The Beatles in June: Shine On

::: By Jude Southerland Kessler :::

 

As we, here at the Fest, continue our look at The Beatles in their months together, we wish you all peace…not only globally, but locally. The traumatic stresses of disease, isolation, financial loss, injustice, and violence have shaken us all over the last sixty days. We face a world filled with need, fear, anger, and resentment. As we walk through June 2020, what can we learn from The Beatles in four of their Junes together? What advice might they silently offer us? Let’s find out…

 

June 1964 – After 13 long days absent due to illness, Ringo was finally prepared to rejoin The Beatles’ first World Tour. Collapsing amidst a photo shoot on 3 June, he’d endured a nasty bout of tonsillitis and 11 days in University College Hospital, London. Now, however, Starr was suited-up to fly Pan Am from London to Australia to reconnoiter with his Liverpool mates. During Ringo’s absence, Jimmie Nicol (an excellent drummer in his own right, who very fortunately knew all of The Beatles songs and wore Ringo’s exact suit size…see The Beatle Who Vanished by Jim Berkenstadt for more info) had been standing in (er, sitting in) for Starr in Holland, Hong Kong, and Australia. And so, for one brief day on 14 June…there were myriad publicity photos of The Beatles with two drummers! But right away, Richard Starkey was back on the podium, banging away and flashing his winning Scouse grin. His throat was still a bit ragged but his humour was intact. When a reporter asked him, “Do you think your tonsillitis might change the group’s sound?”, Ringo chortled and said, “Only for a few days when I can’t sing…if you can call it singin’!” And the Fab Four were reunited.

 

June 1966 – June was always Brian Epstein’s “month of choice” for World Tours. And 1966 was no exception to that rule. On 23 June, The Beatles left London Airport in Heathrow bound for Germany…the country where they’d cut their teeth as teenagers, performing in Hamburg. Their first night in Hamburg — August 1960 — the four Beatles (with Pete Best as their drummer) played to 6 very disappointed male customers who’d strolled down to the dark end of the Reeperbahn to see strippers — only to find 4 singing British boys instead! Somehow, The Beatles won over even those reluctant patrons, and in just a few weeks, the lads were so popular that they were promoted to a much larger venue: the Kaiserkeller. Now, two years later, John, Paul, George, and Ringo were billed as headliners in the stately halls of Munich and Essen, and tickets sold as quickly as they were printed. One reporter, disdaining the price of admission, callously asked John Lennon, “If you had to buy a ticket for your own performance how much would you pay for it?” John, in typical Lennonesque fashion, swiftly returned, “Oh, we know the manager, so we get in free.” The charm that had courted reluctant punters way back in 1960 was still very much alive.

 

June 1967 – Done with touring forever, June of 1967 held not a World Tour this time, but a worldwide event! The Beatles had been chosen to represent Britain in the prestigious 25 June One World television special, slated to be broadcast live via satellite to 400 million viewers on 5 continents. And the song they’d selected to sing was truly, as Brian Epstein observed, “spine-chilling…the best thing they’d ever done.” It was, of course, John Lennon’s “All You Need is Love,” written specifically for the momentous affair. On 21 June, the boys began working on this landmark song in studio. Heads together as one, they prepared the anthem of peace, eager to send it out to a world heavily laden with the Vietnam conflict, Civil Rights unrest, military coups, wars, and entrenched divides. With a deep longing for concord, the boys tried to convey a simple message that would speak to all nations. As John later said, “It was a fabulous time…peace and love, people putting flowers in guns.” But as The Beatles, that night, focused globally and not locally, none of them realised that evening, that 21 June marked the very last time that Brian would ever be with them as they created in EMI. A pivotal moment went unnoticed.

