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The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are one of the most commercially successful and critically acclaimed popular music bands in history. Their innovative music and cultural impact helped to define the 1960s.

The Beatles were the best-selling musical band of the 20th century. In the United Kingdom, they released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs or tapes worldwide. The Recording Industry Association of America certified The Beatles as the top-selling band of all time in America based on U.S. sales of singles and albums.

The Beatles were a major part of the mid-1960s "British Invasion" into the United States. Although their initial musical style was rooted in the sounds of 1950s rock and roll, the group explored a great variety of genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, hairstyles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s.

1957–1960: The Quarrymen and The Silver Beetles

In March 1957, John Lennon formed a skiffle group called The Quarrymen whilst attending Quarry Bank Grammar School in Liverpool. Lennon and The Quarrymen met guitarist Paul McCartney at the Woolton Garden Fête held at St. Peter's Church on 6 July 1957. On 6 February 1958, the young guitarist George Harrison was invited to watch the group (who played under a variety of names) at Wilson Hall, Garston, Liverpool. Members continually joined and left the lineup during that period.

McCartney had become acquainted with Harrison (a year younger) on the morning school bus-ride to the Liverpool Institute, as they both lived in Speke. At McCartney's insistence, Harrison joined the Quarrymen as lead guitarist after a rehearsal in March 1958, overcoming Lennon's initial reluctance because of Harrison's young age. Harrison was followed by Lennon's art school friend, Stuart Sutcliffe, on bass. A few primitive recordings of Lennon, McCartney, and Harrison from that era have survived.

The Quarrymen went through a progression of names — Johnny and The Moondogs, Long John and The Beatles, The Silver Beetles (derived from Larry Parnes' suggestion of "Long John and the Silver Beetles") — and eventually decided on 17 August 1960 on "The Beatles". There are many theories as to the origin of the name and its unusual spelling; it is usually credited to Lennon, who said that the name was a combination word-play on the insects "beetles" (as a nod/compliment to Buddy Holly's band, The Crickets) and the word "beat". He also later said that it was a joke, meaning a pun on "Beat-less". Cynthia Lennon suggests that Lennon came up with the name Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar...". Being a fan of the Crickets, Lennon said, "If you turn it round it is 'les beat', which sounds French and cool." Lennon — who was well known for giving multiple versions of the same story — joked in a 1961 Mersey Beat magazine article that "It came in a vision — a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an A'". (Many years later, this story later inspired the title McCartney's solo album Flaming Pie). The Beatles Anthology documentary also points to the Marlon Brando film The Wild One as an influence, which features a biker gang named "The Beetles".

In May 1960, The Beatles toured the north-east of Scotland as a back-up band with singer Johnny Gentle, who was signed to the Larry Parnes agency. They met Gentle an hour before their first gig, and McCartney referred to the tour as a great experience for the band. For the tour the often drummerless group secured the services of Tommy Moore, who was considerably older than the others. The band's van (driven by Gentle) had a rear-end crash with a stationary vehicle on their way back from Scotland: Moore lost some teeth and had stitches after being hit in the mouth by a guitar, although nobody else was seriously injured. Shortly afterwards, feeling the age gap was too great (and following his girlfriend's advice) Moore left the band and went back to work in a bottling factory as a fork-lift truck driver.

Norman Chapman was their next drummer, but his appointment lasted only a few weeks until he was called up for National Service. Chapman's departure posed a significant problem, as the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany. McCartney has often said that if any of The Beatles had been called up for National Service — had it been extended for just a few more weeks — the band would never have come into existence, because of the different ages of the key members.

1960–1970: The Beatles

Hamburg

On August 16, 1960, McCartney invited Pete Best to become the group's permanent drummer after watching Best play with The Blackjacks in the Casbah Club. This was a cellar club operated by Best's mother Mona, in West Derby, Liverpool, where The Beatles had played and often used to visit. In the documentary The Compleat Beatles, Williams said that Best "played not too cleverly, but passable."

They started in Hamburg by playing in the Indra and Kaiserkeller bars. They were required to play six or seven hours a night, seven nights a week. Shortly after they began performing at a new venue, the "Top Ten Club", Harrison was deported for having lied to the German authorities about his age. Finally, McCartney and Best started a small fire at their living quarters while vacating it for more luxurious rooms. Arrested and charged with arson, the two were deported. Lennon and Sutcliffe followed suit in returning to Liverpool in December.

