The Beatles: The Definitive History of

The Beatles were a pop and rock band from Liverpool, England formed in 1960. Primarily consisting of John Lennon (rhythm guitar, vocals), Paul McCartney (bass guitar, vocals), George Harrison (lead guitar, vocals) and Ringo Starr (drums, vocals) throughout their career, The Beatles are recognised for leading the mid-1960s musical "British Invasion" into the United States. Although their initial musical style was rooted in 1950s rock and roll and homegrown skiffle, the group explored genres ranging from Tin Pan Alley to psychedelic rock. Their clothes, styles, and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s. After the band broke up in 1970, all four members embarked upon solo careers.
The Beatles are one of the most commercially successful and critically acclaimed bands in the history of popular music, selling over a billion records internationally.[1] In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one, earning more number one albums (15) than any other group in UK chart history. This commercial success was repeated in many other countries; their record company, EMI, estimated that by 1985 they had sold over one billion records worldwide.[2] According to the Recording Industry Association of America, The Beatles have sold more albums in the United States than any other band.[3] In 2004, Rolling Stone magazine ranked The Beatles number one on its list of 100 Greatest Artists of All Time.[4] According to that same magazine, The Beatles' innovative music and cultural impact helped define the 1960s, and their influence on pop culture is still evident today. In 2008, Billboard magazine released a list of top-selling Hot 100 artists to celebrate the chart's fiftieth anniversary; The Beatles reached #1 again.[5]
Contents[hide]
1 History
1.1 1957–60: Formation
1.2 1960–62: Hamburg, Cavern Club and Brian Epstein
1.3 1962: Record contract
1.4 1962–63: Fame in the UK
1.5 1963–64: American success
1.6 1964–66: Beatlemania crosses the Atlantic
1.7 1966: Backlash and controversy
1.8 1966–69: Studio years
1.9 1969–70: Let It Be project and breakup
1.10 1970 – 1993: Post-breakup
1.11 1994 – 1996: reunion and Anthology
1.12 1996 – present: recent projects and developments
2 Musical evolution
3 Films
4 Influence on popular culture
4.1 Radio
4.2 Recreational drug use
5 Discography
5.1 Song catalogue
5.2 Studio albums
5.3 CD releases
5.4 2009 CD remasters
6 See also
7 Notes
8 References
9 Further reading
10 External links
//

History

1957–60: Formation
Main article: The Quarrymen
In March 1957, while attending Quarry Bank Grammar School in Liverpool, John Lennon formed a skiffle group called The Quarrymen.[6] Lennon met guitarist Paul McCartney in St. Peter's Church, on 6 July 1957; Lennon added him to the group a few days later.[7] On 6 February 1958 the 14-year-old guitarist George Harrison was invited to watch the group, which was then playing under a variety of names, at Wilson Hall, Garston, Liverpool.[8] McCartney had become acquainted with Harrison on the morning bus ride to the Liverpool Institute, as they both lived in Speke. Despite Lennon's initial reluctance due to Harrison's young age, Harrison joined the Quarrymen as lead guitarist at McCartney's insistence after a rehearsal in March 1958.[9][10] Lennon and McCartney both played rhythm guitar during that period and, after original Quarrymen drummer Colin Hanton left the band in 1959 following an argument with other band members, had a high turnover of drummers. Lennon's art school friend Stuart Sutcliffe joined on bass in January 1960.[11][12]
The Quarrymen went through a progression of names, including "Johnny and the Moondogs" and "Long John and The Beatles". Sutcliffe suggested the name "The Beetles" as a tribute to Buddy Holly and The Crickets. After a tour with Johnny Gentle in Scotland, the band changed their name to "The Beatles". Lennon's first wife, Cynthia Lennon, suggested that Lennon came up with the name The Beatles at a "brainstorming session over a beer-soaked table in the Renshaw Hall bar."[13] Lennon, who was well known for giving multiple versions of the same story, joked in a 1961 Mersey Beat newspaper 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'".[14] During an interview in 2001, McCartney took credit for the peculiar spelling of the name, saying that "John had the idea of calling us the Beetles; I said, 'How about The Beatles; you know, like the beat of the drum?' At the time, everyone was stoned enough to find it hilarious. It's funny how history is made."[15]
In May 1960, the then Silver Beetles toured northeast Scotland as a back-up band with singer Johnny Gentle, whom the band had met an hour before their first gig.[11] McCartney referred to the tour as a great experience for the band.[16] For the tour, the often drummer-less group secured the services of Tommy Moore, who was considerably older than the others.[17] Moore left the band soon after the tour and went back to work in a bottling factory as a forklift truck driver.[18] Norman Chapman was the band's next drummer, but was called up for National Service a few weeks later. His departure posed a serious problem, for the group's unofficial manager, Allan Williams, had arranged for them to perform in clubs on the Reeperbahn in Hamburg, West Germany.[19]

1960–62: Hamburg, Cavern Club and Brian Epstein
Finding themselves without a drummer before their upcoming engagement in Hamburg, the group invited Pete Best to become their drummer on 12 August 1960. Best had played with The Blackjacks in The Casbah Coffee Club, owned by his mother, Mona Best; a cellar club in West Derby, Liverpool, The Beatles played there and often visited.[20] Four days after hiring Best, the group left for Hamburg. The Beatles began playing in Hamburg at the Indra Club and moved to the Kaiserkeller in October 1960. They were required to play six or seven hours a night, seven nights a week. On 21 November 1960 Harrison was deported for having lied to the German authorities about his age.[21] A week later, having started a small fire at their living quarters while vacating it for more luxurious rooms, McCartney and Best were arrested, charged with arson, and deported.[22] Lennon followed the others to Liverpool in mid-December while Sutcliffe stayed behind in Hamburg with his new German fiancée Astrid Kirchherr. The reunited group played an engagement on 17 December 1960 at the Casbah Club, with Chas Newby substituting for Sutcliffe.[23]

