Paul McCartney: Into His Life

As we continue looking at Side Two of Revolver, we thought it might be fun to compare and contrast two of Paul’s love songs…we’d love to hear from you about the similarities and differences you perceive!

 

Revolver is a Paul-centric LP. No doubt about it. It is the first of The Beatles’ LPs in which Sir Macca (and not the former “Leader Beatle,” John Lennon) dominates,  singing, and thus having composed, six of the 14 tracks. (Really, seven, if you count his predominate influence on “Yellow Submarine”).

 

John Lennon was the real-life “Ancient Mariner.” Like Coleridge’s weathered protagonist, Lennon always grabbed you by the elbow, and began to tell you his tragic life’s story. In “I’ll Cry Instead,” his BBC cover of Smokey Robinson’s “You Really Got A Hold On Me” (to which John adds the telling word, “Mother”), “If I Fell” or “I’m A Loser,” John is consistently bemoaning about Julia’s absence in his life and his consuming heartbreak over her loss…or perhaps, as he sees it, his inability to keep her.

 

“Beatle Paul” is just as thematically consistent. From early on, he composes songs about his struggling (and later, failing) relationship with Jane Asher. On Side One of Beatles For Sale, he reminds Jane in “I’ll Follow the Sun” that:

 

“One day, you’ll look to see I’m gone,

But tomorrow may rain, so I’ll follow the sun.

One day, you’ll know I was the one,

But tomorrow may rain, so I’ll follow the sun.

And now the time has come,

And so my love, I must go…

And though I lose a friend, in the end you will know…”

 

Then, on Side Two of Beatles for Sale, he tries a tougher tack, saying in “What You’re Doing”:

 

“You got me running…and there’s no fun in it…

Why would it be so much

To ask of you what you’re doin’ to me!?”

 

Over and over, in “We Can Work it Out,” “You Won’t See Me,” and “I’m Looking Through You,” Paul sings to Jane Asher of his frustration, of  his need for her to “be there” for him. In fact, our Fest Blog examined that theme earlier this year when we studied the lovely “Here, There, and Everywhere.

 

Now, here on Revolver’s Side Two, Paul speaks to Jane again, first in the uplifting “Good Day Sunshine” where he praises her for being with him on a sunny day, and then in the dark and poignant ballad, “For No One” and finally, in the brass-accompanied riot that is “Got to Get You Into My Life.” All three Side Two songs express Paul’s longing, in meter and verse, for his lady.

 

“Got to Get You Into My Life” – though admittedly a double entendre – a crafty nod to Paul’s use of marijuana – is in a basic, literal sense his mission statement.

 

“And then, suddenly, I see you!

Did I tell you I need you?

Every single day of my life!”

 

Song after song, ballad after ballad, Paul has been telling Jane (and hence, all of us) one thing: “Got to get you into my life.” And, the fact that Jane has justifiably resisted and sought her own very successful theatrical career has only inspired Paul to continue penning attention-getting poems set to music for her.

 

By 1966, however, it has become fairly obvious to them both that the relationship isn’t working. In fact, when Paul begs her to come home, “she takes her time and doesn’t feel she has to hurry…she no longer needs him.”  They’re at irreconcilable odds, really.

 

Perhaps, a clue to their unresolved issues is to be found in the way in which “For No One” was recorded. Because the entire song is Paul and only Paul. George and John are not needed. Ringo will play percussion…but Paul alone – the center of attention – will sing and perform his composition on the Steinway grand. Perhaps that is why for Jane Asher:

 

“… in her eyes, you see nothing,
No sign of love behind the tears
Cried for no one…

A love that should have lasted years.”

 

With the wrong instruments, “For No One” could have come off as “whiny and cheesy.” Instead, the composition (with the phenomenal clavichord work of Sir George Martin and the breath-taking French horn touches of Alan Civil) is elegant and deeply tragic on several levels. Because not only are Paul and Jane falling apart, but The Beatles are beginning to unravel as well.  When we hear those last words: “There will be times when all the things [they] said will fill your head. You won’t forget [them],” we somehow flash to the eroding friendship between John, Paul, George, and Ringo. We sigh.

 

And so, in the guise of his former, chipper self, Paul makes one last attempt on Revolver to woo Jane back again. Not discounting the very popular “marijuana theory” (which certainly exists on one level), in “Got to Get You Into My Life,” Paul expresses undiminished determination to get Jane into his life. He jauntily and emphatically speaks to her in hopes that the visions prevalent in “For No One” will never come to be. McCartney sings:

 

“What can I do, what can I be?

When I’m with you, I want to stay there!

And you know I’ll never leave…and if I do,

I know the way there!”

 

Here interestingly, Paul speaks his soul to Jane in an ear-catching new way, via a SOUL song! As Dr. Kit O’Toole, author of Songs We Were Singing: Guided Tours Through The Beatles Lesser Known Tracks has stated:

 

“The horns [in “Got to Get You Into My Life”] were a remnant of the band’s original idea to record Revolver at Stax Records in Memphis. They had long emulated the bass and drum sounds found on American soul records, and they wanted to extend that. So they recruited guitarist Steve Cropper of Booker T. and the MG’s to produce Revolver, and they asked Brian Epstein to “make it happen.” But all the Memphis studios wanted exorbitant fees to host The Beatles, so the boys ended up back in Abbey Road. But the soul sound still intrigued them, so “Got to Get You into My Life” is their interpretation of the genre.”  

 

“Got to Get You Into My Life” is one of Paul’s final attempts to catch Jane’s ear and to express his soul’s need for her lifelong companionship.

 

“You want her, you need her…

And yet you don’t believe her

When she says her love is dead:

You think she needs you.”

 

Both “Got to Get You Into My Life” and “For No One” are the swan songs for a love that could not survive. However, on 15 May 1967, when Paul met Linda Eastman in London’s Bag O’Nails, his long-deferred dream became reality. He got her into his life, and in that moment, everything changed.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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Instant Karmal Knowledge

“And so this is Christmas,

And what have you done,

Another year over…

A new one just begun.”

 

Already it’s here. The final blog of 2016. The year is winding to a close faster than any of us ever wanted it to or imagined it could. But try as we might, we can’t slow its pace or turn back time. Life is rapidly moving on.

 

Two springs ago, the night my mother passed, she pointedly looked at me and said, “But…I didn’t get to do all the things I wanted to do!!!” It’s a haunting quote – one I’ve never forgotten. I wonder if John felt the same. I wonder how many people do.

 

I have a little snow globe on my desk that says, “Time is a gift.” Every day, I shake it, only to watch the snow flakes quickly settle to the bottom and fall silent. And as the magic swiftly vanishes, I think to myself how precious each moment is…how precious – and how fleeting.