The reunited Beatles played their first concert on 21 March 1961, at Liverpool's Cavern club. They returned to Hamburg in April 1961. Whilst playing at the Top Ten they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label, produced by famed bandleader Bert Kaempfert. Kaempfert signed the group to its own Polydor contract at the first session on 22 June 1961. On 31 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which appeared on the German charts under the name "Tony Sheridan and The Beat Brothers", a generic name used for whoever happened to be in Sheridan's backup band. In addition to the legend that this record led to the group's eventual meeting with Brian Epstein, it also resulted in their first mention in the American press. Around the beginning of 1962, Cashbox mentioned "My Bonnie" as the debut of a "new rock and roll team, Tony Sheridan and The Beatles." A few copies were also pressed (ironically, considering the group's experience with the label) under the Decca label for U.S. disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon. Sutcliffe stayed with Astrid Kirchherr when it was time to go back to Liverpool, so McCartney took over bass duties.

Their third stay in Hamburg was from 13 April to 31 May 1962, when they opened The Star Club. Upon their arrival they were informed of Sutcliffe's death from a brain haemorrhage.

Brian Epstein - manager of the record department at NEMS, his family's furniture store - took over as the group's manager in 1962 and led The Beatles' quest for a British recording contract. In a now-famous exchange, Decca Records A&R executive Dick Rowe turned Epstein down flat, informing him that "Guitar groups are on the way out, Mr. Epstein." At the same time Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White. White (who was not himself a record producer) in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell, all of whom declined to record The Beatles. White did not approach EMI's fourth staff producer - George Martin - who was on holiday at the time.

Record contract

After failing to impress Decca Records with the early demo, Epstein was referred by recording engineer Jim Foy to Sid Coleman, who ran EMI's publishing arm. When Coleman heard the demo tapes he suggested taking the tapes to George Martin, who, Coleman explained, "does comedy records" and headed the Parlophone label at EMI. Epstein eventually met with Martin, who expressed an interest in hearing the band in the studio. He invited the quartet to London's Abbey Road studios for an audition on 6 June. Martin had not been particularly impressed by the band's demo recordings, but he instantly liked them as people when he met them. He concluded that they had raw musical talent, but said (in later interviews) that what made the difference for him that day was their wit and humour in the studio.

Martin did have a problem with Pete Best, however, whom he criticised for not being able to keep time. He privately suggested to Epstein that the band use another drummer in the studio. Best had some popularity and was considered good-looking by many fans, but the three founding members had become increasingly unhappy with his popularity and his personality, and Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. Best also missed a number of engagements due to illness. Epstein sacked Best on 16 August 1962. They had previously asked Ringo Starr (real name: Richard Starkey), the drummer for one of the top Merseybeat groups Rory Storm and the Hurricanes and a frequent fill-in for Pete Best, to join the band. The Beatles had performed with Starr previously in Hamburg. The first recordings of Lennon, McCartney, Harrison, and Starr together were made as early as 15 October 1960, in a series of demonstration records privately recorded in Hamburg while acting as the backing group for singer Lu Walters. Starr played on The Beatles' second EMI recording session on 4 September 1962, but Martin hired session drummer Andy White for their next session on 11 September.

Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles -- one farthing per group member. This royalty rate was further reduced for overseas sales, on which they received half of one penny (again split between the whole band) for singles sales outside of the UK. Martin said later that it was a "pretty awful" contract. Their publishing contract with Dick James Music (DJM) was also standard for the time; each songs writers received the statutory minimum of 50% of the gross monies received, while the publisher retained the other 50%.

The Beatles' first EMI session on 6 June did not yield any releasable recordings but the September sessions produced a minor UK hit, "Love Me Do", which peaked on the charts at number 17. ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) This was swiftly followed by their second single, "Please Please Me". Three months later they recorded their first album (also titled Please Please Me). The band's first televised performance was on a programme called People and Places transmitted live from Manchester by Granada Television on 17 October 1962.In November 1963, The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich, who also appeared on the show.

Russia

Although the band experienced huge popularity in the record charts in the UK from early 1963, Parlophone's American counterpart, Capitol Records (owned by EMI), refused to issue the singles "Love Me Do", "Please Please Me" and "From Me to You" in the United States. Vee-Jay Records, a small Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963, making it the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were cancelled for non-payment of royalties.

In August 1963, the Philadelphia-based Swan label tried again with The Beatles' "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand resulted in laughter from American teenagers when they saw the group's distinctive hairstyles. New York disk jockey Murray the K featured "She Loves You" on his '1010 WINS record revue' record station in January. In early November 1963, Brian Epstein persuaded Ed Sullivan to commit to presenting The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand", On 7 December 1963 a clip of The Beatles was shown on the CBS Evening News, inspiring a teenage girlpoop in Washington, D.C. to request a Beatle song on a local radio station. The station secured an imported copy of "I Want to Hold Your Hand" - forcing Capitol Records to release the song ahead of schedule on 26 December.

Several New York radio stations — first WMCA, then WINS and WABC — began playing "I Want to Hold Your Hand" on its release day, and the Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by 16 January, Cashbox magazine had certified the record number one (in the edition marked 23 January).