The Indra Club, where The Beatles first played on arriving in Hamburg, as it appears today.
The Beatles returned to Hamburg in April 1961, performing at the "Top Ten Club". While playing at the Top Ten Club, they were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label,[24] produced by famed bandleader Bert Kaempfert.[25] 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.[26] A few copies were also pressed under the Decca label for United States disc jockeys, as American Decca had a distribution deal with Polydor parent Deutsche Grammophon.[27] When the group returned to Liverpool, Sutcliffe stayed in Hamburg with Kirchherr.[28] McCartney took over bass duties.[29]
The band returned to Liverpool from Germany, and on Tuesday, 21 February 1961, they made their first lunchtime appearance at The Cavern Club in Mathew Street. Their stage show had been through a lot of changes, and some in the audience thought they were watching a German band. From 1961 to 1962 The Beatles made 292 appearances at the club, culminating in a final appearance there on 3 August 1963.[30] On 9 November 1961, Brian Epstein, owner of the North End Music Store (NEMS) on Great Charlotte Street, saw The Beatles for the first time in the club. Epstein became aware of the group after he received requests for the Sheridan/Beatles recording of "My Bonnie."
In a meeting with the group at North End Music Store on 10 December 1961, Brian Epstein proposed the idea of managing the group.[31] The Beatles signed a five-year contract with Epstein on 24 January 1962.[32] He then formed the management company NEMS Enterprises. Epstein led The Beatles' search for a British recording contract. Epstein had been manager of the record department at NEMS, an offshoot of his family's furniture store. He played on the status of NEMS as a major record dealer to gain access to producers and recording company executives. When Epstein contacted Kaempfert about the Polydor contract, Kaempfert told Epstein he was only interested in The Beatles as Sheridan's backup group. Kaempfert then agreed to release The Beatles from their Polydor 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."[33] (See The Decca audition.) While Epstein was negotiating with Decca, he also approached EMI marketing executive Ron White.[34] White, who was not himself a record producer, in turn contacted EMI producers Norrie Paramor, Walter Ridley, and Norman Newell; all of them declined to record The Beatles. White did not approach EMI's fourth staff producer — George Martin — who was on holiday at the time.[35] The Beatles returned to Hamburg from 13 April to 31 May 1962, where they performed at the opening of The Star Club.[36] Upon their arrival, they were informed of Sutcliffe's death from a brain hemorrhage.[37]

1962: Record contract
After failing to impress Decca Records, Epstein went to the HMV store on Oxford Street in London to transfer the Decca tapes to discs. There, recording engineer Jim Foy referred him to Sid Coleman, who ran EMI's publishing arm. Epstein eventually met with Martin, who signed the group to EMI's Parlophone label on a one-year renewable contract.[38] The Beatles' first recording session was scheduled for 6 June 1962 at EMI's Abbey Road Studios in north London.[39] Martin had not been particularly impressed by the band's demo recordings, but he liked The Beatles' personalities when he met them.[40] He concluded that they had raw musical talent, but stated in later interviews that what made the difference for him was their wit and humour.[41]
Martin had a problem with Pete Best,[40] whom he criticised for not being able to keep time. Martin privately suggested to Epstein that the band use another drummer in the studio. There was speculation by some that Best's popularity with fans was another source of friction.[42] In addition, Epstein became exasperated with his refusal to adopt the distinctive hairstyle as part of the band's unified look. Best also had missed a number of engagements because of illness. The three founding members of the band enlisted Epstein to dismiss Best, which he did on 16 August 1962.[43] They asked Richard Starkey, known as Ringo Starr, to join the band; Starr was the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, and had performed occasionally with The Beatles in Hamburg.[44] 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.[45] 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.[46] White's only released performances were recordings of "Love Me Do" and "P.S. I Love You", found on The Beatles' first album.
Their recording contract paid them one penny for each single sold, which was split amongst the four Beatles — one farthing per group member.[47] This royalty rate was reduced for singles sold outside the UK, for which they received half of one penny (again split between the whole band) per single. Martin said later that it was a "pretty awful" contract.[47]
The Beatles' first EMI session on 6 June 1962 did not yield any recordings considered worthy of release, but the September sessions a few months later produced a minor UK hit "Love Me Do", which peaked on the charts at number seventeen.[48] "Love Me Do" would reach the top of the U.S. singles chart over eighteen months later in May 1964.

1962–63: Fame in the UK
On 26 November 1962 the band recorded their second single "Please Please Me", which reached number two on the official UK charts and number one on the NME chart. Three months later, they recorded their first album, also titled Please Please Me (1962). The band's first televised performance was on the People and Places programme, transmitted live from Manchester by Granada Television on 17 October 1962.[49] As The Beatles' fame spread, the frenzied adulation of the group, predominantly from teenage female fans, was dubbed "Beatlemania".
The band also began to be noticed by serious music critics. On 23 December 1963, The Times music critic William Mann published an essay extolling The Beatles' compositions, including their "fresh and euphonious" guitars in "Till There Was You", their "submediant switches from C major into A flat major", and the "octave ascent" in "I Want to Hold Your Hand".[50] The Beatles themselves were perplexed by this analysis by Mann: "...one gets the impression that they think simultaneously of harmony and melody, so firmly are the major tonic sevenths and ninths built into their tunes, and the flat-submediant key-switches, so natural is the Aeolian cadence at the end of 'Not a Second Time' (the chord progression which ends Mahler's 'Song of the Earth')."[51]

The "drop-T" logo
In was also in 1963 that the Beatles' iconic logo (referred to as the "drop-T" logo) made its debut. The logo, with an extended "T" emphasizing the word "Beat", was designed by Ivor Arbiter, music store proprietor, who sold Epstein a new kit. Arbiter was paid £5 for the design, which was painted on the bass drum by a local sign-writer.[52]

1963–64: American success
Although the band experienced huge popularity on the British record charts in early 1963, EMI's American operation, Capitol Records, declined to issue the singles "Please Please Me" and "From Me to You", their first official number one hit in the UK.[53] Vee-Jay Records, a large independent (mostly R&B) Chicago label, issued the singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of popular Chicago radio station WLS, placed "Please Please Me" into radio rotation in late February 1963, arguably the first time a Beatles record was heard on American radio. Vee-Jay's rights to The Beatles were later cancelled for non-payment of royalties.[54]
In August 1963, Philadelphia-based Swan Records released "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand produced laughter from American teenagers when they saw the group's distinctive hairstyles.[55] In early November 1963, Brian Epstein persuaded Ed Sullivan to present 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 of "I Want to Hold Your Hand".[56] On 10 December 1963, a 5-minute story shot in England about the phenomenon of Beatlemania was shown on the CBS Evening News. The segment first aired on the CBS Morning News on 22 November and had originally been scheduled to be repeated on that day's Evening News, but regular programming was cancelled following the assassination of John F. Kennedy that day. The segment inspired a teenage girl named Marsha Albert living in Silver Spring, Maryland to write to Carroll James, a disc jockey at Washington DC's WWDC radio station, requesting that he play records by The Beatles. Carroll James had seen the same news story and arranged through a friend to have a copy of The Beatles' new single "I Want to Hold Your Hand" sent over to him in Washington DC. Immediately after debuting the record on December 17, the station received overwhelming positive audience reaction, with the station escalating airplay of the record. Made aware of the overwhelming listener response, Capitol Records president Alan Livingston decided a few days later to take advantage of the response and rush-release the already-prepared single three weeks ahead of schedule on 26 December 1963.[57]
Music sample:
"I Want to Hold Your Hand"
Sample of "I Want to Hold Your Hand".Problems listening to the file? See media help.
Several New York radio stations began playing "I Want to Hold Your Hand" on its release day. The positive response to the record 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 1964, Cashbox magazine had certified the record number one, in the edition datelined 23 January.