 

June 1968 – After weeks and weeks of severe depression following John’s separation from Cynthia and from his son, Julian…weeks in which John Lennon actually contemplated suicide, the end of June 1968 found him finally rebounding with a new zest for life, as he prepared his You Are Here art exhibit slated to open on 1 July. The theme of the show was new beginnings and rebirth. As John and Yoko planned to dress entirely in white, to release 365 balloons to the world containing hopeful messages, and to zero in on John’s newly focused avant garde artiste side rather than his rocker image, “original” was the order of the day. John was, in effect, “starting over,” initiating a new life with a new lady at his side and a new message of peace. After months of agony, John had found a way to move forward.

 

You know, just when we think we’re alone in our struggles, we find it: the very mirror image of our griefs in the lives of John, Paul, George, and Ringo. The burdens we face, they faced. Every one.

 

Illness. Ringo’s ongoing struggles with health began early in life as he spent a myriad of formative years in sanitarium healing from the after-effects of a ruptured appendix and peritonitis. Then later, at age 13, he was back in hospital and long-term care again with complications from pleurisy and “effusion on the lung.” Even as a young adult, Ringo was frequently niggled with severe tonsillitis until he finally underwent surgery in December 1964. Yet rarely, if ever, do we hear Ringo complaining about the lost years in school with friends of his own age. Rarely does he moan over the lost days and weeks he might’ve spent with his family or the isolation of sanitarium life. Instead, he talks about the nurse who supplied him with a drum and the positive outlook those years gave him. To quote Hunter Davies in The Beatles, “[Ringo] never remembered himself unhappy. He thinks he had a good childhood.” (p. 148) Hmm!

 

Criticism. No one faced more venom from the press and public than The Beatles did. At first, journalists were gleefully “on board,” promoting and praising the British phenoms. But by late 1964, the press was hungrily seeking a chink in the Fab Armor. They were whispering about “Beatle dissention” and possible break-ups, about the Lennons divorcing, about unfair ticket prices and unkind treatment of the fans. The Beatles lived in a fishbowl, always under scrutiny. And for the most part, (yes, there were days when the boys, too, were resentful) they faced it all with humour and wit. Under adversity, The Beatles endured.

 

Global darkness. 1967’s grim world must have seemed unbearably oppressive to our boys. By June of ‘67, 448,800 young souls had been lost in Vietnam. June race riots in Detroit left 43 slain.  Marches on Washington and rampant U.S. draft card burning events filled the headlines. In June, the Six Day War erupted in the Middle East, and the Nigerian Civil War boiled over in July. Turning their eyes globally, the boys might have missed the joys at their very elbows: the singular gift of a night in studio with their devoted manager, Brian Epstein. They might have been so intent on speaking out to a hurting world that they failed to treasure the simple and fleeting joys given to them, so close at hand. In this, too, there is wisdom for us to gather.

 

In each of these instances, The Beatles remind us to move forward…to keep reinventing ourselves, to keep pushing ahead. If one life phase subsides, then we can emerge into “Something New.” If the world threatens to overwhelm us, we can turn to those we love at hand. If we are heavy-laden, we can seek humor, music, faith, and friendship. We can work it out.

 

The Beatles never ever had a day without enormous obstacles to overcome: family losses, health challenges, public criticism, unrelenting work schedules. Yet, by simply putting one foot in front of the other, they kept going. It is a phrase we Beatles fans repeat without really thinking about it…but this month, we must make it our mantra: Shine On. You can do this, one step at a time. Shine on!