On 3 January 1964 a film of The Beatles performing "She Loves You" was aired on the late-night Jack Paar Program.

Beatlemania

On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off on Pan Am flight 101, for their first trip to America as a group. They were accompanied by photographers, journalists (including Maureen Cleave) and Phil Spector, who had booked himself on the same flight. The pilot had radioed ahead, and as they prepared to land he said, "Tell the boys there's a big crowd waiting for them." Kennedy International Airport had never experienced a crowd of that size before, which was estimated to be about 3,000 screaming fans. After a Press conference (where they first met Murray the K) they were put into individual limousines and driven to New York. McCartney turned on the car radio and heard a running commentary: "They have just left the airport and are coming to New York City..." After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a temperature of 102 the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the first television rehearsal.

Their first live American television appearance was on the Ed Sullivan Show on 9 February 1964. The next morning practically every newspaper had comments that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".

After The Beatles' huge success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs, all of which reached the top ten the second time around. (MGM and Atco also secured rights to The Beatles' early Tony Sheridan-era recordings and had minor hits with "My Bonnie" and "Ain't She Sweet".) In addition to Introducing... The Beatles, which was essentially The Beatles' debut British album with some minor alterations, Vee-Jay also issued an unusual LP called The Beatles Vs The Four Seasons. This album combined songs from The Beatles and The Four Seasons, another successful act that Vee-Jay had under contract, in a 'contest' (the back cover featured a 'score card'). Another unusual release was the Hear The Beatles Tell All album, which mixed interviews with the same early Beatles material.

The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, who issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles. The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market. The Swan material was issued on the Capitol LP The Beatles' Second Album.

In mid-1964 the band undertook their first appearances outside of Europe and North America, touring Australia and New Zealand (without Ringo Starr who was ill and temporarily replaced by session drummer Jimmy Nicol). When they arrived in Adelaide, they were greeted by over 300,000 people who turned out to see them at Adelaide Town Hall.

On 26 October 1965, Her Majesty Queen Elizabeth II awarded The Beatles the MBE. The band was nominated by Prime Minister Harold Wilson, who also was the M.P. for Huyton, Liverpool). The award — at that time primarily given to military veterans and civic leaders — sparked some conservative MBE recipients to return their awards in protest. The first two were returned on 14 June, before The Beatles received theirs on 26 October 1965. On 15 August that year, The Beatles performed the first stadium concert in the history of rock, playing at Shea Stadium in New York to a crowd of 55,600.

Backlash and controversy

In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace. When presented with the invitation, Brian Epstein politely declined on behalf of the group, as it had never been the group's policy to accept such "official" invitations. The group soon found that the Marcos regime was unaccustomed to accepting "no" for an answer. After the 'snub' was broadcast on Philippine television and radio, all of The Beatles' police protection disappeared. The group and their entourage had to make their way to Manila airport on their own. At the airport, roadie Mal Evans was beaten and kicked, and The Beatles themselves were pushed and jostled about by a hostile crowd. Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her." Epstein was forced to give back all the money that the band had earned while they were there before being allowed back on the plane.

Almost as soon as they returned from the Philippines, an earlier comment by Lennon made in March that year launched a backlash against The Beatles from religious and social conservatives in the United States. In an interview with British reporter Maureen Cleave, Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now." Afterwards, a radio station in Birmingham, Alabama, ran a story on burning Beatles records, in what was considered to be a joke. However, many people affiliated with rural churches in the American South started taking the suggestion seriously. Towns across the United States and South Africa started to burn Beatles records in protest. Attempting to make light of the incident, McCartney said, "They've got to buy them before they can burn them." Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.

The group's two-year series of Capitol compilations also took a strange twist in the United States when one of their publicity shots, used for a Yesterday and Today album and a poster promoting the UK release of "Paperback Writer", created an uproar, as it featured the band draped in meat and plastic dolls. Thousands of these copies had to be withdrawn. Years later, the cover shot was linked with the group's interest in German expressionism.

The studio years

The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966. McCartney asked Tony Barrow to tape the event, but the 30-minute tape he used ran out halfway through the last song. The concert lasted a little under 35 minutes.

From then on, they concentrated on recording music. In April 1966, the group embarked on what was to become their most ambitious album to date. During the recording sessions for their Revolver (album) LP, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul and world music. A very long layering process also began to reproduce a sound similar to today's computerised 'mixing' techniques. The album would not be critically received for another 25 or 30 years, such was its sophistication. It was also possibly overshadowed and quicky forgotten because of their next album. About seven months after Revolver, they returned to Abbey Road Studios on 24 November 1966 to begin the 129-day recording sessions for their eighth album, Sgt. Pepper's Lonely Hearts Club Band, released on 1 June 1967.