The Beatles as they arrive at JFK Airport, New York City on 7 February 1964

1964–66: Beatlemania crosses the Atlantic
On 7 February 1964, a crowd of four thousand fans at Heathrow Airport waved to The Beatles as they took off for their first trip to the United States as a group.[58] They were accompanied by photographers, journalists (including Maureen Cleave), and Phil Spector, who had booked himself on the same flight.[59] When the group arrived at New York's newly renamed John F. Kennedy Airport, they were greeted by a large crowd. The airport had never experienced such a crowd, estimated at about 3,000 fans.[60] After a press conference, where they first met disc jockey Murray the K, The Beatles were put into limousines and driven to New York City. On the way, McCartney turned on a radio and listened to a running commentary: "They [The Beatles] have just left the airport and are coming to New York City..."[61] After reaching the Plaza Hotel, they were besieged by fans and reporters. Harrison had a fever of 102 °F (39 °C) the next day and was ordered to stay in bed, so Neil Aspinall replaced him for the band's first rehearsal for their appearance on The Ed Sullivan Show.[62]
The Beatles made their first live American television appearance on The Ed Sullivan Show on 9 February 1964. Approximately 74 million viewers — about half of the American population — watched the group perform on the show.[63] The next morning, many newspapers wrote that The Beatles were nothing more than a "fad", and "could not carry a tune across the Atlantic".[64] The band's first American concert appearance was at Washington Coliseum in Washington, D.C. on 11 February 1964.[65]
After The Beatles' success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to the group's early recordings and reissued the songs; all the songs reached the top ten this time. (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", the latter featuring John Lennon on lead vocal.) In addition to Introducing... The Beatles (1964), 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 2-LP set paired Introducing... The Beatles and The Golden Hits Of 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 consisted of two lengthy interviews with Los Angeles radio disc jockeys (side one was titled "Dave Hull interviews John Lennon", while side two was titled "Jim Steck interviews John, Paul, George, Ringo"). No Beatles music was included on this interview album, which turned out to be the only Vee-Jay Beatles album Capitol Records could not reclaim.
The Vee-Jay/Swan-issued recordings eventually ended up with Capitol, which issued most of the Vee-Jay material on the American-only Capitol release The Early Beatles, with three songs left off this final US version of the album. ("I Saw Her Standing There" was issued as the American B-side of "I Want to Hold Your Hand", and also appeared on the Capitol Records album Meet The Beatles. "Misery" and "There's a Place" were issued as a Capitol "Starline" reissue single in 1964, and reappeared on Capitol's 1980 US version of the Rarities compilation album.) The early Vee-Jay and Swan Beatles records command a high price on the record collectors' market today, and all have been copiously bootlegged.[66] The Swan tracks "She Loves You" and "I'll Get You" were issued on the Capitol LP The Beatles' Second Album. Swan also issued the German-language version of "She Loves You", called "Sie Liebt Dich". This song later appeared (in stereo) on Capitol's Rarities album.
In mid-1964 the band undertook their first appearances outside of Europe and North America, touring Australia; Ringo Starr was suffering from tonsillitis and was temporarily replaced by session drummer Jimmy Nicol. In Adelaide, The Beatles were greeted by over 300,000 people at Adelaide Town Hall.[67] Ringo had rejoined by the time they arrived in New Zealand on 21 June 1964.[68]
On 6 June 1964, A Hard Day's Night, the first movie starring The Beatles, was released in the United Kingdom. Directed by Richard Lester, the film is a mockumentary of the four members as they make their way to a London television programme. The film, released at the height of Beatlemania, was well-received by critics, and remains one of the most influential jukebox musicals.[69][70] That December the group released their fourth album, Beatles for Sale.
In June 1965, Her Majesty Queen Elizabeth II appointed the four Beatles Members of the Order of the British Empire, MBE. The band members were nominated by Prime Minister Harold Wilson, who also was the M.P. for Huyton, Liverpool.[71] The appointment – at that time primarily bestowed upon military veterans and civic leaders – sparked some conservative MBE recipients to return their insignia in protest.[72] In July 1965, The Beatles's second feature film, Help!, was released. The film was accompanied by the band's fifth British studio album Help!, which also functioned as the soundtrack for the movie. On 15 August 1965, The Beatles performed the first major stadium concert in the history of rock 'n' roll at Shea Stadium in New York to a crowd of 55,600.[73]
On 27 August 1965, the group arrived at a Bel Air mansion to meet Elvis Presley.[74] Biographer Peter Guralnick maintains that Presley was at best "lukewarm" about playing host to people he did not really know.[74] Paul McCartney later said: "It was one of the great meetings of my life ... I only met him that once, and then I think the success of our career started to push him out a little, which we were very sad about, because we wanted to coexist with him."[75] Marty Lacker, a friend of Presley's, recalls the singer saying: "'Quite frankly, if you guys are going to stare at me all night, I'm going to bed. I thought we'd talk a while and maybe jam a little.' And when he said that, they [The Beatles] went nuts."[76] The group told stories, joked and listened to records. The five of them had an impromptu jam session.[75] "They all went to the piano," says Lacker, "and Elvis handed out a couple of guitars. And they started singing Elvis songs, Beatle songs, Chuck Berry songs. Elvis played Paul's bass part on "I Feel Fine", and Paul said something like, 'You're coming along quite promising on the bass there, Elvis.' I remember thinking later, 'Man, if we'd only had a tape recorder.'"[76]
Their sixth album, Rubber Soul, was released in early December 1965. It was hailed as a major leap forward in the maturity and complexity of the band's music.[77]
Music sample:
"Help!"
Sample of "Help!".Problems listening to the file? See media help.