 

Plainly said, each of us has but a moment – a brief time to reach out and offer love, to be kind, to be open, to give peace (and people) a chance, to appreciate life and those around us, to set things right. If The Beatles taught me anything, they taught me that we are here to give of ourselves to others. In Biblical terms, to “be not weary in well-doing.” The boys said it over and over:

 

  1. Love is giving, giving love.
  2. Ah! Look at all the lonely people!
  3. With our love, we can change the world…
  4. I get by, with a little help from my friends.
  5. Love, love, love…love is all you need.

 

And just in case you missed the message – couched as it is in this poetic form – John (in his unvarnished, lay-it-on-the-line manner) spelled it out for us all very clearly. You can’t miss the memo here:

 

Instant Karma’s gonna get you
Gonna knock you right on the head!
You better get yourself together…
Pretty soon you’re gonna be dead!
What in the world you thinking of
Laughing in the face of love?
What on earth you tryin’ to do?
It’s up to you! Yeah, you!!

Instant Karma’s gonna get you…
Gonna look you right in the face!
Better get yourself together, darlin’,
Join the human race!
How in the world you gonna see
Laughin’ at fools like me?
Who in the hell d’you think you are?
A super star?
Well, right you are!

Well, we all shine on
Like the moon and the stars and the sun…
Well, we all shine on!
Ev’ryone, come on!

 

 

I don’t know what “getting yourself together, darlin’” involves for you, but I know what it involves for me, and I think I’d best be doing it.

 

Because as the wild ride known as 2016 begins to tick away into memory, I think we can all agree that it has been challenging for us all. Some things were said that should never have been said. Some things were done that should never have been done. And while we’d like to believe that karma is not instant and life will give us abundant opportunity to make things right, the unrelenting march of time does not, my friend, slow for regret.

 

Instead, there is a finite amount of days before the ball drops in Times Square, a precious moment before the snowflakes settle. There isn’t “tomorrow and tomorrow and tomorrow,” as Shakespeare once suggested.  Instead, there is, “a bit of hurry up involved” to quote another Englishman, just as wise.

 

And so this is Christmas…and what have we done? Well, not as well as we’d hoped, actually. But perhaps in the next 30 days, we can undo some of that. We can try to Come Together and be friends again…repair and reunite, heal the hurts, and walk into 2017 closer than ever.

 

And that, I believe, is the message not only of our Beatles but of the season. May that light Shine On.

 

In honor of our beloved Sir George Martin and dedicated to the lasting memory of John Winston Lennon. John, you said that you never die until the last person who speaks your name is gone. “I call your name” daily. You will always be remembered.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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I Know What It’s Like…

“I know what it’s like to be dead…I know what it is to be sad…”

 

John Lennon was the master of understatement. In a few, simple words, he could summarize a powerful idea, minimizing the emotion behind it. (To wit, “All we are saying is ‘Give peace a chance.'”) He could present a great concept unobtrusively, giving it a chance to be mulled over and accepted.

 

And that is exactly what John is doing in “She Said, She Said,” the compelling closer song to Side One of Revolver.

 

Possibly no one who ever lived better understood “what it’s like to be dead” and “what it is to be sad.” At age 4½, his parents bitterly wrangled over which of them was to have custody of John. Fred Lennon wanted to take his son away to New Zealand to live with him, and Julia Lennon wanted her son to be reared in Liverpool.

 

Whether Fred and Julia put the boy in between them and made him choose one or the other (the traditional point of view, and the version John always recited) or whether Fred and Julia came to an amicable agreement about John’s care (as Fred’s friend, Billy Hall told Mark Lewisohn…though admittedly, Hall was not actually in the room when this discussion took place), the fact of the matter is, Fred exited John’s life. And Julia – for extremely complicated reasons of her own – did return John to Liverpool but dropped the boy that afternoon at her sister Mimi’s house, where John was to live permanently. And, Julia reluctantly walked away to live a life of her own.

 

Over the next few years, as John struggled to adapt (and was – no wonder! – expelled for misbehavior from Mosspits Infant’s School), he thought quite a bit about his vanished parents. Fred’s frequent letters to his son were destroyed by Mimi, who claimed (and perhaps truly believed) that she was creating stability for the child.

 

Therefore, John – in essence – thought his father was, at first, angry with him. And then later, missing in action. And finally, perhaps dead. Even though John reveled in the love that his wonderful Uncle George provided – clung to that love like a life raft – the boy still longed for his father. And with each silent, passing year, John understood better and better what it was like to be dead. What it was to be sad.

 

Similarly, John’s mother, Julia, – though living only a couple of miles away, in Spring Wood – honored Mimi’s request to minimize intervention into John’s life. Julia was rarely seen, and even when she was, the reunion was brief. But it was enough for John. As Fred’s memory slowly faded, Julia’s did not. He ached for his mother. And John tried everything he could think of (good behavior, bad behavior, wit, talent, and imagination) to reach her…to no avail.

 

The only constants in John’s young life were his decorous Aunt Mimi and his beloved Uncle “Ge’rge.” But the summer before John turned 15 years old – when he most needed a male role model and a best mate – kind, funny, gentle Uncle George was taken from him forever. And, as John roared and flailed in the throes of unstoppable hysteria, he knew once again what it was like to be dead…what it was to be sad.

 

You probably know the rest of the story: how Julia returned at this crucial moment in her son’s life and offered herself as his best friend (not his mum, of course…he already had a mother in Mimi). Julia became his constant companion and John, her shadow. She encouraged the teenager to “sag off school” and bike to her house for ginger beer, sweet cakes, and rock’n’roll. She taught her son to play guitar; she spun her Buddy Holly and Elvis records for him. She gave him the gift of extemporaneous laughter. And in the magic of the moment, Julia whispered to the boy that he had “music in bones.” She said, she said that he was destined to form a band – to see his name in lights, to shine on. And for a time, all was well.

 

But on 15 July 1958, Julia was hit by a drunk off-duty policeman and killed. And in that instant, John changed. He had lost his father, his uncle, and now his mother – twice. And now, in a deep, violet darkness of the soul, John came to understand intimately what it was like to be dead…what it was to be sad.

 

That, of course, explains August of 1960: The Beatles, happily en route to Hamburg, stop at the Arnhem War Memorial for a snack and a smoke. Manager Allan Williams urges all of the boys out of the minibus for a roadside picnic and photograph. But John will not exit. He refuses to “muck about” in a graveyard…to smile and chit-chat in the presence of death. And so, alone, John broods on the bus, shaken by his surroundings. And though Williams berates the boy for his obstinacy, John turns a deaf ear. Because even on his best of days, John remembers what it’s like to be dead, what it is to be sad. And he does not take it lightly.