On 25 June 1967, The Beatles became the first band globally transmitted on television, in front of an estimated 400 million people worldwide. The band appeared in a segment within the first-ever worldwide TV satellite hook-up — a show entitled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show.

Brian Epstein died of an accidental prescription drug overdose, on 27 August 1967 at the age of 32, and the band's business affairs began to unravel. At the end of 1967, they received their first major negative press criticism in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour. Part of the public's difficulty lay in the fact that colour was an integral part of the film but (in December 1967) very few viewers in the UK had colour televisions (colour service only started in July of that year). The film's soundtrack, which features one of The Beatles' few instrumental tracks ("Flying"), was released in the United Kingdom as a double EP, and in the United States as a full LP.

The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi. Upon their return, Lennon and McCartney took a trip to New York to announce the formation of Apple Corps. Early Apple records present some forgotten gems, such as the original Yellow Submarine EP, the tracks of which were eventually used on the more commercial film soundtrack album. The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its completely white cover. These sessions saw deep divisions opening within the band, one temporarily ending with Starr walking out. Because of this, McCartney recorded the drums on the songs "Martha My Dear", "Why Don't We Do It in the Road?", "Wild Honey Pie", "Dear Prudence" and "Back in the USSR". Among the other causes of dissension were that Lennon's new girlfriend, Yoko Ono, was at his side through much of the sessions and that the others felt that McCartney was becoming too dominating.

Internal divisions within the band had been a small but growing problem during their early years; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs on to Beatles albums.

On the business side McCartney wanted Lee Eastman — the father of his wife Linda Eastman — to manage The Beatles, but the other members wanted New York manager Allen Klein. All Beatles' decisions in the past had to be unanimous, but this time the four could not agree. (Lennon, Harrison and Starr felt the Eastmans would put McCartney's interests before those of the group. In 1971 it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings.). Years later, during the Anthology interviews, McCartney said of this time, "Looking back, I can understand why they would feel that he was biased against them."

Their final live performance was on the rooftop of the Apple building in Savile Row, London on 30 January 1969, the next-to-last day of the difficult Get Back sessions. Most of the performance was filmed and later included in the film Let It Be. While the band was playing, the local police were called due to complaints about the noise. Although the group was simply asked to end their performance, the band members later remarked in the Anthology video that they were disappointed they were not arrested — pointing out that the police hauling the band members off in handcuffs would have been "an appropriate ending" for the film.

They recorded their final album, Abbey Road, in the summer of 1969. The completion of the song "I Want You (She's So Heavy)" for the album on 20 August was the last time all four Beatles were together in the same studio.

Breakup

Lennon announced his departure to the rest of the group on 20 September 1969 but was talked out of saying anything about it publicly.

In March 1970 the Get Back session tapes were given to American producer Phil Spector, who had produced Lennon's solo single "Instant Karma!". Spector's "Wall of Sound" production was against the original intent of the record, which had been to record a stripped-down live performance. McCartney was deeply dissatisfied with Spector's treatment of "The Long and Winding Road", and unsuccessfully attempted to halt release of Spector's version of the song. McCartney publicly announced the break-up on 10 April 1970, a week before releasing his first solo album, McCartney, pre-release copies included a press-release with a self-written interview explaining the end of The Beatles and his hopes for the future. On 8 May 1970, the Spector-produced version of Get Back was released as Let It Be, followed by the documentary film of the same name. The Beatles' partnership was finally dissolved in 1975.

After The Beatles

Shortly before and after the official dissolution of the group, all four Beatles released solo albums, including Lennon's John Lennon/Plastic Ono Band, McCartney's McCartney, Starr's Sentimental Journey, and Harrison's All Things Must Pass. Some of their albums featured contributions by other former Beatles; Starr's Ringo (1973) was the only one to include compositions and performances by all four, albeit on separate songs.

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. Lennon was shot and killed by Mark David Chapman on December 8, 1980 in New York City. George Harrison died of cancer on November 29, 2001.

In the wake of the expiration in 1975 of The Beatles' contract with EMI-Capitol, the American Capitol label, rushing to cash in on its vast Beatles holdings and freed from the group's creative control, released five LPs: Rock 'n' Roll Music (a compilation of their more uptempo numbers), The Beatles at the Hollywood Bowl (containing portions of two unreleased shows at the Hollywood Bowl), Love Songs (a compilation of their slower numbers), Rarities (a complilation of tracks that had been either never been released in the U.S. or had gone out of print), and Reel Music (a complilation of songs from their films). There was also a non-Capitol-EMI release of a show from the group's early days at the Star Club in Hamburg captured on a poor-quality tape. Of all these post-breakup LPs, only the Hollywood Bowl LP had the approval of the group members. Upon the American release of the original British CDs in 1986, these post-breakup Capitol American compilation LPs were deleted from the Capitol catalogue.

