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[Aberdumbie]

In spite of John’s growing disinterest in the band toward the end, it was really Paul’s disengagement and wanting to go out on his own that really precipitated the “breakup”(at least that’s my take). What if…since John continued to work(on occasion)with George and Ringo…the three drafted Klaus to handle bass, and John brought in Harry Nilsson as a writing partner/keyboardist/guitarist? Maybe giving George more space?
While certainly not the same thing, the Stones weathered the fading away of Brian Jones, and this certainly wouldn’t exactly have been “The Beatles”, but perhaps Mach II for the 70’s…John wanted to retire that name anyway, supposedly. Or was the split just meant to be, inevitable, the band strictly belonging to the 60’s(although technically they lasted until 1970)?

Man I played so many scenarios in my mind the entire decade of the 70's. Now in hindsight I think it was perfect. The Beatles grew up in the 60's and we grew up with them. I harbored reservations about the two songs the boys resurrected when Anthology came out and still feel a bit funny when I hear them. Yes, the Beatles are and will forevermore be a fixture of the '60's. And that is as it should be I think.

 

[G-Dog]

In spite of John’s growing disinterest in the band toward the end, it was really Paul’s disengagement and wanting to go out on his own that really precipitated the “breakup”(at least that’s my take). ... ...

You obviously haven't ever heard Paul's recollections about the breakup. You need to watch the "Man On The Run" documentary. Unfortunately, he was the only one of The Beatles to see Allen Klein for what he really was, a thief, so the other 3 turned on him! He never wanted the breakup. Paul loved working within a band of definite talents, especially the guys he grew up with. (But he definitely was too OCD and particular about his recordings.) That's why he formed (and constantly re-formed) Wings and went touring. His drive always was, and still is, for the music, for the performance!

John, on the other hand, was satisfied with his initial wealth and never wanted to work too hard again after that. That's where he and Paul really diverged. He couldn't be bothered with working on any one song too long or even carrying on many continued relationships. Hence his occasional association with the Elephant's Memory rent-a-band (AKA Plastic Ono Band), and recording with George and/or Ringo, or whoever he bumped into at the time.

 

[Michedelic]

You obviously haven't ever heard Paul's recollections about the breakup. You need to watch the "Man On The Run" documentary. Unfortunately, he was the only one of The Beatles to see Allen Klein for what he really was, a thief, so the other 3 turned on him! He never wanted the breakup. Paul loved working within a band of definite talents, especially the guys he grew up with. (But he definitely was too OCD and particular about his recordings.) That's why he formed (and constantly re-formed) Wings and went touring. His drive always was, and still is, for the music, for the performance!

John, on the other hand, was satisfied with his initial wealth and never wanted to work too hard again after that. That's where he and Paul really diverged. He couldn't be bothered with working on any one song too long or even carrying on many continued relationships. Hence his occasional association with the Elephant's Memory rent-a-band (AKA Plastic Ono Band), and recording with George and/or Ringo, or whoever he bumped into at the time.

Well, Paul tends to spin things, and there certainly was personnel turnover in Wings. John’s use of EM was a typical move of hiring an organized backing band for live purposes. Don’t you think it’s telling that Paul had his first one-man-band solo album all ready to go, that it was released at about the same time as Let It Be?

I don’t think my scenario was likely, but it was remotely possible. However, George was raring to go solo, had that backlog of tunes to get out, Ringo was more interested in movies, and Harry was already a mess, the lost weekend might have happened sooner, trainwrecking the proceedings(and I’m not gonna bring up Yoko, that’s too easy). Plus there wouldn’t have been that complete Liverpool homeboy bond.

 

[Aberdumbie]

(But he definitely was too OCD and particular about his recordings.)

This is a very true statement. Probably to the chagrin of the many performers he worked with, but to us, the listeners absolute delight.... It was only recently that I was pondering that some of John's post-Beatles work and some of Ringo's post-Beatles work can sound a bit dated. But somehow, Paul's work seems to sound almost timeless to me.

 

[G-Dog]

Well, Paul tends to spin things, ... ... ...

Of course! Most mature adults remember their youth somewhat differently than others who also lived through it. That's just perspective. George & Ringo agreed that John quit first in '69 right after Abbey Road. And, John, George and Ringo eventually found out about Klein and sued him in '73, also! But soon John & Paul got along OK in their L.A. studio visits that produced nothing but "A Toot And A Snore In '74" bootleg noise. And they both tell of occasional visits after that until John's passing. John even complimented Paul's work with Wings and was a bit jealous of his success.​

... ... and there certainly was personnel turnover in Wings. ... ...

Yes, there were always various business misunderstandings with other musicians, except for Denny Laine and, of course, Linda. Denny worked as a creative partner, as Paul wanted. The others, generally, worked as sidemen but were unhappy with sidemen pay. And Paul was never really much of a manager, certainly no Brian Epstein. At least that's the simplified version I've read from most sources.​

... ... John’s use of EM was a typical move of hiring an organized backing band for live purposes. ... ...