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The Worst of Times, The Best of Times: The Beatles in Their Aprils

::: By Jude Southerland Kessler :::

 

Our 2020 Fest Blog continues to look at The Beatles’ days together, one month at a time. This month, there is an important lesson for us all on how John, Paul, George, and Ringo dealt with April…

 

 

April 1962: April 1962 was, without a doubt, the worst that John Lennon would ever experience: a dark and tragic month well-deserving of T. S. Elliot’s “April is the cruelest month” label. After being separated from his “brother,” his soul mate, Stu Sutcliffe, for three months’ time (whilst The Beatles rocked England and Stu studied art with Eduardo Paolozzi in Germany), John and Stu were to be reunited. Full of happy anticipation, The Beatles landed in Hamburg, Germany on 11 April for the happy “coming together” of these two fast friends. But instead of being greeted by Stu at the airport, John was greeted by Stu’s fiancée, Astrid Kirchherr — whose face was grim. She was meeting The Beatles to inform them that Stu had died of a brain hemorrhage, less than 24 hours before their arrival. John had just missed saying goodbye to his closest friend, just as John had lost his beloved Uncle George in 1955, without a chance to say goodbye…and his mother, Julia, without a final word in 1958. Now, Stu was gone as well.

 

For John, it was utterly overwhelming. He collapsed into tears and hysterical laughter. And he spent the ensuing month, inebriated and completely out of control. One evening found him on stage, wearing a toilet seat around his neck. And one early morning found him in the Hamburg streets, wearing only his underwear and cap — perusing the morning newspaper.

 

April 1962 seemed a place from which there was no recovery. And truly, in the years ahead, the other Beatles knew better than to mention Stu’s name in conversation. It summoned a darkness that didn’t lift for days. John never totally recovered from the loss of his best friend. But somehow, life did go on. And despite the crushing grief of 1962, John’s future did grow brighter. He found a way to put one foot in front of the other. And he did survive.

 

April 1964: Only 700 days later, John was not only on his feet again, but he was being fêted at London’s elegant Dorchester Hotel as the most acclaimed author in Great Britain. His first book, In His Own Write, was not only selling millions of copies but also surprisingly being heralded by critics as remarkable. Lennon’s mixture of bizarre poetry and prose was favorably compared to Lewis Carroll, James Joyce, and Edward Lear. Thus, John — as Foyles Bookstores’ Literary Award Winner — was asked, on Shakespeare’s 400th birthday, to deliver the annual address to the learned world.

 

But “The Smart Beatle” — though comfortable singing on stage with his mates— was extremely ill-at-ease when delivering a public speech. So, he turned the obligation over to his manager, Brian Epstein.

 

However, we all know that if things can go wrong, they will, and through a series of simple misunderstandings, John was very publicly called upon to deliver that postprandial speech himself on that celebrated day. Mortified, John stood and fumbled his way through the brief words that a Liverpool beggar mutters when he’s given a handout — something that he doesn’t feel that he deserves. “Thank you very much! You’ve got a lucky face!” John eked out. Then, he quickly sat down to a wave of “boos” and hisses. Quite fortunately, Epstein was permitted to stand and deliver the speech for John. And in the end, as the birthday boy once said, “All’s well that ends well.” The mishap was righted.

 

Most of April 1964 was filled with eventful and happy moments…with awards, #1 hit records, the making of “A Hard Day’s Night,” and far too many honors for The Beatles to mention here. Beatlemania was at its intense apex. And the dark days of 1962 were, for the most part, only a memory. Good had returned, in force, to The Beatles.

 

April 1965 – One year later, The Beatles were the undisputed Kings of the World. They spent the early part of April in Austria, filming scenes for their second United Artists’ movie, “Eight Arms to Hold You,” later known as “Help!” The boys had already recorded a good bit of the film’s soundtrack, but they were working on other songs. John was publishing his second book of poetry and prose, A Spaniard in the Works. And at the end of the month, The Beatles were in London’s Twickenham studios, finishing up their film. In between time on the movie set, John, Paul, George, and Ringo were doing interviews for the BBC and looking ahead to yet another World Tour. The Beatles were busy, productive, and engaged. The shadow of April 1962 only fell, now and again, on John. The rest carried on.