In 1981, after Lennon's murder, the then-three surviving Beatles reunited to record "All Those Years Ago", which was expressly a George Harrison solo single, but nonetheless had its original lyrics rewritten as a tribute to the late John Lennon.

The BBC has a large collection of Beatles recordings, mostly comprising original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series The Beeb's Lost Beatles Tapes. In 1989, many outtakes from The Beatles sessions appeared on the radio series The Lost Lennon Tapes. Later, in 1994, the best of the BBC sessions were given an official EMI release on Live at the BBC.

In 1988, The Beatles were inducted into the Rock and Roll Hall of Fame as a group (not as individual performers) during their first year of eligibility. On the night of their induction, only original members Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons, but McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr, and Lennon's estate. McCartney was inducted as a solo artist a few years later and did appear to accept his award.

In February 1994, the surviving Beatles reunited to produce and record additional music for a few of Lennon's home recordings. "Free as a Bird" premiered as part of The Beatles Anthology series of television documentaries and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of CDs released in 1995 and 1996, each of which consisted of two CDs of never-before-released Beatles material. Klaus Voormann, who had known The Beatles since their Hamburg days and had previously illustrated the Revolver album cover, directed the Anthology cover concept.

450,000 copies of Anthology 1 were sold on its first day of release. In 2000, a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week (selling 3 copies a second) and more than 12 million in three weeks worldwide. The collection also reached number one in the United States and 33 other countries and had sold 25 million copies by 2005 (about the 9 best selling album of all time). More recently in 2006/2007, George and Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's adaptation of Love.

Musical evolution

Their constant demands to create new sounds on every new recording, and the imaginative, and ground-breaking, studio expertise of EMI staff engineers, including Norman Smith, Ken Townshend and Geoff Emerick, all played significant parts in the innovative sounds of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967).

The Beatles continued to absorb influences throughout their career — long after their initial success — often finding new musical and lyrical avenues by listening to some of their contemporaries. Among those influences were Bob Dylan, on songs such as "You've Got to Hide Your Love Away", and "Norwegian Wood (This Bird Has Flown)". Other influences included The Byrds, and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.

Along with studio tricks such as sound effects, unconventional microphone placements, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time, including string and brass ensembles, Indian instruments (such as the sitar and the swarmandel), tape loops, and early electronic instruments including the Mellotron, which was used with flute voices on the intro to "Strawberry Fields Forever".

Beginning with the use of a string quartet (arranged by George Martin) on "Yesterday" in 1965, The Beatles pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). A televised performance of Bach's Brandenberg Concerto No. 2 directly inspired McCartney's use of a piccolo trumpet on the arrangement of "Penny Lane". The Beatles moved towards psychedelia with ("Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967).

Influence on popular culture

Lifestyle

The Beatles' lifestyles were greatly altered by their success, and the income they earned. The availability of the first oral contraceptive and illegal drugs changed many people's opinions — including The Beatles' — about life, marriage, and sexual relationships.

Recreational drug use

The Beatles' introduction to drugs started in Hamburg, Germany. As The Beatles had to play for hours on end, they were often given "Prellies" (Preludin) by German customers, or by Astrid Kirchherr (whose mother bought them). McCartney would usually take one, but Lennon would often take four or five.

After having been introduced to cannabis by Bob Dylan in New York, in 1964, McCartney remembered them all getting "very high" and giggling. Any future Beatles lyrics containing the words "high", or "grass", were written as a reference to cannabis. The song "Got to Get You into My Life" was written as a direct reference. The Beatles occasionally smoked a spliff in the car on the way to the studio during the filming of Help!, which often made them forget their lines.

In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley. Lennon in particular became an avid "tripper", claiming in a 1970 interview in Rolling Stone to have taken LSD hundreds of times.

The Beatles added their names to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was sponsored by a group called Soma, and was signed by 65 people, including Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs. On a sailing trip to Greece, in 1967, the whole band sat around on the boat and took acid.

Meditation

On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton, and later went to Bangor, in north Wales, to attend a weekend 'initiation' conference. They were all given a mantra that the Maharishi Mahesh Yogi gave them in Bangor. The time they later spent in India at the Maharishi's ashram was highly productive, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by McCartney, Lennon, or both together.

Discography

Official CD catalogue

In 1986–1987, EMI released all 12 of The Beatles' studio albums — as originally released in the UK — on CD worldwide. (North American releases were on EMI's American subsidiary Capitol Records). It was a considered decision by Apple Corps. to standardise The Beatles catalogue throughout the world. Because there were tracks that had been released in the UK on singles and EPs that had not been released on the original UK albums, in order for all their recordings to be available on CD it was necessary to create three further CDs that would contain the missing tracks.