Right! John shows 'em the chords and away they go with minimal, if any, rehearsal. Seat-of-the pants playing, actually just jamming, with John yelling directions during the songs. Rock & roll! Rough & raw! A-wop-bop-a-loo-lop ... ...​

Don’t you think it’s telling that Paul had his first one-man-band solo album all ready to go, that it was released at about the same time as Let It Be?

Purely coincidence. Paul first retreated into "the bottle" after losing his best friends and collaborators of so many years. But he pulled himself out with music, visiting family for a "knees up" at the pub, then at his home studio noodling with his wife and kids.​

​

George had released solo albums in '68 & '69. Ringo released his first solo album in March '70. And the Let It Be tapes had been in & out of the vault for various unsuccessful mixes for over a year when the McCartney album was ready for release. That's when Paul first learned about Spector's literal orchestration of what was supposed to be their Get Back to rough & raw Rock & Roll! And, poor Ringo was sent to beg Paul to hold up release of his album in favor of that abominated Let It Be! No wonder Paul had to sue The Beatles to free himself from Allen Klein!​

​

No, Paul had an album ready to go in April '70, so he released it. I don't see anything nefarious in that. It would have been more disingenuous to hold it up artificially in the name of making more money by not overlapping album releases, as Klein wanted.​

... ... I don’t think my scenario was likely, but it was remotely possible. However, George was raring to go solo, had that backlog of tunes to get out, Ringo was more interested in movies, and Harry was already a mess, the lost weekend might have happened sooner, trainwrecking the proceedings(and I’m not gonna bring up Yoko, that’s too easy). Plus there wouldn’t have been that complete Liverpool homeboy bond.

I think Klein was just as happy to manage steal from several Beatles solo careers as a single group. So he gladly joined Yoko in constantly telling John he was the overarching artistic genius who didn't need anyone else. Thus, John had no interest in the extra work of yet another gathering of egos to contend with.

And George was happy just producing his own, or others', music. Though he certainly marshalled together some great supergroups for the Concert For Bangla Desh, and for his later tours. But he really wasn't into touring and continuous group dynamics until The Traveling Wilburys much later. Too bad they didn't get to tour.

And Ringo wasn't into continuous groups anymore, either. It wasn't until '89 that he hit upon the supergroup concept of his All-Starr Band, with established rockstars coming and going at will! Nobody's tied to anybody. You wanna play, you play. You wanna go, you go. I can't even imagine the business dynamics, but it seems to work well for Ringo even today!

Only Paul has continuously toured since The Beatles breakup. It took quite a while, but he finally formed a stable band in 2002 that still keeps him busy these days.

 

[Aberdumbie]

I get involved with the auction outfit called Heritage. They just put this unused Beatles ticket from 1966 up for auction. I think I'll follow this auction and see what kind of figures this one generates.

 

[Michedelic]

Interesting take on the significance of the Help! album; it definitely was a transition of eras…

This is The Beatles' most overlooked album. It's also the one that changed everything — BBC Music Magazine

Rubber Soul, Abbey Road, The White Album, Revolver, Sgt Pepper… these are the 'canon' Beatles albums. But their most ignored LP was actually the one that saw them change the most April 28, 2026 On Boxing Day 1964, Another Beatles Christmas Show opened at the Hammersmith Odeon in London. The idea...

apple.news

 

[zontar]

Agree or disagree?

 

[G-Dog]

Agree or disagree?

I most wholeheartedly agree with his #1 "Revolution 9"! OMG! What a monumental waste of good vinyl/tape/disk/cloud/air. I give it nothing but historical value to describe the avante garde "stuff" that J&Y were getting into at the time. I've thought long and often about the many Harrisongs that could well have filled that spce to much better acclaim, as he alludes to.

His other picks, however, are definitely not my taste for "worst" but, on the contrary, are some of the "best" examples of American covers that the lads aspired to at the time. I admit to feeling a bit jarred on hearing "Act Naturally" on LP at first, but over the years it has made sense with Ringo's tastes and certainly served him well toward his acceptance at The Grand Ol' Opry!

But where, oh where, is that vanity collection of various lounge music passages, "You Know My Name (Look Up The Number)"??? That 3 years in the making(!) 'Ode To The Telephone Book' is avante garde enough for me, though it does show off the boys' musical versatility well (at best). But to make it the B-side of The Beatles' "Let it Be" single, to me, seems another Klein-inspired swipe at McCartney during that contentious time!

There may be others I can't remember just now. Maybe later.