1966: 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.[78] 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.[79] 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, road manager Mal Evans was beaten and kicked, and the band members were pushed and jostled about by a hostile crowd.[80] Once the group boarded the plane, Epstein and Evans were ordered off, and Evans said, "Tell my wife that I love her."[81] 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.[82]
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,[83] Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now".[84] 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, Harrison said, "They've got to buy them before they can burn them."[85] Under tremendous pressure from the American media, Lennon apologised for his remarks at a press conference in Chicago on 11 August 1966, the eve of the first performance of what turned out to be their final tour.[86]
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 dressed in butchers' overalls, draped in meat and plastic dolls. A popular, though apocryphal, rumour said that this was meant as a response to the way Capitol had "butchered" their albums.[87] Thousands of copies of the album had a new cover pasted over. Years later, a commentator linked the cover shot with the group's interest in German expressionism.[86] Uncensored copies of Yesterday and Today command a high price today, with one copy selling for $10,500 at a December 2005 auction.[88]
Elvis Presley apparently disapproved of The Beatles's anti-war activism and open use of drugs, later asking President Richard Nixon to ban all four members of the group from entering the United States. Peter Guralnick writes, "The Beatles, Elvis said, [...] had been a focal point for anti-Americanism. They had come to this country, made their money, then gone back to England where they fomented anti-American feeling."[89] Guralnick adds, "Presley indicated that he is of the opinion that The Beatles laid the groundwork for many of the problems we are having with young people by their filthy unkempt appearances and suggestive music while entertaining in this country during the early and middle 1960s."[90] Despite Presley's remarks, Lennon still had some positive feelings towards him: "Before Elvis, there was nothing."[91] McCartney later remarked that he "felt a bit betrayed [by Presley's views] ... The great joke was that we were taking drugs, and look what happened to [Elvis]. ... It was sad, but I still love him. ..."[92] Bob Dylan however, recognised The Beatles' contribution, stating: "America should put up statues to The Beatles. They helped give this country's pride back to it."[93]

1966–69: Studio years
Music sample:
"Strawberry Fields Forever"
Sample of "Strawberry Fields Forever".Problems listening to the file? See media help.
Music sample:
"A Day in the Life"
Sample of "A Day in the Life", a track appearing on Sgt. Pepper.Problems listening to the file? See media help.
During the recording sessions for Revolver, tape looping and early sampling were introduced in a complex mix of ballad, R&B, soul, and world music. The Beatles performed their last concert before paying fans at Candlestick Park in San Francisco on 29 August 1966.[86][94] From then on, The Beatles concentrated on recording. Less than seven months after recording Revolver, The Beatles 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.
The band appeared in a segment within the first-ever worldwide television satellite hook-up, a show titled 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, albeit to the accompaniment of a backing track they had spent five days recording and mixing in the studio prior to the broadcast.[95]
On 24 August 1967, The Beatles met the Maharishi Mahesh Yogi at the London Hilton. A few days later they went to Bangor, in North Wales, to attend a weekend 'initiation' conference.[96] There, the Maharishi gave each of them a mantra.[97][98] While in Bangor, The Beatles learned of the death of Brian Epstein at age 32 from an accidental prescription drug overdose. At the end of 1967, they received their first major negative press in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour.[99] Part of the criticism arose because colour was an integral part of the film, yet the film was shown on Boxing Day in black and white. The Magical Mystery Tour film soundtrack, was released in the United Kingdom as a double EP, and in the United States as a full LP (the LP is now the official version).
The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi.[100] Their time at the Maharishi's ashram was highly productive from a musical standpoint, as many of the songs that would later be recorded for The Beatles (White Album) and Abbey Road were composed there by Lennon, McCartney, and Harrison.[100] Upon their return, Lennon and McCartney went to New York to announce the formation of Apple Corps.[101] The middle of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album because of its plain white cover. These sessions saw deep divisions opening within the band, with Starr temporarily leaving the band. The band carried on, with McCartney taking over the drums on the tracks "Martha My Dear", "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 almost all of the sessions, and that the others felt that McCartney was becoming too dominant.[102] Internal divisions had been a small but growing problem in the band; most notably, this was reflected in the difficulty that Harrison experienced in getting his songs onto The Beatles albums.
On the business side, Lennon, Harrison and Starr wanted New York manager Allen Klein to manage The Beatles; however, McCartney wanted businessman Lee Eastman (the father of McCartney's then-girlfriend Linda). All past Beatles decisions had been unanimous, but this time the four could not agree. The other three members felt Eastman would put McCartney's interests before those of the group (during the Anthology interviews, McCartney said, "Looking back, I can understand why they would feel that (Eastman) was biased for me and against them"). In 1971, it was discovered that Klein, who had been appointed manager, had stolen £5 million from The Beatles' holdings.

1969–70: Let It Be project and breakup
Main article: The Beatles' breakup
In January 1969, The Beatles began a film project documenting the making of their next record, originally titled Get Back. During the recording sessions, the band undertook their final live performance on the rooftop of the Apple building at 3 Savile Row, London, on 30 January 1969. Most of the performance was filmed and later included in the film Let It Be. The project was temporarily shelved, and The Beatles 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 1969 was the last time all four Beatles were together in the same studio. Lennon announced his departure to the rest of the group on 20 September 1969, but agreed that no announcement was to be publicly made until a number of legal matters were resolved. Their final new song was Harrison's "I Me Mine", recorded 3 January 1970 and released on the Let It Be album. It was recorded without Lennon, who was in Denmark at the time.[103]
Music sample:
"Get Back"
Sample of "Get Back".Problems listening to the file? See media help.
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 values went 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.[104] 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 wasn't dissolved until 1975,[105] though McCartney filed a suit for the dissolution on 31 December 1970, effectively ending the band's career together.[106]

1970 – 1993: Post-breakup

Apple Building at 3 Savile Row, site of the Let It Be rooftop concert
Shortly before and after the official dissolution of the group, all four Beatles released solo albums. 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. Harrison showed his socio-political consciousness and earned respect for his contribution for arranging the Concert For Bangladesh in New York City in August 1971 along with sitar maestro Ravi Shankar. 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.
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 compilation of tracks that either had never been released in the U.S. or had gone out of print), and Reel Music (a compilation of songs from their films). There was also a non-Capitol-EMI release entitled Live! at the Star-Club in Hamburg, Germany; 1962, which was a recording 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.
John Lennon was shot and killed by Mark David Chapman on 8 December 1980 in New York City. In May 1981, George Harrison released "All Those Years Ago"; a single written about his time with The Beatles. It was recorded the month before Lennon's death, with Starr on drums, and was later overdubbed with new lyrics as a tribute to Lennon. Paul and Linda McCartney later contributed backing vocals to the track.[107] In April 1982, Paul McCartney released his Tug of War album, containing his tribute song to John Lennon, titled "Here Today".
In 1988, The Beatles were inducted into the Rock and Roll Hall of Fame during their first year of eligibility.[108] On the night of their induction, Harrison and Starr appeared to accept their award along with Lennon's widow Yoko Ono and his two sons. McCartney stayed away, issuing a press release citing "unresolved difficulties" with Harrison, Starr and Lennon's estate.