 

Now…substitute the name “Peter Fonda” for “Allan Williams.”
Substitute “Hollywood gala” for “Arnhem War Memorial.”
Substitute “August 1965” for “August 1960.”
And having made those few changes, the backstory for “She Said, She Said” emerges:

 

At an August 1965 Hollywood gala, John blanches when Peter Fonda “rambles on” about his first-hand knowledge of death. Rattled, John flash-fires at the American film star and silences him forthwith…not because Fonda is downing John’s drug-induced mellow, but because Fonda is trampling on sacred ground. Introducing the topic of death as party prattle – as idle chatter – is not, to John’s way of thinking, simply “irritating.” The American star has been grossly inappropriate. He has opened old wounds, and John is left panting for air.

 

John swiftly quells the subject, and the party moves on. But the damage has already been done, and in the months that follow, John can never shush the lingering, whispering memories that Fonda’s casual party boast (“I know what it’s like to be dead!”) engendered. The phrase haunts Lennon. And so, just as John in the past had transformed many other wounds and torments into music, he begins to weave Fonda’s hellish echo into something unforgettable as well. John begins to write “She Said, She Said.”

 

But this time, however, John isn’t writing just for himself and about himself. He begins to compose the tragic tale of all four Beatles in the year of our Lord, 1966. And the story isn’t easy to convey…

 

You see, in 1966, The Beatles were living under a dome of stress that would have collapsed most organizations and failed most friendships. The beleaguered boys were getting ready for yet another World Tour, despite the fact that they’d grown bitter and cynical about the grueling experience. Brian Epstein’s heavy-handed influence. which had always held them on course was slipping away, and the boys were arguing with one another – heavily involving themselves in drugs as pressures all about them were mounting.

Unfeeling “takers” were attacking them from all sides: screaming fans who didn’t hear them when they sang; journalists and paparazzi who didn’t see how very bored and tortured the boys were, and unfeeling powers-that-be at Capitol, EMI, and Northern Music who didn’t care that The Beatles were utterly exhausted. To all of these users and shakers, the four boys were virtually invisible. It was a harsh reality.

 

Indeed, John, Paul, George, and Ringo began to feel as if they “had never been born,” as if only “The Collective” – the band known as The Beatles – really mattered. The four unique individuals who had once comprised the group had, somewhere along the line, been sacrificed (in true Help! fashion), “jolly with a knife!”

 

This is John’s message in “She Said, She Said.” In simple terms, he conveys each of The Beatles’ feelings. He speaks in muted understatement, presenting his friends’ great hopes and even greater fears as they face the end of touring and the beginning of “the yet-to-come.”

 

This anguished song is pure performance art, a vivid medium through which John can offer listeners the graphic opportunity to see, hear, feel, and experience what he and Paul and George and Ringo were enduring. As the song swirls up and up to confusion and clamor, each of us is given the chance to ride out the mania, to understand. We are privy to madness.

 

“She Said, She Said” is a rare sortie into the most intimate emotions of The Beatles in 1966…and into the solitary, broken life of John Lennon, for whom death and sadness were familiar escorts. Of this John sings, as Revolver finds the playout grooves and Side One concludes. Of course, on the flip side, there was more to come.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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It’s just a Submarine, dammit! (or is it?)

The Beatles were very lenient with the public’s interpretations of their songs.

 

In fact, only one or two times did the lads insist that the public’s comments about their lyrics was “dead wrong.” Toward the end of his life, John Lennon was adamant that “Lucy in the Sky with Diamonds” was not about LSD! (And Paul McCartney backed him up on this). Similarly, Paul once said, “Personally, I think you can put any interpretation you want on anything! But when someone suggests that “Can’t Buy Me Love” is about a prostitute, I draw the line! That’s going too far.” (1)  But other than these two exceptions, as a rule, The Beatles welcomed the public’s multi-colored explanations of Beatles lyrics. In fact, they came to expect it.

 

I can just imagine Paul “laying in bed in the Asher’s garret,” (2)  working on the lyrics for “Yellow Submarine.” I can almost see the glimmer in his eye as he imagines what the “average Jill or Joe,” the scholarly professor, and the protester are going to make of his “simple children’s song.” It must have amused him.

 

The thing is…every single Beatles LP included a song for Ringo. And this is Ringo’s Revolver song, written in his tight vocal range and fitted for his “down-to-earth,” genuine personality. Ringo possessed a gentleness that appealed to many people, including children. (Hence, his work as Mr. Conductor on Shining Time’s (Series One) Thomas the Tank Engine show and his I Wanna Be Santa Claus CD years later). Paul’s placing of Ringo in the classic role of storyteller for “Yellow Submarine” was ideal. It worked.

 

But almost as soon as the LP was released, critics began to offer up far-flung, complex explanations of the magical song’s “deep and hidden meanings.” Here are just a few:

 

  • 1.) Sir Paul’s Explanation – Paul says he was trying to create “a story, a sort of [tale of] an ancient mariner, telling the young kids where he’d lived.” Tim Riley points out that Paul wanted to create a song “suited to the drummer’s humble charm,” (3) an enchanted story of a lovely life beneath the sea. To accomplish this, Paul’s original tale was populated by many submarines of vivid colors, but as McCartney honed the story, it became the narrative of one yellow submarine and the magical people aboard this legendary vessel. (4)

 

In fact, Paul told author Barry Miles, “I was thinking of it as a song for Ringo, which it eventually turned out to be…I quite like children’s things; I like children’s minds and imagination. So it didn’t seem uncool to me to have a pretty surreal idea that was also a children’s idea. I thought also, with Ringo being so good with children—a knockabout-uncle type—it might not be a bad idea for him to have a children’s song, rather than a very serious song. He wasn’t that keen on singing.” (5)

 

In short, on Side One of Revolver – a highly complex, intense compendium of thought-provoking songs – Paul’s concept was to offer up a simple ditty with “short words…which would be picked up quickly and sung by children.” (6) It was to be a breath of fresh air, as it were.

 

  • 2.) Donovan’s Story – During the writing of Revolver, Donovan and McCartney were close friends, in the habit of dropping in on one another at a moment’s notice to share their latest compositions. Donovan says, “One of the songs Paul played for me was about a yellow submarine, but he was missing a line or two. He asked me if I’d like to make a contribution. I left the room and came back with ‘sky of blue and sea of green.'” (7) And with an insider’s eye on the song’s composition, Donovan goes on to say that he felt Paul was using “Yellow Submarine” to convey the story of The Beatles.

