; Massey, Howard (2006). _Here, There and Everywhere: My Life Recording the Music of The Beatles_. New York: Gotham . ISBN 978-1-59240-179-6 . * Emerson, Bo (6 August 2009). "Beatles Atlanta Show Made History in More Ways than One". _ Atlanta Journal-Constitution _. Retrieved 27 October 2012. * "The Beatles\' Entire Original Recorded Catalogue Remastered by Apple Corps Ltd." (Press release). EMI. 7 April 2009. Archived from the original on 1 April 2012. Retrieved 25 March 2011. * Erlewine, Stephen Thomas (2009a). "Please Please Me". AllMusic. Retrieved 21 December 2011. * Erlewine, Stephen Thomas (2009b). "With the Beatles". AllMusic. Retrieved 21 December 2011. * Erlewine, Stephen Thomas (2009c). "A Hard Day\'s Night". AllMusic. Retrieved 21 December 2011. * Erlewine, Stephen Thomas (2009d). " The Beatles
The Beatles
(White Album)". AllMusic. Retrieved 21 December 2011. * Everett, Walter (1999). _ The Beatles
The Beatles
as Musicians: Revolver through the Anthology_. Oxford and New York: Oxford University Press
Oxford University Press
. ISBN 978-0-19-512941-0 . Retrieved 31 March 2014. * Everett, Walter (2001). _ The Beatles
The Beatles
As Musicians: The Quarry Men through Rubber Soul_. Oxford and New York: Oxford University Press. ISBN 978-0-19-514105-4 . Retrieved 31 March 2014. * Fisher, Marc (2007). _Something in the Air_. New York: Random House . ISBN 978-0-375-50907-0 . Retrieved 31 March 2014. * Gaffney, Dennis (5 January 2004). "The Beatles\' "Butcher" Cover". _ Antiques Roadshow Online _. Public Broadcasting Service . * Gilliland, John (1969). "The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers" (audio). _ Pop Chronicles _. University of North Texas Libraries . * Goodman, Fred (2015). _Allen Klein: The Man Who Bailed Out the Beatles, Made the Stones, and Transformed Rock & Roll_. Boston, New York: Houghton Mifflin Harcourt . ISBN 978-0-547-89686-1 . * Gould, Jonathan (2007). _Can't Buy Me Love: The Beatles, Britain and America_. New York: Three Rivers Press. ISBN 978-0-307-35338-2 . * Granata, Charles L. (2003). _I Just Wasn't Made for These Times: Brian Wilson
Brian Wilson
and the Making of the Beach Boys' Pet Sounds_. London: Unanimous. ISBN 978-1556525070 . * Gross, Doug (4 September 2009). "Still Relevant After Decades, The Beatles Set to Rock 9 September 2009". CNN. Retrieved 6 September 2009. * "Grammy Past Winners Search". National Academy of Recording Arts and Sciences . Retrieved 25 March 2011. * "Best Selling Group". _ Guinness World Records _. Retrieved 3 May 2012. * "Most Recorded Song". _Guinness World Records_. Archived from the original on 10 September 2006. Retrieved 29 October 2009. * Harris, Jonathan (2005). "Introduction: Abstraction and Empathy—Psychedelic Distortion and the Meaning of the 1960s". In Grunenberg, Christoph, and Jonathan Harris, eds. _Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s_. Liverpool: Liverpool
University Press . ISBN 978-0-85323-919-2 . CS1 maint: Extra text: editors list (link ) * Harry, Bill (2000a). _ The Beatles
The Beatles
Encyclopedia: Revised and Updated_. London: Virgin . ISBN 978-0-7535-0481-9 . * Harry, Bill (2003). _The George Harrison
George Harrison
Encyclopedia_. London: Virgin. ISBN 978-0-7535-0822-0 . * Harry, Bill (2000b). _The John Lennon
John Lennon
Encyclopedia_. London: Virgin. ISBN 978-0-7535-0404-8 . * Harry, Bill (2002). _The Paul McCartney
Paul McCartney