 

April 1969 – John had at last found a new soul mate, a partner he loved as deeply as he’d loved Stu. He had fallen for Japanese artist, Yoko Ono, and on 1 April, the couple returned to London after their much-publicized Amsterdam honeymoon “Bed-in for Peace.” Whilst privately wondering if John had “gone mad,” the press welcomed the newlyweds back with unexpected gusto. This, of course, inspired John to write “The Ballad of John and Yoko,” which Paul would (in May) help John record in studio. It would be one of their last happy collaborations, as The Beatles stood on the brink of solo careers. In just a few weeks, Ringo would begin filming “The Magic Christian” and George would fly off with Pattie Boyd to Spain, but in April, the boys were still The Beatles…one last time.

 

The great loss of Stu Sutcliffe in April 1962 colored John’s life, to be sure. And Stu was never forgotten as John penned “In My Life” and faithfully lived out Stu’s suggestion that The Beatles be “a work of art and not just a band.” But though Stu’s death was a tremendous tragedy, it was not an end. Happiness waited patiently ahead.

 

As all of us are struggling through this horrific month of illness and economic crisis, once again The Beatles show us that there is a future after disastrous times. Their story reminds us that there will surely be moments in the days ahead when we will once again achieve, create, spend time with friends, and live normal lives. Not even the shadow of death can defeat us.

 

We can all shine on. And we must…


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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Genius Having Fun: The Beatles in March