 

Indeed, on the 2 May 2014  Howard Stern Show, Donovan stated: “It’s not really a submarine; it’s really about the life that [The Beatles] had been forced into living inside their own lives in the white tower called ‘Beatle fame’ and not really having any contact with reality out there anymore…you know, we are insulated from the outer world.” Donovan believed that “the friends aboard the submarine” were The Beatles’ entourage and close friends/associates, and that the sea was the protective bubble surrounding the group, encasing them while at the same time, cutting them off from life at large.

 

  • 3.) The Drug Innuendo Theory – In the summer of 1966, a popular drug had been released in New York: Nembutal capsules which were large, elongated, bluntly-rounded, and yellow – thus acquiring the nickname “Yellow Submarines.” But McCartney – who had no problem admitting that he used marijuana and enjoyed it – resisted the implication that his song celebrated the new drug. Paul insisted that the only “yellow submarines” he’d ever tasted were sugary Greek sweets that had to be dropped into water to be consumed. (8)  As the drug culture loudly contended that The Beatles were giving them a “secret nod of approval,” Robert Christgua of Esquire magazine vehemently refuted this claim. He wrote:  “I can’t believe that The Beatles indulge in the simplistic kind of symbolism that turns a yellow submarine into a Nembutal or a banana—it is just a yellow submarine, dammit!” 

 

  • 4.) The Political Statement Philosophy – Because a submarine is, as Robert Rodriguez has aptly pointed out, “a piece of military equipment,” (9) it was only moments after the song’s release that radicals began applauding The Beatles for the strong anti-Vietnam statement espoused in “Yellow Submarine.” In fact, one imaginative reviewer wrote: “The Yellow Submarine may suggest, in the context of The Beatles’ anti-Vietnam War statement in Tokyo this year, that the society over which Old Glory floats is as isolated and morally irresponsible as a nuclear submarine.” (10) Jumping on the bandwagon in droves, various 1966-1967 protest groups embraced “Yellow Submarine” as their anti-war anthem. But none of The Beatles seconded this notion or gave it credence.

 

Naturally, there are other wild-eyed theories out there, some as far-fetched as the notion that the song proves John Lennon’s obsession with phallic-symbols (echoed by John’s submarine bath scene in A Hard Day’s Night). But since John had nothing to do with the writing of “Yellow Submarine,” this argument rather collapses under its own weight, doesn’t it?

 

So…what say you? Which theory do you believe? Paul proclaimed, “I knew ‘Yellow Submarine’ would get connotations, but it really was a children’s song.” (11) Or was it? Send us your thoughts, opinions, and ideas, and we’ll share them with one another. Furthermore, if you have a theory we haven’t discussed, send that along as well! We’d love to hear from you!

 

The measure of a great work of literature is that decades after its creation, the work’s depth of meaning is still being debated and discussed. Paul might have set out to create a unpretentious, light-hearted song, but for The Beatles, a masterpiece was always the final destination. And so it is here as well.   


1. The Beatles, The Anthology, 114.
2. Turner, A Hard Day’s Write, 198, and Riley, Tell Me Why, 187.
3. Riley, Tell Me Why, 188.
4. Turner, 108.
5. Miles, Many Years from Now, 286-287.
6. Turner, 108.
7. Turner, 108.
8. Turner, 109.
9. Rodriguez, Robert, Revolver: How The Beatles Re-Imagined Rock’n’Roll, 140.
10. Doggett, Peter, There’s a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of the ’60s, 107–108.  
11. Turner, 109


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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Only Sleeping?

Anyone who considered John Lennon lazy didn’t know John well. John “worked smart, not hard,” but he worked without ceasing. Even while piled up in bed with his many pillows and guitar, John was never indolent. He was composing songs, listening to the telly for ideas, reading and scribbling notes on a sheet of paper — discovering concepts that he would later put to use.

 

His Aunt Mimi had taught the boy to create: to “Do something productive, John!” (whether that “something” was writing, composing, meditating, reading, listening, or absorbing). And the place where John was most creative was in his room. In his early Hamburg days, John wrote about this topic in There’s A Place. He sang:

 

“There’s a place, where I can go,

when I feel low, when I feel blue…

and it’s my mind…”

 

So where did he retreat to live inside the mind, to be inspired? Well, for John, that place where dreams could translate into beauty was always found in bed. Even as a little boy, John sat on his bedspread above the Mendips’ glassed-in porch and cut out dancing paper skeletons, illustrated his “Sport and Speed” serial stories, and sadly, sang himself to sleep. Bed was his retreat, the place where he could imagine.

 

So, in 1966, when he penned “I’m Only Sleeping” for Revolver, John created not a bored and listless throw-away number but a powerful and ironic song. The irony falls upon the word, “ONLY.” John cheekily saying to us, “I’m only writing a great poem.” “I’m only building something magical.” “I’m only composing.”

 

What Lennon is doing in his room – in his bed – is bigger than “running everywhere at such a speed.” He’s chosen the higher road; he’s chosen to stop, breathe, think, and create. And wonderfully, John’s letting you and me into his half-awake, half-asleep realm: The Land of Incredible Ideas.

 

For the first time in a long time, John turned to “our kid,” to his little brother (as it were) George, to help him bring this dream realm to life. In EMI Studio 2, John and George began the song’s recording, softly playing acoustic guitars in the key of E minor. They performed a bit faster than John wanted the song to be recorded, making it possible for George Martin to slow and mellow the sound, post-recording. (1)

 

But that wasn’t all…George Harrison had something special up his sleeve. He announced that he had composed a lead melody line intended intentionally to be played backward. More specifically, Harrison composed this line so that the tape could be run backwards and then and then only, the tune that George wanted to hear would emerge. (2)

 

But there’s more: Not only did Harrison play this line once on his guitar, but George played it again using his Gibson SG run through a fuzz box – varying the lines very slightly so that when they were played together they produced a blurry, ethereal sound. Dreamlike, unreal.

 

So if we’re being totally honest here, “I’m Only Sleeping” isn’t just a John Lennon creation, it’s a Lennon/Harrison composition…a superb collaboration that well exceeds their early endeavor, “Cry for a Shadow.”

 

For those out there who still see this complex song as a nod to the escape world of sleep, you’re also right! In 1966, John was suffering from what today we would diagnose as “clinical depression.” He had all the symptoms. He had gained weight; he was lashing out at Cynthia, the other Beatles, and the EMI staff. He was bored with everything and recklessly displeased with everything. John seemed to have lost interest in the world around him. Therefore, he retreated more and more often into the altered world of drugs and the magical, shadow world of sleep.  On a literal level, that explanation of his mood does exist in this song.