Encyclopedia_. London: Virgin. ISBN 978-0-7535-0716-2 . * Hertsgaard, Mark (1995). "We All Want to Change the World: Drugs, Politics, and Spirituality". _A Day in the Life:The Music and Artistry of the Beatles_. ISBN 0-385-31517-1 . Retrieved 31 March 2014. * Hurwitz, Matt (1 January 2004). "The Naked Truth About The Beatles\' Let It BeNaked ". _Mix _. Retrieved 21 May 2013. * Ingham, Chris (2006). _The Rough Guide to The Beatles_. London: Rough Guides . ISBN 978-1-84353-720-5 . * Inglis, Ian (2008). "Cover Story: Magic, Myth and Music". In Julien, Olivier. _Sgt. Pepper and the Beatles: It Was Forty Years Ago Today_. Aldershot, UK, and Burlington, VT: Ashgate . ISBN 978-0-7546-6249-5 . * Kaplan, David (25 November 2008). "PDA Digital Content Blog: Beatles Tracks Not Coming to iTunes Any Time Soon; McCartney: Talks at an Impasse". _ The Guardian
The Guardian
_. London. Retrieved 16 September 2009. * Kozinn, Allan (10 November 1989). "Beatles and Record Label Reach Pact and End Suit". _ The New York Times _. Retrieved 27 September 2009. * La Monica, Paul R. (7 September 2005). "Hey iTunes, Don\'t Make It Bad ...". CNNMoney.com. Retrieved 25 July 2009. * Lavezzoli, Peter (2006). _The Dawn of Indian Music in the West: Bhairavi_. New York and London: Continuum . ISBN 978-0-8264-1815-9 . Retrieved 31 March 2014. * Levine, Robert (4 September 2009). "Paul McCartney: The Billboard Q&A". _Billboard_. New York. Retrieved 14 April 2012. * Lewis, Randy (8 April 2009). "Beatles\' Catalog Will Be Reissued Sept. 9 in Remastered Versions". _ Los Angeles
Los Angeles
Times _. Archived from the original on 11 April 2009. Retrieved 2 May 2009. * Lewis, Randy (27 September 2012). "Beatles album catalog will get back to vinyl Nov. 13". _ Los Angeles
Los Angeles
Times_. Retrieved 29 September 2012. * Lewisohn, Mark (1988). _The Complete Beatles Recording Sessions_. New York: Harmony. ISBN 978-0-517-57066-1 . * Lewisohn, Mark (1992). _The Complete Beatles Chronicle:The Definitive Day-By-Day Guide To the Beatles' Entire Career_ (2010 ed.). Chicago: Chicago Review Press . ISBN 978-1-56976-534-0 . * Lewisohn, Mark (2013). _The Beatles: All These Years, Vol. 1: Tune In_. Crown Archetype . ISBN 978-1-4000-8305-3 . * Loder, Kurt (8 June 1998). "The Time 100". _Time _. New York. Archived from the original on 22 August 2008. Retrieved 31 July 2009. * Lustig, Jay (5 April 2009). "Paul McCartney, Ringo Starr Perform Together in Support of Transcendental Meditation". _ The Star-Ledger _. Retrieved 6 June 2012. * MacDonald, Ian (2005). _Revolution in the Head: The Beatles' Records and the Sixties_ (2nd revised ed.). London: Pimlico. ISBN 1-84413-828-3 . * Martens, Todd (4 November 2009). "Meet the Beatles\' USB Drive; EMI
Files Suit Against BlueBeat for Selling Beatles Downloads". _Los Angeles Times_. Retrieved 5 November 2009. * Martin, George (1979). _All You Need Is Ears_. New York: St. Marten's Press. ISBN 978-0-312-11482-4 . Retrieved 31 March 2014. * McNeil, Alex (1996). _Total Television: The Comprehensive Guide to Programming From 1948 to the Present_ (4th ed.). New York City: Penguin Books. ISBN 978-0-14-024916-3 . * Miles, Barry (1997). _Paul McCartney: Many Years from Now _. New York: Henry Holt and Company . ISBN 0-8050-5249-6 . * Miles, Barry (1998). _The Beatles: A Diary – An Intimate Day by Day History_. London: Omnibus. ISBN 0-7119-9196-0 . * Miles, Barry (2001). _ The Beatles
The Beatles
Diary Volume 1: The Beatles Years_. London: Omnibus Press. ISBN 0-7119-8308-9 . * "Beatles to Release New Album". _NME_. 2 October 2006. Archived from the original on 11 October 2011. * Norman, Philip (1996). _Shout!: The Beatles
The Beatles