::: By Jude Southerland Kessler :::   Spring brings out childlike wonder and joy in all of us. We walk into the sunlight and marvel at exotic Japanese magnolia blossoms brashly defying winter’s last ice storms. We gasp in delight over surprising fields of yellow daffodils. We search for four-leaf clovers but find our truest fortune in the re-energized work we do, now that dark days have become light and fresh again.   The Beatles felt this. In five March calendars together, they were especially creative. They starred in films, wrote books, appeared on radio and television programs, and of course, created magical music that still plays in our homes and falls from the lips of our children and grandchildren. Invigorated each spring, The Beatles tended to greet March with an enthusiasm that found its way into archetypal creativity. For example…   March 1963…Fresh off the Helen Shapiro Tour (which had run from 2 February – 3 March), the boys gathered in EMI’s Studio Two on Tuesday, 5 March, to record the jaunty, “From Me to You,” a song that had been inspired by a newspaper column which John and Paul had spotted on the Shapiro tour bus. In studio, the ever-brilliant George Martin gave the number a very singular sound when he recommended that the boys sing rather than play the song’s “da-da-dum-da-da-dum-dum-da” intro. But “From Me to You,” wasn’t the only product of that creative date. The lads also recorded “Thank You, Girl” and “The One After 909.” “From Me to You,” however, was clearly the stand-out. An instant hit, it was throughout 1963, an important part of the lads’ catalogue. In fact, it was the opening song the night that The Beatles “rattled jewelry” at the Royal Command Performance, six months later.   March 1964…The Beatles began making their first film for United Artists, “A Hard Day’s Night” on Monday, 2 March 1964. Now, one would think that making a full-length feature movie and creating the soundtrack LP would be task-enough for John, Paul, George, and Ringo, but throughout the month, they were busy here, there, and everywhere. On the 19th, for example, they spent their lunch hour at London’s Royal Dorchester Hotel receiving the Variety Club Silver Heart award for “Top Show Business Personalities of 1963,” an honor presented to them by Prime Minister Harold Wilson. And that night, instead of going home when the other actors called it quits, they hurried to tape an appearance on Britain’s #1 pop TV show, Top of the Pops. The very next evening (in their spare time, after filming), the boys performed on the hit television programme, Ready, Steady, Go! (Deep Breath!!!) And of course, in addition to all of this, John Lennon also released his first book, a volume of prose and poetry entitled In His Own Write. What can I say? The Beatles’ well-lauded creativity was, in March 1964, both on and off-the-charts!   March 1965…Again, it was film-making season for the Fabs, but this time, in ’65, the United Artists’ film was “Eight Arms to Hold You,” eventually dubbed “Help!”. First, filming in Nassau for a fortnight, the boys flew home on the 10th, only to regenerate quickly and head out once again. Three days later, accompanied by newlywed, Maureen Starkey, and John’s wife, Cynthia, the boys were en route to Austria. During their time in the breathtaking Alps, John completed an extremely biographical song he’d begun at Kenwood, a number entitled “It’s Only Love.” Depicting his increasingly rocky relationship with Cynthia, this offering revealed so much of John’s vulnerability and tenderness that ever-after, he despised it. Paul told the press that John rarely let people see his soft side: “I’ve only seen him through the cracks in his shell because the shell is so hard.” But “It’s Only Love” so laid bare John’s love for his wife and their mutual struggles, that in the years to come, John would never have a good word to say about the revelatory song. In emotional and imperfect lyrics, it had too closely captured Lennon’s wounded heart.   March 1967…Wearing ponchos, flowered “kecks,” and National Health glasses, the boys were truly in creative heaven, working away in EMI Studios, on Sgt. Pepper’s Lonely Hearts Club Band. On 1 and 2 March, they worked for hours on John’s “Lucy in the Sky with Diamonds.” Then, on the 9th and 10th, they gave their attention to Paul’s “Getting Better All the Time.” And on the 15th, they began work on George’s “Within You, Without You.” But in every period of intense, unfettered creativity, there is always an inherent edge and potential danger. And 21 March 1967 was one of those experimental evenings that could have ended tragically. John, having taken LSD for inspiration, was feeling unwell and excused himself from Studio Two. Hoping to help John recover (and oblivious to the reason for John’s discomfort), George Martin followed him out and suggested climbing to the EMI rooftop for fresh air. When, moments later, Paul and George saw Martin return without Lennon and discovered where their friend was recuperating, they tore out after him…realising that the roof had no rails or barriers against a sheer, 30-foot drop to the ground. Fortunately, when they scrambled — breathless — onto the top deck, John was simply standing and staring at the night sky. But the boys were so thoroughly rattled that they concluded their recordings for that evening then and there. Creative inspiration had engendered a close call.   March 1968…Out of devotion to his mates, Ringo (and his wife, Maureen) agreed to go along with the others to the Maharishi Mahesh Yogi’s ashram in Rishikesh, India, for a soul revival. But after only 10 days abroad — hating the “Butlin’s holiday camp” life of the Ashram — the Starkeys gave the others their regrets and flew home. Twenty-five days later, on 26 March, after having worked prodigiously with John on a plethora of songs that would populate the White Album, Paul and Jane Asher flew back to London, accompanied by Neil Aspinall…and leaving only John and Cyn, George and Patti, and Alex Mardas behind. Although this excursion failed to end particularly well (if one knows the backstory of “Sexy Sadie”), March 1968 was undeniably a time of immense creative genius for The Beatles. Having the rare opportunity to rest, talk, write music, and have furtive fun together (when the Maharishi wasn’t looking), the boys created magical songs for the finest LP they’d offered the public in quite some time. Indeed, John alone wrote enough tracks for the White Album to have his own solo LP. The “Leader Beatle,” who had sadly relinquished his role in Sgt. Pepper and Magical Mystery Tour was back. They all were…in a flood of bright, spring sunlight that blended dramatically into pure White.   Albert Einstein once said, “Creativity is genius having fun.” And certainly, no group of people bear this out better than The Beatles. During the March months of their lives, they starred in award-winning films (creatively ad-libbing many of the famous lines), wrote and illustrated books of poetry and prose, composed and recorded music, starred on television and radio programmes, and sought new horizons of faith. But for the lads, ushering music, art, and literature into the world was never a job or a chore! It was always the product of the happiest moments of their lives. And may it be so, this month, with us as well. Shine on!
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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A Month in the Life

::: By Jude Southerland Kessler :::

 

“If you have built castles in the air… that is where they should be…now, put the foundations under them.”