One CD was of a 1967 US compilation album that featured the 6-track 1967 UK EP Magical Mystery Tour and the various singles released in that year. The other two CDs were new compilations that gathered together all the other singles, EP tracks and recordings from 1962–1970 that had not been issued on the original British studio albums.

• Magical Mystery Tour - 8 August 1987)
• Past Masters, Volume One - 7 March 1988
• Past Masters, Volume Two - 7 March 1988

According to EMI and the Guinness Book of Records, The Beatles have sold in excess of one billion units (1,010,000,000, including cassettes, records, CDs and bootlegs). The only other artist to come close is Elvis Presley.

Beginning in 2004, the US album configurations were released as a series of box sets from Capitol Records (The Capitol Albums, Volume 1 & Volume 2); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases.

Song catalogue

In 1963 John Lennon and Paul McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James. The company was administered by James' own company Dick James Music. Northern Songs went public in 1965, with Lennon and McCartney each holding 15% of the company's shares whilst Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), from which Lennon and McCartney received stock.

In 1985, after a short duration in which the parent company was owned by Australian business magnate Robert Holmes à Court, ATV Music was sold to Michael Jackson for a reported $47 million (trumping a joint bid by McCartney and Yoko Ono), including the publishing rights to over 200 songs composed by Lennon and McCartney.

A decade later Jackson and Sony merged their music publishing businesses. Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile, Lennon's estate and McCartney still receive their respective songwriter shares of the royalties. (Despite his ownership of most of the Lennon-McCartney publishing, Jackson has only recorded one Lennon-McCartney composition himself, "Come Together" which was featured in his film Moonwalker.)

Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, four of their earliest songs had been published by one of EMI's publishing companies prior to Lennon & McCartney signing with Dick James — and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why" from EMI.

Harrison and Starr did not renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his post-1967 songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two post-1967 songs recorded by The Beatles, "Don't Pass Me By" and "Octopus's Garden".

Hit singles

Audio samples

• 1965
• Audio file "Beatles help.ogg" not found
• Audio file "Beatles yesterday.ogg" not found
• "Drive My Car"
• "Nowhere Man"
• "In My Life"

• 1966
• "Taxman"
• "Eleanor Rigby"
• "I'm Only Sleeping"
• "Got To Get You Into My Life"

• 1967
• "Strawberry Fields Forever"
• "Penny Lane"
• "Sgt. Pepper's Lonely Hearts Club Band"
• "Lucy in the Sky with Diamonds"
• Audio file "Beatles sixty-four.ogg" not found
• Audio file "Beatles day life.ogg" not found
• "Magical Mystery Tour"
• Audio file "Iamthewalrus.ogg" not found

• 1968
• "Blackbird"
• "Mother Nature's Son"
• "Helter Skelter"
• "Revolution 1"

• 1969
• "Come Together"
• Audio file "Beatles something.ogg" not found
• "Here Comes the Sun"
• "She Came in Through the Bathroom Window"

On film

The Beatles appeared in several films, all of which featured associated soundtrack albums.

The band played themselves in two films directed by Richard Lester, A Hard Day's Night (1964) and Help! (1965). The group produced and starred in the hour-long television movie Magical Mystery Tour (1967), while the documentary Let It Be (released 1970) followed the recording sessions for the Get Back project in early 1969. In addition, the psychedelic animated film Yellow Submarine (1968) followed the adventures of a cartoon version of the band; the members did not provide their own voices, appearing only in a brief live-action epilogue.

Other projects

Anthology

Love

Instrumentation

• Rickenbacker, Gretsch, Epiphone, Gibson, and Fender guitars
• Premier and Ludwig drums
• Steinway, and Blüthner pianos
• Höfner, Fender and Rickenbacker basses
• Vox, Fender, and Selmer amplifiers
• Hammond, Vox and Lowrey electric organs
• Fender Rhodes, Wurlitzer, and Hohner Pianet electric pianos
• Moog Modular synthesiser
• Mellotron Polyphonic Keyboard
• Neumann, AKG, and STC microphones