in Their Generation_. New York: Fireside. ISBN 978-0-684-43254-0 . * Norman, Philip (2008). _John Lennon: The Life_. New York: Ecco/HarperCollins. ISBN 978-0-06-075401-3 . * "The Beatles". Official Charts Company . Retrieved 16 February 2017. * "The Official Singles Charts\' Biggest Selling Artists of All Time Revealed". Official Chart Company. 4 June 2012. Retrieved 24 June 2012. * Pedler, Dominic (2003). _The Songwriting Secrets of The Beatles_. London: Omnibus. ISBN 978-0-7119-8167-6 . Retrieved 31 March 2014. * Plagenhoef, Scott (9 September 2009). "Revolver". _Pitchfork Media_. Retrieved 31 October 2009. * "Top Selling Artists". Recording Industry Association of America . 2009a. Retrieved 10 October 2009. * "Gold & Platinum Artist Tallies". Recording Industry Association of America. 2009b. Archived from the original on 11 July 2013. Retrieved 10 October 2009. * "Diamond Awards". Recording Industry Association of America. 2009c. Archived from the original on 25 July 2013. Retrieved 10 October 2009. * Richardson, Mark (10 September 2009). "The Beatles". _Pitchfork Media_. Retrieved 31 October 2009. * "Inductees: The Beatles". Rock and Roll Hall of Fame
Rock and Roll Hall of Fame
. Retrieved 14 April 2012. * Rodriguez, Robert (2010). _Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980_. New York: Backbeat. ISBN 978-0-87930-968-8 . * "The 500 Greatest Albums of All Time". _Rolling Stone_. New York. 18 November 2003. Archived from the original on 23 June 2008. Retrieved 13 September 2009. * Sandford, Christopher (2006). _McCartney_. New York: Carroll & Graf . ISBN 978-0-7867-1614-2 . * Schinder, Scott; Schwartz, Andy (2007). _Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever_. Westport, CT: Greenwood Press . ISBN 978-0-313-33845-8 . * Southall, Brian; Perry, Rupert (contributor) (2006). _Northern Songs: The True Story of the Beatles Song Publishing Empire_. London et al.: Omnibus. ISBN 978-1-84609-237-4 . Retrieved 31 March 2014. * Sheff, David (1981). Golson, G. Barry, ed. _The Playboy Interviews with John Lennon
John Lennon
and Yoko Ono_. Playboy. ISBN 978-0-87223-705-6 . * "George Harrison\'s Death Certificate". _ The Smoking Gun _. Retrieved 22 June 2012. * Spitz, Bob (2005). _The Beatles: The Biography _. New York: Little, Brown . ISBN 978-0-316-80352-6 . * Spizer, Bruce (2004). _ The Beatles
The Beatles
Are Coming! The Birth of Beatlemania in America_. New Orleans: 498 Productions. ISBN 0-9662649-9-1 . * Strong, Martin (2004). _The Great Rock Discography_. Edinburgh and New York: Canongate . ISBN 1-84195-615-5 . Retrieved 31 March 2014. * Unterberger, Richie (2009a). "Biography of The Beatles". AllMusic. Retrieved 21 December 2011. * Unterberger, Richie (2009b). "Rubber Soul". AllMusic. Retrieved 21 December 2011. * Unterberger, Richie (2009c). "Magical Mystery Tour". AllMusic. Retrieved 21 December 2011. * Unterberger, Richie (2009d). "Abbey Road". AllMusic. Retrieved 21 December 2011. * Unterberger, Richie (2009e). "Let It Be". AllMusic. Retrieved 21 December 2011. * Unterberger, Richie; Eder, Bruce (2009). "Yellow Submarine". AllMusic. Retrieved 21 December 2011. * Winn, John C. (2008). _Way Beyond Compare: The Beatles\' Recorded Legacy, Volume One, 1957–1965_. New York: Three Rivers Press. ISBN 978-0-307-45157-6 . Retrieved 31 March 2014. * Winn, John C. (2009). _That Magic Feeling: The Beatles\' Recorded Legacy, Volume Two, 1966–1970_. New York: Three Rivers Press. ISBN 978-0-307-45239-9 . Retrieved 31 March 2014. * Womack, Kenneth (2007). _Long and Winding Roads: The Evolving Artistry of the Beatles_. London
& New York: Continuum. ISBN 978-0-8264-1746-6 .