 

But “I’m Only Sleeping” is about so very much more. The key to its depth and meaning can be found in the lyrics.  In “Tomorrow Never Knows,” when John is singing about merely escaping reality, he “turns off his mind, relaxes, and floats downstream.” But in “I’m Only Sleeping,” he intentionally says,

 

“When I’m in the middle of a dream
Stay in bed, float up stream…”

 

Float up stream? Notice here that John’s fully-engaged and actually moving against the current. He’s willing himself to progress, to achieve, to be inspired…and to turn inspiration into music. Surely, that’s not escape, is it? No, this is something else.

 

“I’m Only Sleeping” mattered to John. He was very particular about the way he wanted it to be recorded. When he heard the initial playback of the song, John asked that Paul be taken off the vibraphone. Instead, John wanted Paul returned to his Hofner bass, to render that mellow, soft, wistful quality that you hear between the lines. John wanted to “make it dreamier and more mystical sounding.” (3) Paul was even instructed to yawn around Minute Two.

 

What John was trying to recreate was “the place” where he could go when he was low, when he was blue. He was, uncharacteristically, inviting us in. John Lennon was admitting us into his inner sanctum. That was and still is quite a privilege.

 

But instead of being honored, many music critics and fans criticized the song and the singer. They pointed fingers at him and called him slothful.

 

“No good deed goes unpunished,” John often smirked. Then, he retreated to bed, to the kingdom of imagination. And glaring, he closed the door.


1. Guesdon, Jean-Michel and Margotin, Phlippe, All The Songs, 328 Rodriguez, Robert. Revolver: How The Beatles Re-Imagined Rock’n’Roll, 101. The voice was over-dubbed and sped up while the rhythm track was slowed down.

2. Emerick, Geoff. Here, There, and Everywhere, 124 and conversation with Geoff Emerick, May 2016. Emerick is very clear about the fact that George really struggled to record this bit for the song making the recording session “one hard day’s night.”

3. Guesdon, Jean-Michel and Margotin, Phlippe, All The Songs, 328 and Rodriguez, Robert. Revolver: How The Beatles Re-Imagined Rock’n’Roll, 130. Rodriguez’s work is a “not to be missed” book on Revolver.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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The Fest for Beatles Fans Dialogue on Revolver, Part 1

It was the blistering and bewildering summer of ’66. The Westinghouse air conditioner humming in my bedroom window provided more noise than relief as Emily Moss, Emily Wofford, and Patty Dalme waited impatiently as I carefully removed Revolver from its strange black and white cardboard sleeve.

 

I placed it on the turntable. Moss ate sliced lemons, dipped liberally into a saucer of fine sugar -– a dentist’s daydream of potential cavities. Patty and Emily smacked their Double Bubble and lazily thumbed through the latest Datebook. And, gauging my audience, I adjusted the volume on my new Magnavox record player as the count-in to “Taxman” began. That was the blistering part.

 

The half-hour or so that followed was the bewildering part…as if the summer of 1966 weren’t upsetting enough to four conservative girls from North Louisiana: boys in paisley shirts! Moms in vinyl raincoats and Mary Quant caps! The endless Vietnam War protests…the violent race riots! Our idyllic, happy days, we thought, were all but gone. Life had become bizarre and complex.

 

As we listened to “For No One” and “She Said, She Said” and finally, “Tomorrow Never Knows,” Revolver seemed the strangest part of that odd, pogo stick summer. For a few uncomfortable moments, as the needle found the scratchy play-out grooves, we were afraid to say anything. It took all the courage I could muster to even look at my friends.

 

“Well…” I had recently taken up swearing as an emblem of adult independence, “what the hell has happened to The Beatles?
“Yeah, what was that?” Emily Wofford shook herself the way a cat does when you’ve been holding it closely and set it free.
“That reeeeeeked!” Patty always knew her mind and spoke it.

 

Woffie and I nodded and shook our heads, agreeing but completely disgusted. But there was one in every crowd, or so they said.

 

“Ah, I don’t know,” Emily Moss sprawled out full-length on the bedspread, the way my Mother had told us never to do, “I thought it was pretty damn cool!” That was Moss. Her brother, Donald, was in a real band. He wore fringed, knee-length, moccasin boots, had long hair and colored beads that draped the doorway to his bedroom. If we had a “cutting edge” in our junior high foursome, Moss was definitely the one.

 

“Pffft! Define cool if that’s cool!” Woffie demanded.
“Yeah, well, I hated it,” I cut across the cool issue. “John didn’t even sound like John! And he was hardly on the record anyway! What’s the use of the record if John’s not there?” It was, after all, the Capitol version.

 

And so the discussion went in many bedrooms and family rooms and cars and soda shops and A&W Root Beer Stands and striped-awning Water Ice shops and narrow-laned hamburger joints across America. Was Revolver the most innovative, ground-breaking, breath of fresh air LP that The Beatles had ever created? Or was it junk? Was it art or was it a piece of “The Emperor’s New Clothes?” Was it brilliance or pure nonsense?

 

Over the next few months, I hope you’ll join me as we discuss these things together and share insights into each song on the Revolver LP. Every two weeks, I’ll post established research about Revolver from Beatles music scholars such as Robert Rodriguez, Walter Everett, Bruce Spizer, Anthony Robustelli, Aaron Krerowicz, Tim Riley, and many others. I’ll also propose a few of my own new and original ideas about the tracks.

 

I hope you’ll join in and share your facts and opinions and help us create The Fest for Beatles Fans Blog Dialogue on Revolver. We need YOU (Yeah, you! You in the paisley shirt!) to supplement what I’ll be sharing with additional and interesting information in our Comments Section.

 

There are so many controversial theories about the meanings of these songs and about the ways in which they were created and performed. So at times, we may disagree. That’s wonderful as long as we all disagree politely. All respectful opinions will be posted for everyone to enjoy. We want you all to be a part of this collaborative project and to jump in with your thoughts and information. Let’s work together to examine Revolver 50 years later and to find out what we’ve learned since the Summer of 1966!

 

To kick it all off, tell us your story!!! Where were you when you heard Revolver for the first time? And what, pray tell, did you think about it?

 

Hey, wait a sec…let me grab a cold Fresca and unwrap my Moonpie. Okay, there we go! Now I’m ready. Do tell!

 


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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Say the Word

You’re probably not surprised to find out that my husband played in a band (mainly rhythm guitar, but he also plays bass and piano). And, he’s recorded his own CD of original songs called Preferred Risk. Over the last few days, I’ve heard one of his songs –- called “Words” –- playing in a loop in my head. The “hook” or catch phrase is this:

 

Words that are written down –
Meanings realized –
Words placed together
Change our lives.

 

What could be more true? Think of all the wonderful words that have altered the course of your life: “I do.” “It’s a boy!” or “It’s a girl!” or “It’s twins!” or “You won!” or “I have your back.” Or “You’ll be attending (your favorite school’s name here) this fall!” or “I love you.” These words lift us up for years to come.