Notes

1. Rolling Stone biographyRetrieved: 29 January 2007
2. See above reference to Encarta
3. Best Sellers: Gold & Platinum Top ArtistsRetrieved: 29 January 2007
4. Spitz 2006. p47
5. AMG biographyRetrieved: 29 January 2007
6. Spitz 2006 p93
7. Ray O'Brien, There are Places I'll Remember: Volume 1, 2001
8. Miles 1998. p47.
9. Spitz 2006. pp126-127
10. Miles 1998. p50.
11. Cynthia Lennon – “John” 2006. p65.
12. Davies, Hunter. The Beatles (1981 edition)
13. Coleman, Ray (1984). Lennon: The Definitive Biography. Pan Books. p212.
14. Spitz 2006. pp188-193
15. Lewisohn, Mark (1992). The Complete Beatles Chronicle. Chancellor Press. ISBN 1-85152-975-6.
16. Lewisohn, Mark (1992). The Complete Beatles Chronicle. Chancellor Press. ISBN 1-85152-975-6.
17. Coleman, Ray (1984). Lennon: The Definitive Biography. Pan Books. 213.
18. ^ Lewisohn, Mark (1996). The Complete Beatles Chronicle. Chancellor Press. p. 368. 1851529756. Cite error: The named reference "LewisohnChronicles" was defined multiple times with different content (see the help page).
19. McCartney, Paul (1997). Paul McCartney: Many Years from Now. Secker & Warburg. p. 576. 0436280221. {{cite book}}: Unknown parameter |month= ignored (help).
20. Retrieved: 29 January 2007
21. Casbah ClubRetrieved: 29 January 2007
22. Cynthia Lennon “John” 2006. p93.
23. Photos of Clubs in HamburgRetrieved: 29 January 2007
24. Miles 1998. pp72-73.
25. Cynthia Lennon “John” 2006. p79.
26. Cynthia Lennon “John” 2006. p84.
27. Lewisohn. p80
28. Cynthia Lennon “John” 2006. p97.
29. Spitz 2006. p.250
30. Palowski, Gareth L. How They Became The Beatles. Plume. ISBN 978-0452265066
31. Miles 1998. p74.
32. Cynthia Lennon “John” 2006. p109.
33. The Beatles. The Beatles Anthology. Chronicle Books, LLC, 2000.
34. Coleman 88-89
35. Coleman 93
36. Coleman 93-94
37. Davies, Hunter. The Beatles (1981 edition). pp. 178
38. ^ Spitz 2006. p318 Cite error: The named reference "Spitzp318" was defined multiple times with different content (see the help page).
39. Spitz 2006. pp318-319
40. Spitz 2006. p322
41. Spitz 2006. p330
42. Spitz 2006. p328
43. Lu Walters' recording sessionRetrieved: 29 January 2007
44. Spitz 2006. p353
45. "Beatles History -- 1962" at Beatles Discography Retrieved: 29 January 2007
46. "Beatles History — 1962" at Beatles Discography. Retrieved: 29 January 2007
47. Love Me DoRetrieved: 29 January 2007
48. Bill Harry The Ultimate Beatles Encyclopedia P.516
49. JPGRRetrieved: 29 January 2007
50. "The Beatles on Vee Jay Records". {{cite web}}: Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) Retrieved: 29 January 2007
51. Spitz 2006. p461
52. JPGR I Want to Hold Your Hand releaseRetrieved: 29 January 2007
53. I Want to Hold Your HandRetrieved: 29 January 2007
54. Spitz 2006. p457
55. Spitz 2006. p458
56. Spitz 2006. p459
57. Spitz 2006. p462
58. Spitz 2006. p464
59. Spitz 2006. p473
60. Rare BeatlesRetrieved: 29 January 2007
61. Ficher, P. and Seamark, K. H. (2005). Vintage Adelaide. East Street Publications. pp. 70–71. ISBN 1-921037-06-7.{{cite book}}: CS1 maint: multiple names: authors list (link)
62. Spitz 2006. p556
63. Spitz 2006. p557
64. Napier ChroniclesRetrieved: 29 January 2007
65. Badman, Keith (2000). The Beatles Off the Record. London: Omnibus Press. 193. ISBN 0-7119-7985-5.
66. Spitz 2006. p619
67. Spitz 2006. p620
68. Spitz 2006. p623
69. Spitz 2006. p624
70. Spitz 2006. p625
71. "The John Lennon I Knew" from the Telegraph, 5 October 2006. Retrieved: 29 January 2007
72. Cleave, Maureen (1966). "How Does a Beatle Live? John Lennon Lives Like This". London Evening Standard 4 March 1966. Retrieved: 29 January 2007
73. ^ Miles 1998. pp293-295.
74. ^ David Paul Boyle, 2007.
75. Barrow, Tony. John, Paul, George, Ringo & Me. ISBN 1-86200-238-X
76. Magical Mystery TourRetrieved: 29 January 2007
77. ^ Miles 1998. p397
78. Spitz 2006. pp777-779.
79. Spitz 2006. p853
80. The Beatles' partnership was legally dissolved in 1975bbc.co.uk - Retrieved: 26 January 2007
81. Hall of FameRetrieved: 29 January 2007
82. GeocitiesRetrieved: 29 January 2007
83. Miles 1998. p142
84. ^ Miles 1998. pp66-67.
85. Miles 1998. p185
86. Miles 1998. pp188-189
87. ^ Miles 1998. p190
88. Miles 1998. p198.
89. Independent.co.ukRetrieved: 29 January 2007
90. Paul McCartney’s arrest in JapanRetrieved: 29 January 2007
91. Miles 1998. p379
92. Beatles in Bangor bbc.co.uk 16 November, 2006. Retrieved: 29 January 2007
93. Miles 1998. p396
94. LP version originally released in the United States on 27 November 1967.