 

[zontar]

 

[dougjwray]

Here's a story that I think all of you will like...
Sometime in the early 2000s, I was on the road in Vermont (I think), and the band stayed at someone's house. In the morning, the guitarist and I were having breakfast in the kitchen, and the woman who lived there walked in. She asked us if we were Beatle fans, and we enthusiastically said, "Yes!" She replied, "I've got some things to show you."
It turns out that when the Beatles first came to NYC and stayed at the Plaza Hotel, this woman and her friend went there and tracked down the suite. The band had just left, but the two snuck in as the place was being cleaned, and left with a telegram addressed to Paul and a wicker basket that had held fruit. She showed these to us.
A couple of years later, she and her friend had found out John and Paul's home addresses, and they went on a pilgrimage to England. They knocked on Paul's door, and when he answered, they took a Polaroid picture of him. Then they went to John's house. Cynthia answered the door and told them that John was in the backyard (the "garden"), painting. So they took a few Polaroids of John standing next to an easel on a beautiful summer day, painting.
My friend and I were astonished-- these were candid, color photographs of Lennon and McCartney which had never been published. Then the woman asked, "Do you think this stuff is worth anything? Should I keep it?"
I know what some of you are thinking: I should have replied, "No, it's basically worthless. But I'll give you $20 for it."
But no, we told her that it was priceless and that she needed to hold onto it!
Crazy...

 

[Major Seven]

Here's a story that I think all of you will like...
Sometime in the early 2000s, I was on the road in Vermont (I think), and the band stayed at someone's house. In the morning, the guitarist and I were having breakfast in the kitchen, and the woman who lived there walked in. She asked us if we were Beatle fans, and we enthusiastically said, "Yes!" She replied, "I've got some things to show you."
It turns out that when the Beatles first came to NYC and stayed at the Plaza Hotel, this woman and her friend went there and tracked down the suite. The band had just left, but the two snuck in as the place was being cleaned, and left with a telegram addressed to Paul and a wicker basket that had held fruit. She showed these to us.
A couple of years later, she and her friend had found out John and Paul's home addresses, and they went on a pilgrimage to England. They knocked on Paul's door, and when he answered, they took a Polaroid picture of him. Then they went to John's house. Cynthia answered the door and told them that John was in the backyard (the "garden"), painting. So they took a few Polaroids of John standing next to an easel on a beautiful summer day, painting.
My friend and I were astonished-- these were candid, color photographs of Lennon and McCartney which had never been published. Then the woman asked, "Do you think this stuff is worth anything? Should I keep it?"
I know what some of you are thinking: I should have replied, "No, it's basically worthless. But I'll give you $20 for it."
But no, we told her that it was priceless and that she needed to hold onto it!
Crazy...

Now if they had autographs.

 

[dougjwray]

Now if they had autographs.

These pictures are rarer than autographs.

 

[Aberdumbie]

Something that has plagued my brain-pan since I did my Liverpool pilgrimage three summers back... We all know that John and Paul met at Woolton in 1957. As it happens, Woolton is a rather convenient central location between the boys respective childhood homes and I would surmise that the garden at Woolton was likely a meeting place for a young John and Paul to learn chords between themselves....... Now it happens that this headstone is prominent in the garden at Woolton and displays the name of a deceased "Eleanor Rigby"..... Now Paul has always said that the name from his song was an amalgamation of names he heard on TV programs..... But for pure speculation.... Do you think that maybe this headstone's inscription may have played in a background memory snippet in his brain when he conceived the song, Elinor Rigby nine years later?

 

[dougjwray]

In Barry Miles's biography of Paul, "Many Years from Now", Paul says, "I'm told there's a gravestone with Eleanor Rigby on it in the graveyard in Woolton where John and I used to hang out, but there could be 3000 gravestones in Britain with Eleanor Rigby on. It is possible that I saw it and subconsciously remembered it, but my conscious memory was of being stuck for a name and liking the name Eleanor, probably because of Eleanor Bron, who we knew and worked with around that time."
He goes on to say that "Rigby" was the name of an old shop in Bristol that he saw when he was there to see Jane Asher act in a play at the Old Vic.

 

[Major Seven]

Something that has plagued my brain-pan since I did my Liverpool pilgrimage three summers back... We all know that John and Paul met at Woolton in 1957. As it happens, Woolton is a rather convenient central location between the boys respective childhood homes and I would surmise that the garden at Woolton was likely a meeting place for a young John and Paul to learn chords between themselves....... Now it happens that this headstone is prominent in the garden at Woolton and displays the name of a deceased "Eleanor Rigby"..... Now Paul has always said that the name from his song was an amalgamation of names he heard on TV programs..... But for pure speculation.... Do you think that maybe this headstone's inscription may have played in a background memory snippet in his brain when he conceived the song, Elinor Rigby nine years later?


View attachment 7488937

I heard it came from the phone book along with Father Mckensie.

 

[dougjwray]

I heard it came from the phone book along with Father Mckensie.

Incorrect. See post #3,535.

 

[zontar]

 

[Michedelic]

Concerning news from Julian….

Julian Lennon diagnosed with coronary heart disease

Julian Lennon encouraged his followers to get any health concerns checked out.

www.yahoo.com

 

[Richland123]

This is seriously beyond words.