 

John Lennon placed his heart’s longing and his life’s purpose in the hands of words. He said quite honestly, “Half of what I say in meaningless. But I say it just to reach you, Julia.” In that simple, honest line he offered up, unabashedly, his life’s mission statement. And throughout his years here, John did just that. He used words to try to reach the “girl in a million, my friend,” the lovely Julia Lennon.

 

Paul McCartney, likewise, tried endlessly to explain to Jane Asher through his lyrics that he needed her to relinquish her career and “be with him” if they were to be happy. In one song after another (increasingly argumentative), he pled his case via “What You’re Doing,” “I’m Looking Through You,” “We Can Work it Out,” “You Won’t See Me,” and even “Here, There, and Everywhere.” Paul kept saying in plaintive words: “I need you to give up what you’re doing and be there for me.” He phrased it in every version possible.

 

Why? Because Paul knew that words have great appeal, great power. American poet Carl Sandburg realized that when he wrote this simple but unforgettable poem, “Primer Lesson.”


Look out how you use proud words.
When you let proud words go, it is not easy to call them back.
They wear long boots, hard boots; they walk off proud; they can’t hear you calling–
Look out how you use proud words.

 

No one understood this simple or “primer” lesson better than John Lennon. When his long and complicated discussion with journalist Maureen Cleave ended up being dissected, lifted out of context, and placed on the cover of Datebook magazine, John discovered how quickly the things we say and write can get away from us…can stalk off to live sordid lives of their own without our being able to “call them back.” Over and over and over on the 1966 North American Tour, in press conference after press conference, John apologized for his words about The Beatles being “more popular than Jesus.” But it was to no avail. His words had taken on a life of their own.

 

I’m a news junkie, and last night as I was listening to a rehashing of the day’s events, I decided that about 80 percent of our news items center on things that people have said: words or phrases about someone else, to someone else, about another country, agency, political candidate, or alleged crime for which they are being investigated. We even have a term for this sort of thing; we call it “a sound byte.” Words dominate our politics as well as our private lives.

 

Because society is inexorably “tied at the hip” (or “tied at the hype,” as you choose) to Facebook, Instagram, LinkedIn, Twitter, and every other social media “flava of the month,” words have become dangerous weapons hurled at others on the spur of the moment.

 

We Tweet without censure. We blast someone on Facebook. We “Like” or “Dislike” and leave nasty comments for one another at will. We use words to wound, accuse, blame, and tear down. Without any concrete evidence, we sling vile accusations that have zero basis in fact. And we think that is acceptable. It’s not.

 

John and Paul would have been the first to warn us all that words, once spoken (or written) cannot be retrieved. Indeed, Paul eloquently sang, “Her words (and kindness) linger on when she no longer needs you.”

 

Images fade. Over time, facts blur. But the words that someone speaks to us and about us linger on. We remember.

 

What does Paul McCartney remember about his Mother Mary? He remembers her words: “Let it be.”

 

What does John Lennon say will set you free? “The Word.”

 

What immediately ties you to George Harrison? A single word. “Something.”

 

And without Ringo’s words (for example, “Tomorrow Never Knows”) Beatles history would have been quite different.

 

In Liverpool, one of my favorite spots is the “bombed out church” now turned into a garden of reflection in the heart of the city. Here, the violence of war has been turned into a retreat of peace. The wreckage of a bomb’s tragic destruction is daily being transformed into beauty.

 

But the wreckage of words will not reverse itself as easily. Children are “crippled inside” for a lifetime by the words we say. Families are torn apart. Friendships are ended with no hope of reparation. Marriages are injured. Look out how you use words. They have a dark magic all their own. And, my friends, it is large and in charge.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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Magic Man: Geoff Emerick

“What kind of life am I living?”

 

That’s the question I’ve asked myself many times over the past 31 years as I’ve been extremely privileged to meet and interview many of John Lennon’s childhood friends, early band members, family members and Beatles associates in the process of writing The John Lennon Series. I’ve been so fortunate to get to know many people whom I never dreamed I’d even have the opportunity to meet!! And, let me hasten to say that that great good luck has never been taken for granted! Each day, I’m immensely grateful.

 

This past weekend, I was invited by the good folks at the GRAMMY Museum® Mississippi to meet Geoff Emerick and then hear him speak and answer questions about his stellar career. And having long been a student of his book, Here, There, and Everywhere and an admirer of his remarkable work with The Beatles as Engineer on Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road, I was elated. I knew I’d enjoy the time spent with Geoff, but truly…it was even better than I’d anticipated.

 

 

Dressed in a plaid shirt, beige chinos, and high-top olive Converse, Geoff was casual – kind and unassuming. When I introduced my husband and myself to him, he shook my hand and said, “Geoff Emerick.” (As if we wouldn’t know!) He was honest (saying “I don’t remember” or “I can’t recall” when he didn’t). He was funny and articulate. And, he was very generous with his time, giving the intimate audience of less than 50 people two full hours of his time and memories…and then spending a great deal of time off stage signing autographs, answering questions one-on-one, and taking photos.

 

It was an incredible evening, and I thought you might enjoy hearing a few of the wonderful quips and quotes that he imparted to those who gathered to share “An Evening with Geoff Emerick.”

 

On John Lennon:

 

“He was the most aggressive of the four Beatles, but when he sang his voice held the most emotion. Tender. I always guessed he was thinking about his childhood.”

 

On Ringo Starr:

 

“He drummed his heart out in the studio! When the evening ended, there were broken pieces of drum sticks all over the floor.”

 

On recording the final guitar solos for “The End”:

 

“Yoko went literally everywhere with John. I mean, she sat on the floor outside the bathroom when he went in. But when he entered the studio to play his solo on ‘The End,’ he put up both hands and stopped her. ‘Not this time, luv,’ he said. And when they played those solos, they were sixteen again.”

 

On Mal Evans:

 

“The boys used to get rather aggravated with Mal if he didn’t have the things they needed. So he kept a roadie bag of just about everything: bandages, biscuits, elastic, tea, sugar, guitar strings, fuses…”

 

On George Harrison’s Indian music:

 

“Paul and John shared a nod ’n’a wink when George was recording his ‘new sound.’ I could tell they were thinking, ‘It’s all very nice, but it isn’t The Beatles, is it?’ But they went along.”

 

On The Beatles after Rishikesh:

 

“After India, they came back different…people we hardly knew. Dressed differently, they acted differently. Niggling at me. They weren’t the same people, and it wasn’t a change for the better.”

 

On Click Tracks:

 

“The only time we used a click track was in making ‘Eleanor Rigby.’ There was one playing in George Martin’s headset as he conducted the octet. Otherwise, we didn’t use them. They made the music too… artificial.”

