In the early days in the Cavern, 1957/1958, John would upset Alan Sytner by playing the odd rock’n’roll number in amongst the skiffle. Alan Sytner who owned the Cavern wanted it to remain purely as a Jazz club. In 1959, Ray McFall bought the Cavern from Alan Sytner and he was also a Jazz fanatic. The Beatles returned from Hamburg from their first trip and had their debut at the Cavern on 9th February 1961 and there was no stopping the rock’n’roll after that.
Every Beatles performance at the Cavern was like being part of a private party. John and Paul would bounce off each other with funny quips. John could be quite cutting at times but he had a great sense of humour. We got used to his abrasiveness. It was just John’s way. He would hold his guitar high up on his chest, a posture that he had copied from watching Tony Sheridan whilst they were in Hamburg. John was very short sighted and wasn’t able to see much of the audience at all as he would never wear his spectacles on stage.
A few years after The Beatles had hit the ‘big time,’ A film crew travelled slowly, followed by George, driving a convertible car, with John seated in the back. He drove past Ringo’s house in Admiral Grove and down North Hill Street. They came past our butchers’ shop, and I was on the pavement in my butcher’s coat and apron. Even though they were driving very slowly, it was over in a flash.
Debbie Greenberg
Read more of Debbie’s memories of growing up in the Dingle, following the Beatles, before he father bought the Cavern Club, in her book, Cavern Club: The Inside Story.
In the week when we are celebrating what would have been John Lennon’s 80th birthday, our new book of the week is one of the most important books about John Lennon ever written. We have read so many stories over the years from people who knew John at different stages of his life.
Michael Hill became John’s friend at the age of 5 at Dovedale Primary School, and accompanied John to Quarry Bank when they reached 11.
Pete Shotton, John Lennon, Don Beattie and Michael Hill
The foursome of John Lennon and his best mate, Pete Shotton, stand next to Don Beattie and his best friend, Michael Hill. On many occasions, the four of them would head out of Quarry Bank school at lunchtime and go to Michael’s house on Dovedale Road, a short bike-ride away. They would have fish and chips and listen to some records, of which Michael was the primary supplier.
It was here that John Lennon’s life was to change forever, when Michael played John a record he had picked up on a school trip to Amsterdam: “Long Tall Sally” by Little Richard.
As John said:
“Little Richard was one of the all-time greats. The first time I heard him, a friend of mine (Mike Hill) had been to Holland and brought back a 78 with ‘Long Tall Sally’. That’s the music that brought me from the provinces of England to the world. That’s what made me what I am.”
Celebrating Lanea Stagg’s book of the week, “Recipe Records”, Here is one of her amazing “Beatles-themed” recipes. This one is based upon The Beatles 1967 album, Sgt Pepper’s Lonely Hearts Club Band.
Why not buy the book and get more amazing recipes like this?
Beatles files 1963
Brian Epstein manager of The Beatles 1963
Happy Birthday Brian by Terry Crain
Today is Brian Epstein’s birthday. When Brian’s name comes up in the context of merchandising, everyone comments about the ‘agreement’ surrounding merchandise – 10% to Brian and the Beatles, and 90% to the management company. This always reminds me of a simple mantra – hindsight makes us all brilliant by giving us perfect 20/20 vision after the fact.
What makes it interesting is that Brian had no guide book to follow, no playbook to help, no experiences of other marketing campaigns before of this size to learn from…they were writing the rules as they went along. There had never been mass merchandising of an entity on this scale before anywhere, including Disney, Marvel, Superman, Elvis, etc. So I cut Brian a break.
He could have easily thought, “let me get this straight…we get 10% of monies, and we don’t have to do anything? We just loan you our name and a couple of photos and likenesses, and you hand us a check? This is the greatest gig ever!” And the precedent had been set…they had been doing UK deals in late ’63 at the 10%, so this wasn’t such a stretch.
Now it didn’t take long for him to change his mind. When they handed him the first royalty check in early 1964 for $9000, he thought it was great…until they reminded him that was his 10%. He did the quick math, realized they kept about $80,000 and immediately had the lawyers work to change it to more of a 50-50 split. That took six months, but by then, things had changed.
So Brian did his best with what was the current knowledge at hand, and we toast him on his birthday. Mark it ‘faB!’