1994 – 1996: reunion and Anthology
In February 1994, the three 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, the compilation album 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 ninth best selling album of all time).

1996 – present: recent projects and developments
In the late 1990s, George Harrison was diagnosed with lung cancer. He succumbed to the disease on 29 November 2001.[109]
George Martin and his son Giles Martin remixed original Beatles recordings to create a soundtrack to accompany Cirque du Soleil's theatrical production Love. The soundtrack album Love was released in 2006. In 2007, McCartney and Starr reunited for an interview on Larry King Live to discuss their thoughts on the show. Beatles widows Yoko Ono and Olivia Harrison also appeared with McCartney and Starr in Las Vegas for the one-year anniversary of Love.
Also in 2007, reports circulated[110] that McCartney was hoping to complete "Now and Then", the third Lennon track the band worked on during the Anthology sessions. It would be credited as a "Lennon/McCartney composition" by writing new verses, and reworked by laying down a new drum track recorded by Starr and utilizing archival recordings of Harrison's guitar work.
Lawyers for The Beatles sued on 21 March 2008 to prevent the distribution of unreleased recordings purportedly made during Ringo Starr's first performance with the group in 1962. The dispute between Apple Corps Ltd. and Fuego Entertainment Inc. of Miami Lakes stems from recordings apparently made during a performance at the Star Club in Hamburg, Germany.[111]

Musical evolution
See also: The Beatles' influence on music recording
The Beatles' constant demands to create new sounds on every new recording, combined with George Martin's arranging abilities and the studio expertise of EMI staff engineers such as Norman Smith, Ken Townsend 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 long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries. Other contemporary influences included the Byrds and the Beach Boys, whose album Pet Sounds was a favourite of McCartney's.[112] Beatles producer George Martin stated that "Without Pet Sounds, Sgt. Pepper wouldn't have happened... Pepper was an attempt to equal Pet Sounds."[113] After Sgt. Pepper was released, Beach Boys' leader Brian Wilson was so despondent that he went to bed for months.[114] Lennon also named Elvis Presley as a spark that interested himself in music:
It was Elvis who really got me buying records. I thought that early stuff of his was great. The Bill Haley era passed me by, in a way. When his records came on the wireless, my mother used to hear them, but they didn’t do anything for me. It was Elvis who got me hooked on beat music. When I heard 'Heartbreak Hotel', I thought ‘this is it’ and I started to grow sideboards and all that gear...."[115]
Along with studio tricks such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, The Beatles began to augment their recordings with instruments that were unconventional for rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar in "Norwegian Wood (This Bird Has Flown)" and the swarmandel in "Strawberry Fields Forever".[116] They also used early electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the intro to "Strawberry Fields Forever",[117] and the clavioline, an electronic keyboard that created the unusual oboe-like sound on "Baby You're a Rich Man".[118]
Beginning with the use of a string quartet (arranged by George Martin with input from McCartney) 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 Brandenburg Concerto No. 2 directly inspired McCartney's idea to include a piccolo trumpet on the arrangement of "Penny Lane".[119] 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.

Films
Main article: The Beatles in film
The Beatles appeared in five motion pictures, 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, directed, and starred in the hour-long television movie Magical Mystery Tour (1967). 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. Their final film, the documentary Let It Be, released in 1970, followed the rehearsals and recording sessions for the early 1969 Get Back project and won the Academy Award in 1971 for Best Original Song Score.
During 1965-1969, The Beatles were the subject of their own Saturday morning cartoon series, which loosely continued the kind of slapstick antics of A Hard Day's Night. Two Beatles songs were played in each half-hour show, with The Beatles' cartoon counterparts "lip-synching" the actual Beatles recordings. Some of the song performances, such as those from A Hard Day's Night, appeared to have been rotoscoped. The regular speaking voices of the characters were not supplied by The Beatles themselves, but rather by voice artists Paul Frees and Lance Percival.[120]

Influence on popular culture
Main article: The Beatles' influence on popular culture

Radio
The arrival of The Beatles is seen in radio as a touchstone in music signalling an end to the rock-and-roll era of the 1950s. Program Directors like Rick Sklar of WABC in New York went as far as forbidding DJs from playing any "pre-Beatles" music.[121]

Recreational drug use
In Hamburg, The Beatles used "prellies" (Preludin) both recreationally and to maintain their energy through all-night performances.[122] McCartney would usually take one, but Lennon would often take four or five.[122] Bob Dylan introduced them to cannabis during a 1964 visit to New York.[123] McCartney remembered them all getting "very high" and giggling.[124] The Beatles occasionally smoked a joint in the car on the way to the studio during the filming of Help!, which often made them forget their lines.[125]
In April 1965, Lennon and Harrison were introduced to LSD by an acquaintance, dentist John Riley, who slipped some into their coffees.[126] McCartney was more reluctant to try the drug, but finally did so in 1966 and was the first Beatle to talk about it in the press, saying in June 1967 that he took it four 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.[127]

Discography
Main article: The Beatles discography
Further information: List of Beatles songs, The Beatles record sales, worldwide charts, and The Beatles bootlegs

Song catalogue
Main article: Northern Songs
In 1963 Lennon and McCartney agreed to assign their song publishing rights to Northern Songs, a company created by music publisher Dick James.[128] 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 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 period 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[129] (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 its music publishing businesses.[129] Since 1995, Jackson and Sony/ATV Music Publishing have jointly owned most of the Lennon-McCartney songs recorded by The Beatles. 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 and HIStory album)
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 and 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, 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".
The Beatles are one of the few major artists who have not released their recorded catalogue through online music services (for example, iTunes and Napster). Apple Corp's dispute with Apple, Inc. (the owners of iTunes) over the use of the name "Apple" has played a particular part in this. An uneasy truce between the two companies broke when Apple Computers opened the iTunes Store, after which Apple Corp sued Apple, Inc. This was resolved in February 2007, with Apple Computer owning the Apple name but licensing it back to Apple Records. Following the resolution, several solo albums by Lennon and McCartney were released to the iTunes Music Store. As of November 2007, all of the band members' solo catalogues have been released on iTunes.