Henry David Thoreau

 

In this second installment of The Fest Blog’s study of The Beatles’ time together, month-by-month, John Lennon Series author, Jude Southerland Kessler, examines what the lads did during 5 fab February’s. As we walk winter’s weeks together, what can we learn from John, Paul, George, and Ringo? And how can that change the course of our own lives?

 

February 1963 – During one of the coldest U.K. winters on record, the shivering Beatles set out on tour with lovely, little Helen Shapiro, playing dank theatres and music halls in a concerted effort to propel their names and songs to the British public. But on the 11th, they took one day off from their rigorous schedule to race down to London, where they would record their very first LP, Please Please Me. With brilliant producer George Martin at the helm, alongside engineer, Norman Smith, and second engineer, Richard Langham, the boys — desperately ill with colds and flu — began work around 10 a.m. First, they recorded several fondly familiar songs from their old Cavern Club days. Then, as the morning gave way to afternoon, they tackled original tunes for this LP that Epstein hoped would propel his lads to the top of the charts. In the autumn of 1962, The Beatles had had a hit with “Love Me Do” and a Number 1 with the new LP’s title song, “Please Please Me.” However, to maintain that momentum, now they had to produce a host of songs proving their versatility, creativity, and star power. And they did! In only 12 hours, John, Paul, George, and Ringo produced a record that would stand the test of time. And when, at 10:30 p.m. that night — weary and shaking with fever — John Lennon tackled the performance of “Twist and Shout” for the pot-boiling close of the record, he gave history one of his finest tracks…in only one take! The LP was complete. Never had a group compiled a record of such magnitude in only one day. The Beatles had worked their way into stardom.

 

February 1964 – Landing at John F. Kennedy Airport to ecstatic screams that eclipsed jet engines, The Beatles stepped onto American soil on 7 February 1964, and began “The British Invasion.” In only two days, they were slated to play The Ed Sullivan Show. And despite the fact that George Harrison had contracted flu, the four “mop-tops from Liverpool” rose to the occasion. On Sunday night, 9 February, they sang into the cameras for the largest television audience in history (at that time), and instantly, their names became both legendary and household. Then, moving rapidly by train to Washington D.C.’s exhilarating Coliseum-in-the-round performance and up to the Big Apple’s fabled boards in Carnegie Hall, The Beatles made history! Without stopping to breathe, they flew on to sunny Miami for two more Sullivan appearances, while wooing the U.S. public via press conferences, interviews, photo opportunities, and phone chats with a plethora American DJ’s. In 14 days, The Beatles did the work of months, and then nearly exhausted, they winged their way back home to begin filming the oh-so-aptly-dubbed “A Hard Day’s Night.”

 

February 1965 – One thinks of the exotic Bahamas as a vacation locale, but in Feb 1965, The Beatles landed in Nassau to off-the-chart screams for the making of their new United Artists’ film dubbed “Beatles 2” and later, “Eight Arms to Hold You,” and finally, “Help!” Rising daily at 6:30 a.m. for hair and make-up, The Beatles worked on set from 8:00 a.m. to 5:30-6:30 p.m. each day, and in the evenings, frequently gave interviews to journalists such as Larry Kane, Derek Taylor (who, in 1965, was with KRLA, Los Angeles), Long John Wade, and others. John Lennon, additionally, was completing the work on his second collection of prose and poetry, A Spaniard in the Works. Prior to winging their way to the Bahamas, the boys had spent hours recording many of the songs for the film’s soundtrack, but additional work was yet to come. So, taking full advantage of their few nights off, the lads enjoyed a bit of time with Jim and Angie McCartney and their daughter, Ruth, and with George’s sister, Louise — all of whom were on location. As always, however, industry ruled the day. Even in paradise, The Beatles were working.