As the Beatles’ career progressed, George Harrison gradually developed into a first-class songwriter on a par with the formidable John Lennon/Paul McCartney partnership. One of Harrison’s more unusual compositions, “I Want to Tell You,” fits in perfectly with Revolver’s experimental vibe. The pounding piano, pervasive dissonance, and a subtle reference to Harrison’s increasing interest in Indian music and culture add up to a classic and offbeat track.
In 1980, Harrison described the lyrics as addressing “the avalanche of thoughts that are so hard to write down or say or transmit.” Indeed, the verses paint a picture of someone constantly struggling with language. He laments that he has many thoughts to express, but lacks the words to communicate them. In addition, he fears offending the person he’s having the conversation with, explaining that he may appear “unkind,” but it’s not intentional his mind is clear and pure, but the body cannot move as quickly as the mind.
For me, the best lines in the song concern his frustration with his inability to communicate, yet he ultimately surrenders to his imperfection. He can wait for his thoughts to unravel he has the time. That sentiment fits in well with other songs on the album, as Lennon also advocates a laid-back lifestyles without worries in tracks like “Tomorrow Never Knows” (telling us to relax and float downstream” and “surrender to the void”) and “I’m Only Sleeping.” (“taking my time”).
Galloping Piano Accents
While Harrison’s lyrics are clever, the instrumentation further distinguishes “I Want to Tell You” from other rock songs of the time. The galloping piano accents the rhythm through dissonant harmonies, and Ringo Starr’s drumming easily navigates through some offbeat tempos. According to Alan Pollack, author of the “Notes On” series, Starr re-energizes the track with his driving percussion. “If you feel the momentum beginning to sag toward the end of this section, dig how that sudden burst of rapid triplets at the very end of the bridge helps to rejump-start your momentum for the verse that follows,” writes Pollack. Other percussion can be heard, including tambourine and handclaps.
As usual, the Lennon/McCartney/Harrison vocal harmonies sound tight, often singing entire lines instead of emphasizing certain words. As with many Beatles songs, the group experiments with beginnings and endings. Similar to “Eight Days A Week,” the track gradually fades in, this time over the distinctive guitar riff. Even more interesting, the ending fades out over the repeated phrase “I’ve got time,” and McCartney adds an unusual touch. As the sound fades, McCartney breaks into, as Pollack states, “free Indian-flavored melisma.” In other words, he sang the word “time” while oscillating among various notes. The move adds a touch of sophistication and world-music influence to the rock track.
Granny Smith?
Harrison often found it difficult to title his songs; according to Mark Lewisohn’s seminal work The Complete Beatles Recording Sessions, the cut’s working titles included “Granny Smith,” “Laxton’s Superb” (another type of apple, foreshadowing later years) and “I Don’t Know.” On June 2, 1966, the Beatles entered the studio to lay down virtually all the track’s elements; they put the finishing touches on “I Want to Tell You” the following day. Mixing was completed on June 6.
“I Want to Tell You” was never released as a single, and lingered in relative album track obscurity until years later. While touring in Japan with Eric Clapton in 1992, Harrison resurrected the song to the delight of audiences. That version, which features extended guitar solos, appeared on the Live in Japan album chronicling the brief tour. Appropriately, ELO founder and frequent Harrison collaborator Jeff Lynne performed the track at the Concert for George ten years later. It may have taken over four decades, but “I Want to Tell You” is finally receiving deserved recognition for its sophisticated arrangement and Harrison’s creativity in manipulating language.
What a smashing little book! The author Debbie Greenberg was an addicted cave dweller in the 1960’s in the world’s most famous club – The Cavern in Liverpool.
She witnessed all 292 performances of The Beatles and gives a vivid insight eloquently expressed, the conditions; the sweat, smell, and memories inside the Cavern.
When the Cavern Club closed in 1966 her father Alf Geoghegan became the new owner and Debbie was thrust into a new family business resurrecting the legacy of this iconic shrine of the Mersey Beat era.
The book is a very easy read with loads of interesting photos, posters and press clips. The book includes some interesting encounters with many celebrities, especially a surprise visit by ‘Paul McCartney and Linda Eastman. Life in the fast lane isn’t always a bed of roses and Debbie gives an account of many problems and turmoil the family had to overcome.
The book contains a wealth of inside information not only about the Cavern, but also a concise remarkable autobiography, which I found so interesting and honestly expressed.