Studio albums
Please Please Me (Parlophone, 1963)
With The Beatles (Parlophone, 1963)
A Hard Day's Night (Parlophone, 1964)
Beatles for Sale (Parlophone, 1964)
Help! (Parlophone, 1965)
Rubber Soul (Parlophone, 1965)
Revolver (Parlophone, 1966)
Sgt. Pepper's Lonely Hearts Club Band (Parlophone, 1967)
Magical Mystery Tour (U.S. only. Released as a Double EP in the UK) (Capitol, 1967)
The Beatles ("The White Album") (Apple, 1968)
Yellow Submarine (Apple, 1969)
Abbey Road (Apple, 1969)
Let It Be (Apple, 1970)

CD releases
In 1987, EMI released all of The Beatles' studio albums on CD worldwide. Apple Corps decided to standardize The Beatles catalogue throughout the world. They chose to release the twelve original studio albums as released in the United Kingdom, as well as the Magical Mystery Tour U.S. album, which had been released as a shorter Double EP in the UK. All of the remaining Beatles material from the singles and EPs from 1962–1970 which had not been issued on the original British studio albums were gathered on the Past Masters double album compilation:
Past Masters, Volume One (1988)
Past Masters, Volume Two (1988)
The U.S. album configurations from 1964-65 were released as box sets in 2004 and 2006 (The Capitol Albums Volume 1 and Volume 2 respectively); these included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of their original 1960s releases in the United States.

2009 CD remasters
All albums by the Beatles (including Past Masters, Volume One and Past Masters, Volume Two) will be released newly remastered sometime in 2009 on CD.[130][131] The 2009 remasters will replace the infamously poor quality 1987 remasters.[130][131] Mojo Magazine's Mat Snow was invited to hear 10 remastered tracks from 1968's The White Album and stated that they were "Better even than we'd hoped." [132]

See also

The Beatles portal
The Beatles' line-ups
Lennon/McCartney
The Beatles' influence on music recording
The Beatles' influence on popular culture
The Beatles' instrumentation
List of best-selling music artists
List of artists who have covered the Beatles
Lists of solo albums by The Beatles
Abbey Road on the River — largest Beatles festival in the United States