 

On his knack with music:

 

“When I was a little boy, I had a toy gramophone on which I played 78’s. After I heard a song, I could sit down at the piano and play back what exactly I had heard. I didn’t have to plunk around for the correct notes. I knew where the next one would be.”

 

On recording:

 

“I see it as painting a picture with tonalities.”

 

 

 

 

On mono vs. stereo recordings:

 

“The mono mixes were made with The Beatles there, giving their input. They were never around for the stereo mixes. That was George Martin’s interpretation of what they’d want…and my interpretation. So, the mono recordings are the definitive mix.”

 

On Revolver:

 

“The role of the engineer changed with ‘Tomorrow Never Knows.’ No longer was I there just to capture sound. I was now creating sound.”

 

As you can see, it was a fantastic evening. Geoff would talk about a track, and then we’d play it and listen together. How exciting was that?!

 

Many of the aspects of being an author are less than glamorous: standing for eight to ten hours in a booth and stopping strangers with “Have you heard about the book?” just to get your work into the hands of readers is next-to-awful. But having the rare opportunity to chat with Geoff Emerick (or Bill Harry or Bob Wooler or Rod Murray) makes it all worth it.

 

When Geoff Emerick was invited by George Martin to become the Engineer on Revolver, he was fondly known to The Beatles as “Golden Ears.” And one can see why. However, after this past Saturday night, I’ll always think of him as “Magic Man.” His expertise, ground-breaking recording techniques and invention of new equipment (such as the Automatic Double Tracking device) astound me. But even more impressive is Geoff’s in-depth understanding of what The Beatles’ vision was for their music and his innate ability to give that vision life.

 

Geoff helped deliver the magic that became Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road. Winning Grammys for these three LPs was, of course, incredibly well-deserved. But he won much more, didn’t he? Our hearts.


Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

 

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

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2016 New York Metro Fest Recap!

Dear Beatles Family,

 

What a weekend we had at the Fest in New York!

 

John, Paul, George, and Ringo did it again…the unity and atmosphere over the weekend was truly remarkable to see, and we have YOU to thank for it.

 

At #FESTCHESTER, thousands of Beatlemaniacs came together at the Hilton Westchester in Rye Brook, New York to celebrate all things Beatles, including the 50th Anniversary of Revolver. This is our collective recap…

 

If you get to the bottom of this email and these pics aren’t enough for your vicarious re-living of the New York Metro Fest, our first album on Facebook from the Fest’s Danny Abriano is already up HERE, as is Michelle Joni’s first album HERE. We’ll be adding more albums in the coming days, so be on the lookout! We’ll also be putting together a fans album, so be sure to tag your pics with #FESTCHESTER if you haven’t already.

 

Also head to and subscribe to our YouTube page, where videos from the New York Metro Fest have already gone up and many more are on the way!

 

The hotel started to fill with fans early in the week, and excitement built up as we set up the hotel. Lobby jams started, Beatles music started pumping both inside and outside the hotel, and fans explored the spacious and serene Hilton Westchester, preparing for the fab three days that were to come.

 


 

The FEST officially kicked off at 5 PM on Friday, April 15 as fans brought their Beatley swagger with them to more than a dozen ballrooms throughout the hotel. Along with our band, Liverpool, perfectly recreating Beatles tracks note for note, our guests included PETER ASHER, CHAD AND JEREMY, BILLY J. KRAMER, MIKE PENDER, MARK RIVERA, MARK HUDSON, and LOUISE HARRISON, most of whom joined emcee KEN DASHOW of Q104.3 (he called himself “hopalong Ken” over the weekend) on Friday night for a chat.

 

 

 

 

Friday night continued on with the 60s Dress Up contest and Dance Party –- where LIVERPOOL treated Festers to three rocking sets of Beatles tunes.

 

HEAD HERE to see them perform ‘A Hard Day’s Night’

 

 

 

 

To go along with our incredible musical guests, the weekend also featured some amazing Sound Alike and Battle of the Beatles Bands competitors. Fab Forward won the Battle of the Bands, while last year’s winners, Yesterday and Today, snagged second place.

 

 

 

 

Our tradition of the ‘Beatles Gratitude Wall’ continued, and was where fans wrote and hung signs — both of the tongue in cheek and serious variety — showing their gratitude to the Beatles…

 

 

The FABoratory, one of our newest additions, where fans had the chance to turn into Beatles Magicians, Mad Fab Scientists, and teachers, was such a blast…

 

 

The live music of the weekend wasn’t limited to the nighttime concerts…

 

PETER ASHER joined forces with CHAD AND JEREMY for two special musical memoir concerts

 

 

 

MIKE PENDER of The Searchers and BILLY J. KRAMER united for a concert on Saturday afternoon, featuring Billy’s hot band including the legendary Liberty Devitto on Drums. Billy J. also world premiered his autobiography, Do You Want To Know A Secret at the FEST, and has signed a bunch of copies for us to sell to those of you who couldn’t be there.

 

 

 

 

JEFF SLATE’S BIRDS OF PARADOX, featuring members from John Lennon’s Elephant’s Memory band, rocked the house

 

HEAD HERE to see them perform “Slippin’ and Slidin'”

 

 

String quartet CELLOPHANE FLOWERS, featuring JEFF LUBIN, made their second Fest appearance, again wowing the crowd on two stages with their Beatles arrangements

 

HEAD HERE to see them perform ‘Penny Lane’

 

 

THE WEEKLINGS, playing songs the Beatles wrote but never officially released, their Beatles-inspired originals, and other Beatles cuts, took the stage on Sunday

 

HEAD HERE to see them perform ‘It Won’t Be Long’

 

 

And SCHOOL OF ROCK from Bedford, New York gave us a glimpse into the future with their performances on Sunday

 

HEAD HERE to see them perform ‘The Ballad of John and Yoko’

 

 

The Apple Jam Stage, which has become an integral part of the Fest experience, rocked all weekend with New York jam band THE MEETLES, Fest staple THE BOOTLEGS, SCOTT ERICKSON playing deeper Beatles cut, JANNA PELLE tickling the ivories, Beatles mixes with DJ SUN QUEEN & DJ MADONNA, MR. RAY’s children’s concert, 12-year-old guitarist/vocalist extraordinaire MOLLY JEANNE, JACQUI ARMBRUSTER (whose pipes and guitar playing are otherworldly), Criminal Trio BANDITS ON THE RUN, the incomparable MICHELLE JONI, CELLOPHANE FLOWERS (a teaser set before their main stage set), the uniquely talented OWL AND WOLF, BRUTE FORCE of King of Fuh fame, SCHOOL OF ROCK, enchanting trio TRIPLE G, and the supremely talented LENNON & KATIE of Youth Be Told.