* Astley, John (2006). _Why Don\'t We Do It In The Road? The Beatles Phenomenon_. The Company of Writers. ISBN 0-9551834-7-2 . * Barrow, Tony (2005). _John, Paul, George, Ringo & Me: The Real Beatles Story_. New York: Thunder's Mouth. ISBN 1-56025-882-9 . * Bramwell, Tony; Kingsland, Rosemary (2006). _Magical Mystery Tours: My Life with the Beatles_. New York: St. Martin's Press. ISBN 978-0-312-33044-6 . * Braun, Michael (1964). _Love Me Do: The Beatles' Progress_ (1995 reprint ed.). London: Penguin. ISBN 0-14-002278-3 . * Carr, Roy; Tyler, Tony (1975). _The Beatles: An Illustrated Record_. New York: Harmony Books. ISBN 0-517-52045-1 . * Epstein, Brian (1964). _ A Cellarful of Noise _. Byron Preiss . ISBN 978-0-671-01196-3 . OCLC
39211052 . * _The Beatles: The FBI Files_. _Federal Bureau of Investigation_. Filibust. 2007. ISBN 1-59986-256-5 . Retrieved 31 March 2014. * Frontani, Michael R (2007). _The Beatles: Image and the Media_. University Press of Mississippi. ISBN 978-1-57806-965-1 . Retrieved 31 March 2014. * Harry, Bill (1985). _The Book
Of Beatle Lists_. Poole, Dorset: Javelin. ISBN 0-7137-1521-9 . * Kirchherr, Astrid ; Voormann, Klaus (1999). _ Hamburg
Days_. Guildford, Surrey: Genesis Publications. ISBN 978-0-904351-73-6 . * Lennon, Cynthia (2005). _John_. New York: Crown Publishers. ISBN 978-0-307-33855-6 . * Lewisohn, Mark (2013). _ The Beatles
The Beatles
– All These Years: Volume One: Tune In_. Little, Brown Book
Group. ISBN 0-316-72960-4 . * Mansfield, Ken (2007). _The White Book_. Nashville, TN: Thomas Nelson. ISBN 978-1-59555-101-6 . Retrieved 31 March 2014. * Martin, George ; Pearson, William (1994). _Summer of Love: The Making of Sgt. Pepper_. London: Macmillan. ISBN 0-333-60398-2 . * Riley, Tim (2011). _Lennon: The Man, the Myth, the Music—The Definitive Life_. New York: Hyperion/HarperCollins. ISBN 978-1-4013-2452-0 . * Schaffner, Nicholas (1977). _ The Beatles
The Beatles
Forever_. Harrisburg, PA: Cameron House. ISBN 0-8117-0225-1 . * Sheffield, Rob (2017). _Dreaming the Beatles_. New York: Harper Collins. ISBN 978-0-06-220765-4 . * Turner, Steve (2005). _A Hard Day's Write: The Stories Behind Every Beatles Song_ (3rd ed.). New York: Harper Paperbacks. ISBN 0-06-084409-4 .


LISTEN TO THIS ARTICLE (3 PARTS) · (info) _Part 1 • Part 2 • Part 3 _ _ This audio file was created from a revision of the "The Beatles" article dated 3 July 2015, and does not reflect subsequent edits to the article. (Audio help ) MORE SPOKEN ARTICLES Find more aboutTHE BEATLESat's sister projects

* Definitions from Wiktionary * Media from Commons * News from Wikinews * Quotations from Wikiquote *