Notes
^ "In This Month: June". uktv. Retrieved on 2008-08-15.
^ "1960-1969". EMI Group Ltd.. Retrieved on 2008-05-31.
^ "The American Recording Industry Announces its Artists of the Century". Recording Industry Association of America (RIAA) (10 Nov 1999). Retrieved on 2007-06-26.
^ "The Immortals: The First Fifty". Rolling Stone Issue 946. Rolling Stone. Retrieved on 2008-07-08.
^ "The Billboard Hot 100 All-Time Top Artists (20-01)" (11 September 2008). Retrieved on 2008-09-13.
^ Unterberger. "The Beatles Overview". Macrovision Corp. Retrieved on 2008-05-30.
^ Spitz (2005), p.93
^ O'Brien (2001), p.12
^ Miles (1998), p.47
^ Spitz (2005), pp.126–127
^ a b Coleman (1984), p.212
^ Lennon (2006), p.66
^ Lennon (2006), p.65
^ Davies (1985), p.42
^ O'Brien (2001), p.22
^ Spitz (2005), pp.188–193
^ Lewisohn (1992), p.92
^ Ray (1984), p.213
^ Lewisohn (1992), p.215
^ "From Blackjacks to Beatles: How the Fab Four Evolved". Retrieved on 2006-06-21.
^ Lennon (2006), p.93
^ Lewisohn (1992), p.24
^ Spitz (2005), pp.4–5
^ Lennon (2006), p.97
^ Lewisohn (1996), p.42
^ Spitz (2005), p.250
^ Palowski (1989), p.64
^ Lewisohn (1992), p.25
^ Miles (1998), p.74 It was Astrid Kirchherr who shot the famous black and white headshots, but contrary to popular belief, did not invent the distinctive haircut of the group
^ see 'Lennon - The Definitive Biography' by Ray Coleman p720
^ Miles (1998), p.85
^ Miles (1998), p.88
^ The Beatles (2000), p.68
^ Coleman (1989), pp.88–89
^ Coleman (1989), pp.93–94
^ Lewisohn (1996), p.69
^ Lennon (2006), p.109
^ Miles (1997), p.90
^ Davies (1985), p.178
^ a b Spitz (2005), p.318
^ Spitz (2005), pp.318–319
^ Spitz (2005), p.322
^ Spitz (2005), p.330
^ Spitz (2005), p.328
^ Lu Walters' recording session Retrieved: 29 January 2007
^ Spitz (2005), p.353
^ a b [1] Mirror of "Beatles History: 1962" at Beatles Discography. Retrieved: 29 January 2007
^ Love Me Do Retrieved: 29 January 2007
^ Harry (2000), p.516
^ "William Mann essay". Jolomo.net. Retrieved on 2008-10-02.
^ Pedler (2003), p.123
^ "Ivor Arbiter, Captain of the music industry and designer of the Beatles' 'drop-T' logo (obituary)". The Independent (2005-09-24). Retrieved on 2008-10-15.
^ JPGR Retrieved: 29 January 2007
^ "The Beatles on Vee Jay Records". Retrieved on August 19, 2006. Retrieved: 29 January 2007
^ Spitz (2005), p.461
^ JPGR I Want to Hold Your Hand releaseRetrieved: 29 January 2007
^ I Want to Hold Your Hand Retrieved: 29 January 2007.
^ Spitz (2005), p.457
^ Spitz (2005), p.458
^ Spitz (2005), p.459
^ Spitz (2005), p.462
^ Spitz (2005), p.464
^ Kozinn, Alan. "Critic's Notebook; They Came, They Sang, They Conquered". The New York Times. 6 February 2004. Retrieved on 4 June 2008.
^ Spitz (2005), p.473
^ Harry, Bill (2000). The Beatles Encyclopedia: Revised and Updated.
^ Rare Beatles Retrieved: 29 January 2007
^ Ficher, P. and Seamark, K. H. (2005). Vintage Adelaide. East Street Publications, 70–71. ISBN 1-921037-06-7.
^ Beatles in New Zealand Retrieved: 11 July 2007
^ Sarris, Andrew (2004). "A Hard Day's Night", in Elizabeth Thomson, David Gutman: The Lennon Companion. New York: Da Capo Press. ISBN 0306812703.
^ Schickel, Richard, Corliss, Richard (2007-02-19). "ALL-TIME 100 MOVIES". TIME. Retrieved on 2008-02-27.
^ Spitz (2005), p.556
^ Spitz (2005), p.557
^ The Beatles Off The Record. London: Omnibus Press, p.193. ISBN 0-7119-798-5-5
^ a b Guralnick 1999, p.211
^ a b Elvis Presley News
^ a b Nash, Smith, Lacker and Fike (2005), Elvis and the Memphis Mafia, p359-360
^ "Allmusic Rubber Soul review". Retrieved on 2007-06-14.
^ Spitz (2005), p.619
^ Spitz (2005), p.620
^ Spitz (2005), p.623
^ Spitz (2005), p.624
^ Spitz (2005), p.625
^ "The John Lennon I Knew" from The Telegraph, 5 October 2006. Retrieved: 29 January 2007
^ Cleave, Maureen (1966). "How Does a Beatle Live? John Lennon Lives Like This". London Evening Standard 4 March 1966.
^ Blecha, Peter (2004). Taboo Tunes: A History of Banned Bands & Censored Songs. Backbeat, 181. ISBN 0-087930-792-7.
^ a b c Miles (1998), pp.293-295
^ The Beatles Story, Liverpool. But see also http://www.eskimo.com/~bpentium/whobutch.html
^ Gaffney, Dennis, The Beatles' "Butcher" Cover, <http://www.pbs.org/wgbh/pages/roadshow/series/highlights/2004/chicago/follow1_2.html>. Retrieved on 6 September 2007
^ Peter Guralnick, Careless Love: The Unmaking of Elvis Presley, p.420
^ Guralnick, Careless Love, p.426 On Presley badmouthing The Beatles to President Nixon, see also Geoffrey Giuliano and Vmda Devi, Glass Onion: The Beatles in Their Own Words-Exclusive Interviews With John, Paul, George, Ringo and Their Inner Circle (1999)
^ CNN.com Elvis is still everywhere 16 August 2002. [2]
^ Brian Roylance, The Beatles Anthology, 2000, Chronicle Books. p.192
^ Sounes, Howard, Down the Highway: The Life of Bob Dylan (Doubleday 2001; ISBN 0-55299929-6) p203
^ ”The Beatles Anthology” DVD 2003 (Episode 6 - 0:21:34) McCartney talking about Candlestick Park.
^ Miles (1998), p.54
^ Beatles in Bangor bbc.co.uk 16 November 2006. Retrieved: 29 January 2007
^ Miles (1998), p.396
^ The Beatles Anthology DVD (2003) (Episode 7 - 0:10:33) Harrison talking about a mantra.
^ "Magical Mystery Tour". Archived from the original on 2007-07-02. Retrieved: 2 July 2007
^ a b Miles (1998), p.397
^ Roberts, Dave. "The Beatles". Intent Media. Retrieved on 2008-08-15.
^ Spitz (2005), pp.777–779
^ Mark Lewisohn. The Beatles Box Set booklet
^ Spitz (2005), p.853
^ The Beatles' partnership was legally dissolved in 1975 bbc.co.uk Retrieved: 26 January 2007
^ Straight Dope Staff Report: Why did the Beatles break up? The Straight Dope, Retrieved: 1 August 2008
^ Badman, Keith (1999). The Beatles After the Breakup 1970-2000: A day-by-day diary. London: Omnibus Press, 284. ISBN 0-7119-7520-5.
^ Hall of Fame Retrieved: 29 January 2007
^ "George Harrison Dies". British Broadcasting Company (30 Nov 2001). Retrieved on 2008-07-08.
^ McCartney plans last "great" song
^ Early Beatles recordings trigger legal fight - CNN.com
^ Miles (1998), pp.280–281
^ [3][dead link]
^ Jones, Chris (07 Nov 2003). "Brian Wilson: Smile". British Broadcasting Company. Retrieved on 2008-04-21.
^ "Ze King and I: John Lennon and Elvis Presley". Retrieved on 2008-04-21.
^ MacDonald, Ian (2005). Revolution in the Head:The Beatles' Records and the Sixties (2nd Revised Edition). Pimlico. ISBN 1-8441-3828-3.
^ MacDonald (2005), p.219
^ MacDonald (2005), p.259
^ MacDonald (2005), p.223
^ Alex McNeil, Total Television, 1996, Penguin Books, p.82.
^ Fisher, Marc. Something in the Air. Random House, 198. ISBN 978-0-375-50907-0.
^ a b Miles (1998), pp.66–67
^ Miles (1998), p.185
^ Miles (1998), pp.188–189
^ Miles (1998), p.198
^ Ian Herbert (2006-09-09). "Revealed: Dentist who introduced Beatles to LSD". The Independent. Retrieved on 2007-03-08. Internet Archive copy.
^ Paul McCartney’s arrest in Japan Retrieved: 29 January 2007
^ "The Beatles' Companies". Rockmine Archives. Retrieved on 2008-06-06.
^ a b "Michael Jackson Sells Rights to Beatles Songs to Sony". Associated Press (8 Nov 1995). Retrieved on 2008-06-06.
^ a b Interview with Yoko Ono
^ a b Reuters and Simon Aughton. "Remastered Beatles on iTunes in 2008". Pcpro.co.uk. Retrieved on 2008-10-02.
^ "Will Apple confirm digital Beatles in 2009 at Tuesday event? - WhatGoesOn.com". Whatgoeson.com. Retrieved on 2008-10-02.