 

HEAD HERE to see Jacqui Armbruster perform ‘Oh! Darling’

 

HEAD HERE to see Bandits On The Run perform ‘When I’m Sixty-Four’

 

HEAD HERE to see Triple G perform ‘Something’

 

 JACQUI ARMBRUSTER (with surprise drop-in MARK HUDSON)

SCOTT ERICKSON

THE MEETLES

DJ SUN QUEEN & DJ MADONNA

 BANDITS ON THE RUN

TRIPLE G

LENNON & KATIE OF YOUTH BE TOLD

 

All weekend, after the scheduled performances had concluded, the Apple Jam Stage opened up for the fans, who jammed into the wee hours of the morning.

 

MARK RIVERA —  who was otherwise occupied, as Billy Joel’s sax player — was only able to make it on Saturday, but put on a tremendous performance with Liverpool

 

 

JON COBERT, who recorded with John Lennon, performed with JEFF SLATE’S BIRDS OF PARADOX during their concert earlier on Saturday and joined in for the Musicians’ Forum

 

 

 

Meanwhile, jams were going strong all throughout the hotel all weekend long — sunrise to sundown and beyond…

 

 

As always, the Beatles art contest was a place where fans were treated to some truly great works by professionals, amateurs, and kids, all who took home prizes. In the Professional division, Eddie Colacci took first place for his 3D album covers, while Regina Gelfer’s ‘Celebrate the Beatles’ came in second. In the amateur division, Rachel Bremlist took first place for her Revolver mosaic, Nancy Lennon’s Yellow Submarine bathroom tower decoupage finished in second, and Gene Brady’s Help! silhouette finished third. For kids 16 and younger, Sophie Feldman took the top prize for her Paul at the piano pencil sketch. We thank Deco for continuing to do such a great job with the Art Museum.

 

 

 

At his 20th Fest, MR. PUPPET BOB ABDOU took to the main stage for a special performance and also led our fifth annual Beatles parade, which was Yellow Submarine-themed this year

 

 

The New York Metro Fest was also the weekend home to over a dozen Beatles authors and historians, including BRUCE SPIZER, VIVEK TIWARY, DAVID BEDFORD, JUDE SOUTHERLAND KESSLER, AL SUSSMAN, TOM FRANGIONE, CHUCK GUNDERSON, PIERS HEMMINGSEN, CANDY LEONARD, KIT O’TOOLE, JOHN KRUTH, MICHAEL STARR, ANTHONY ROBUSTELLI, KENNETH WOMACK, GREG STERLACE, AND JUDITH KRISTEN.

 

 

The Fest also featured the Marketplace and Vendor Room, where fans could get Every Little Beatles Thing they desired

 

 

 

Meanwhile, when Festers weren’t busy dancing, jamming in every nook of the hotel, and parading, they took in one of BOB ABDOU’s highly entertaining Beatles puppet shows, got memorabilia signed, watched a movie in the Beatles video room, sang Beatles karaoke, toured the photo, Beatles art, and memorabilia rooms (ROB SHANAHAN, NEAL GLASER, ERIC CASH), and more.

 

 

 

Many also took refuge in our Beatles Ashram, which featured yoga classes for adults and kids, and intro sessions to Cosmic Consciousness with the teachers of Transcendental Meditation.

 

 

Other highlights from the weekend were Live Beatles Trivia and Name That Tune hosted by Al Sussman and Tom Frangione, a fan winning a trip to Las Vegas to see The Beatles LOVE Cirque du Soleil, and the always spectacular Pig Light Show that accompanied Liverpool’s performances.

 

For our sixth Annual Las Vegas Beatles Love Getaway Sweepstakes, the winner, was not present, but Michelle Joni phoned her from the stage and she was home. We all heard her very excited reaction. Pictured below is last year’s winner, Carl Maltzman, who told the crowd what a great time he had.

 

 

Below, Michelle Joni and Tom Frangione show the Spirit Foundation grand prize that Yoko sent for the FEST. And the winner of the prize poses for a pic

 

 

As always, the Musicians’ Forum on Sunday was a treat, as were the Saturday and Sunday night concerts that saw LIVERPOOL play Revolver in its entirety and other Beatles cuts before the stage opened to MARK RIVERA, MIKE PENDER, BILLY J. KRAMER, and MARK HUDSON.

 

We also want to send out a huge THANK YOU to STEVE HOLLEY, who immediately jumped in upon hearing Chris had an accident over the winter and would not be fully ready to play the entire weekend. He did a fantastic job.

 

 

Drew, John, Glen, and Chris of Liverpool — with a little help from Steve Holley — were fantastic all weekend, kicking things off with the Dance Party on Friday night, playing Side 1 of Revolver and more on Saturday, and finishing things up in thrilling fashion on Sunday night by performing Side 2 of Revolver and even more Beatles cuts.

 

HEAD HERE to see them perform ‘Love You To’

 

HEAD HERE to see them perform ‘Tomorrow Never Knows’

 

 

 

 

MARK HUDSON then joined in and he and Liverpool tore through the jams — including an epic rendition of the Joe Cocker version of ‘With A Little Help From My Friends — before wrapping things up with ‘Hey Jude.’

 

HEAD HERE to see Mark Hudson & Liverpool perform ‘With A Little Help From My Friends’

 

 

 

After the New York Metro Fest officially came to a close, the jamming continued into the wee hours of Monday morning, with Fest founder Mark Lapidos leading everyone in a rendition of “Here Comes The Sun” before Festers playing until the sun came up and people started going about their Monday morning business. This is our continued official tradition — join us next year!

 

The fans brought the energy all weekend, with the traditions of Fests gone by seamlessly intertwining with the new events and activities that spiced up the weekend.

 

We are still gathering all of the pictures and videos from The Fest to share, and we want to see all of yours, too! As we did over the weekend, use the hashtag #FESTCHESTER to share pictures with us on Instagram and Twitter (@Beatles_Fest), and post pictures on our Facebook wall at Facebook.com/thefest.

 

In addition to the albums that are already up, lots more pictures of all the guests, events, activities, and fans will be shared in emails, on Facebook, Instagram, Twitter, YouTube, and via email (send them to danny@thefest.com) in the coming days and weeks!

 

We’d also like to thank the Hilton Westchester, who did a terrific job hosting the Fest, especially Maura. Most of all, we want to offer another thank you to all the guests and fans who came to celebrate all things Beatles for our 42nd year in New York!

 

We are already gearing up for the Chicago Fest, taking place August 12-14 at the Hyatt Regency O’Hare in Rosemont, Illinios. Details will be released at TheFest.com in late-May, so keep an eye out!

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