References

• Bramwell, Tony (2005). Magical Mystery Tours. St. Martin's Press. ISBN 0-312-33043-X.
• Braun, Michael (1964 ). Love Me Do: The Beatles' Progress. London: Penguin Books. ISBN 0-14-002278-3. {{cite book}}: Check date values in: |year= (help)CS1 maint: year (link)
• Carr, Roy & Tyler, Tony (1975). The Beatles: An Illustrated Record. Harmony Books. ISBN 0-517-52045-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
• Coleman, Ray (1989). Brian Epstein: The Man Who Made The Beatles. Viking. ISBN 0-670-81474-1.
• Colonna, Roberto (2005). Dalla prospettiva degli scarafaggi. Napolipiù - La verità.
• Cross, Craig (2005). The Beatles: Day by Day, Song by Song, Record by Record. iUniverse, Inc. ISBN 0-595-34663-4.
• "Beatles-discography.com: The Beatles: Day-by-Day, Song-by-Song, Record-by-Record". Various webpages. {{cite web}}: Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
• Davies, Hunter (1985). The Beatles. McGraw-Hill. ISBN 0-07-015463-5.
• Emerick, Geoff, & Massey, Howard (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. Gotham Books. ISBN 1-59240-179-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
• Goldsmith, Martin (2004). The Beatles Come To America. Turning Points. ISBN 0-471-46964-5.
• Kubernik, Ken (October 16, 2005). "Here, There & Everywhere". Variety Magazine's 100 Icons of the Century. Variety Magazine. {{cite web}}: Check date values in: |year= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
• Lewis, Martin (October 16, 2005). "The Apollonian Spirit of the Beatles". Variety Magazine's 100 Icons of the Century. Variety Magazine. {{cite web}}: Check date values in: |year= (help); Italic or bold markup not allowed in: |publisher= (help); Unknown parameter |accessmonthday= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)CS1 maint: year (link)
• Lewisohn, Mark (1990). EMI's The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years. Hamlyn. ISBN 0-681-03189-1.
• MacDonald, Ian (1995). Revolution in the Head: The Beatles' Records and the Sixties. Vintage. ISBN 0-7126-6697-4.
• Martin, George (1994). Summer of love: The Making of Sgt. Pepper. Macmillan. ISBN 0-333-60398-2.
• Miles, Barry (1998). Many Years From Now. Vintage-Random House. ISBN 0-7493-8658-4. {{cite book}}: Check date values in: |year= (help)CS1 maint: year (link)
• Norman, Philip (1997). Shout: The Beatles in Their Generation. MJF Books. ISBN 1-56731-087-7.
• Schaffner, Nicholas (1977). The Beatles Forever. Cameron House. ISBN 0-8117-0225-1.
• Spitz, Bob (2005). The Beatles. Little Brown. ISBN 0-316-80352-9.

Further reading

• Astley, John "The Beatles Phenomenon Explained"; ISBN: 0-9551834-7-2 (as cultural studies)
• The Gospel According to the Beatles. Westminster John Knox Press, 2006. ISBN 0-664-22983-2.
• The Beatles. The Beatles Anthology. Chronicle Books, LLC, 2000. ISBN 0-8118-2684-8.
• Emerick, Geoff, and Howard Massey. Here, There and Everywhere: My Life Recording the Music of The Beatles. New York: Gotham Books, 2006. ISBN 1-59240-179-1.
• Turner, Steve. A Hard Day's Write. 3rd ed. New York: Harper Paperbacks, 2005. ISBN 0-06-084409-4.
• Dimery, Martin. Being John Lennon. SAF books, 2002. ISBN 0-946719-43-8.
• Alan J. Porter Before They Were Beatles: The Early Years 1956-1960. Xlibris. ISBN 1-4134-3056-2.
• Ryan, Kevin, and Brian Kehew. Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums. Houston: Curvebender Publishing, 2006. ISBN 0-9785200-0-9.

See also

• The Beatles line-ups
• The Beatles' London
• The Beatles trivia

External links

• The Beatles Official site
• The Beatles at Rolling Stone
• The Beatles discography at MusicBrainz
• Beatles Interview Database
• Notes on Beatles, by Alan Pollack
• The Beatles Timeline
• Beatles Tour of Hamburg
• The Internet Beatles Album
• The Beatles on TIME's 100 Best Albums

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• English musical groups
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• The Beatles
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• George Harrison
• John Lennon
• Paul McCartney
• Ringo Starr
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