References
Coleman, Ray (1989). Brian Epstein: The Man Who Made The Beatles. Viking. ISBN 0-670-81474-1.
Coleman, Ray (1984). Lennon: The Definitive Biography. New York: Pan Books. ISBN 0-060-98608-5.
Davies, Hunter (1985). The Beatles. McGraw-Hill. ISBN 0-070-15463-5.
Harry, Bill (2000). The Ultimate Beatles Encyclopedia. MJF Books. ISBN 1-567-31403-1.
Lennon, Cynthia (2006). John. Hodder & Stoughton. ISBN 0-340-89828-3.
Lewisohn, Mark (1992). The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years. Hamlyn. ISBN 0-681-03189-1.
Lewisohn, Mark (1996). The Complete Beatles Chronicle. Chronicle Press. ISBN 1-85152-975-6.
Miles, Barry (1998). Many Years from Now. Vintage-Random House. ISBN 0-749-38658-4.
O'Brien, Ray (2001). There are Places I'll Remember 1. London: Ray O'Brien. ISBN 0-954-44730-1.
Pedler, Dominic (2003). The Songwriting Secrets of The Beatles. Omnibus Press. ISBN 0-7119-8167-1.
Spitz, Bob (2005). The Beatles: The Biography. Little Brown. ISBN 0-316-80352-9.
Kevin Godley (director). (1995). The Beatles Anthology [DVD]. Apple Records.

Further reading
Astley, John (2006). Why Don't We Do It In The Road? The Beatles Phenomenon. The Company of Writers. ISBN 0-9551834-7-2.
Lennon, John; Paul McCartney, George Harrison, Ringo Starr (2000). The Beatles Anthology. Chronicle Books. ISBN 0-811-82684-8.
Bramwell, Tony (2005). Magical Mystery Tours. St. Martin's Press. ISBN 0-312-33043-X.
Braun, Michael (1964). Love Me Do: The Beatles' Progress, 1995 Reprint, London: Penguin Books. ISBN 0-14-002278-3.
Carr, Roy; Tyler, Tony (1975). The Beatles: An Illustrated Record. Harmony Books. ISBN 0-517-52045-1.
Cross, Craig (2005). The Beatles: Day by Day, Song by Song, Record by Record. iUniverse. ISBN 0-595-34663-4.
Dimery, Martin (2002). Being John Lennon. SAF books. ISBN 0-946719-43-8.
Emerick, Geoff; Massey, Howard Chiu (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. Gotham Books. ISBN 1-59240-179-1.
Harry, Bill (1985). The Book Of Beatle Lists. Javelin. ISBN 0-7137-1521-9.
Kirchherr, Astrid; Voorman, Klaus (1999). Hamburg Days. Genesis Publications. ISBN 0-904351-73-4. Chronicles The Beatles early years spent performing at Hamburg's Kaiserkeller, Top Ten Club, and the Star Club, 1960-1962. With Foreword by George Harrison and Afterword by Paul McCartney.
MacDonald, Ian (1995). Revolution in the Head: The Beatles' Records and the Sixties. Vintage. ISBN 0-7126-6697-4.
Mansfield, Ken (2007). The White Book. Thomas Nelson. ISBN 1-5955-5101-6.
Martin, George (1994). Summer of Love: The Making of Sgt. Pepper. Macmillan. ISBN 0-333-60398-2.
Norman, Philip (1997). Shout: The Beatles in Their Generation. MJF Books. ISBN 1-56731-087-7.
Palowski, Gareth (1989). How They Became the Beatles. Plume. ISBN 9780-45226506-6.
Porter, Alan J (2003). Before They Were Beatles: The Early Years 1956–1960. Xlibris. ISBN 1-4134-3056-2.
Ryan, Kevin; Kehew, Brian (2006). Recording The Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums. Houston: Curvebender Publishing. ISBN 0-9785200-0-9.
Schaffner, Nicholas (1977). The Beatles Forever. Cameron House. ISBN 0-8117-0225-1.
Trynka, Paul (2004). The Beatles 10 Years That Shook The World. Dorling Kindersley/Mojo. ISBN 0-7566-0670-5.
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. Discusses the inspiration for or interprets every Beatles song.

External links

Wikiquote has a collection of quotations related to:
Paul McCartney, John Lennon, George Harrison, Ringo Starr and The Beatles

Wikimedia Commons has media related to:
The Beatles
The Beatles Official site
The Beatles at The Rock and Roll Hall of Fame
The Beatles Interviews Database
The Beatles at Last.fm
The Beatles songs in the Charts
The Beatles discography at MusicBrainz
Works by or about The Beatles in libraries (WorldCat catalog)
Words and Chords: The semantic shifts of Beatles chords
[hide]
v • d • eThe Beatles
John Lennon · Paul McCartney · George Harrison · Ringo StarrPete Best · Stuart Sutcliffe
Management
Allan Williams · Brian Epstein · Allen Klein · Derek Taylor · Lee Eastman · Neil Aspinall · Peter Brown · Mal Evans · Alistair Taylor · Apple Records · Dick James
Production
George Martin · Geoff Emerick · Norman Smith · Ken Scott · Phil Spector · Jeff Lynne · Chris Thomas · Giles Martin · Abbey Road Studios
Studio albums
Please Please Me · With The Beatles · A Hard Day's Night · Beatles for Sale · Help! · Rubber Soul · Revolver · Sgt. Pepper's Lonely Hearts Club Band · The Beatles · Yellow Submarine · Abbey Road · Let It Be
Extended plays
Long Tall Sally · Magical Mystery Tour
Post-breakup albums
Live at the BBC · Anthology 1 · Anthology 2 · Anthology 3 · Yellow Submarine Songtrack · Let It Be… Naked · Love
Compilations
1962-1966 · 1967-1970 · Past Masters · 1
Filmography
A Hard Day's Night · Help! · Magical Mystery Tour · Yellow Submarine · Let It Be
Videography
The Beatles Anthology
Discography
Songs · Bootlegs · Outtakes
Related persons
Eric Clapton · Klaus Voormann · Harry Nilsson · Derek Taylor · Cynthia Lennon · Yoko Ono · Linda McCartney · Pattie Boyd · Jane Asher · Maureen Starr · Olivia Harrison · Billy Preston · Rory Storm · Tony Sheridan · Horst Fascher · Andy White · Jimmy Nicol · Astrid Kirchherr · Magic Alex · Tony Barrow · Ken Mansfield · Peter Shotton
See also
Line-ups · Record sales · Love · Lennon/McCartney · Influence · Beatle boots · The Quarrymen · The Beatles' breakup · Beatlemania · Fifth Beatle · Paul is dead · The Beatles (TV series) · British Invasion · The Ed Sullivan Show · Apple Corps · Northern Songs · Harrisongs · Startling Music · The Beatles Anthology · The Rutles · John Lennon's jukebox · List of artists who have covered The Beatles · List of solo albums by The Beatles · Beatles-Platz · The Beatles reunions