 

February 1967 – It wasn’t just another “Day in the Life” when, on 10 February 1967, The Beatles oversaw the orchestral recording of the final bars of the final song of their new LP, Sgt. Pepper’s Lonely Hearts Club Band. That evening, 40 classically-trained musicians arrived at EMI Studios, Studio One, to take part in the cataclysmic close to a song that frequently is listed as the best in The Beatles catalogue. Instructing the gifted musicians that he wanted “a musical orgasm,” producer George Martin requested a sound that gradually ascended and intensified before crashing in an E major chord…a sound burst. Throughout February’s weeks, the lads had been working diligently in Studio Two, recording various other songs for the LP (including the title track) and creating videos in Knole Park for their upcoming single, “Penny Lane” and “Strawberry Fields.” But on the 10th, with Paul McCartney and George Martin alternately conducting the small “Day in the Life” symphony (gathered in what would eventually be known at “Abbey Road Studios”), another musical moment in time was captured forever, compliments of The Beatles.

 

February 1969 – January had ended with a rooftop concert that was, for all intents and purposes, the swan song of The Beatles. So, February was for all four boys, a time of re-invention. Ringo began work on his new solo project — a film with Peter Sellers entitled “The Magic Christian.” John, knee-deep in various avant garde happenings and recordings with Yoko, took time out to return to London’s Trident Studios to record “I Want You (She’s So Heavy)” for what would eventually be the Abbey Road LP. George Harrison, in a bit of personal maintenance, had his tonsils removed at University College Hospital, London, but later in the month, he returned, full-throated, to EMI to record demo tapes of “Something,” “Old Brown Shoe,” and “All Things Must Pass.” Still infuriated by the late-January suggestion by John, Ringo, and George that Allen Klein should manage Apple and 20 percent of their personal incomes, Paul took immediate steps to ensure that the firm of Eastman and Eastman were appointed as Apple’s General Council, carefully supervising Klein’s management. However, Paul and Linda still found time to attend the release party for Mary Hopkins’s first LP (which Paul had produced), Postcard. In February 1969, each of The Beatles was discovering his new métier, and without a moment’s rest from the demands of Beatledom, they were exploring their chosen horizons.

 

The one quality that always distinguished The Beatles from other groups was their unfailing willingness to get up early, work late, give more than expected, and produce more than anticipated. They were, in short, driven. Their Februarys together bear this theme out, again and again. The Beatles never once shied away from rolling up their custom-made shirtsleeves to build “castles in the air” from rough brick and real mortar. They created enduring edifices by demonstrating to us all that lasting dreams require unflinching dedication and industry.

 


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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What The Beatles Found in January

::: By Jude Southerland Kessler :::

 

Ever kept a five-year diary or calendar? No? Well, if you’d like to (as we used to say in The Sixties) “find yourself,” you might try it. The practice is highly touted by self-help experts and counselors because it helps to reveal trends and patterns we display seasonally, monthly, and even at similar times of the day. Journaling over a decade reveals even more about how we react to light, weather, seasonal stresses, and yearly events. Studying a record of what we do, year-in-and-year-out, highlights so much about our personalities.

 

Now, The Beatles didn’t journal…well, not that we know of…yet. But their day-by-day actions from 1964-1969 were highly chronicled. And studying their undertakings, month-by-month, is not only interesting, it’s informative. So, throughout 2020, the Fest Blog would like to take you on a month-by-month glance back at some of the most outstanding events of each month during The Beatles’ time together, beginning, of course, with some of The Beatles’ Januarys together.

 

January 1964…On 16 January, The Beatles endured a rather rough opening night at the Olympia outside Paris. Their amplification equipment failed three times! The audience, comprised mostly of young men (since teenage girls would have required chaperones to attend an evening performance away from home), was yawningly unimpressed and disappointingly unresponsive. John, Paul, George, and Ringo trudged “home” to the Hotel Georges Cinque in an umber mood. But waiting for them was a change of disposition: Brian held a telegram announcing that in the week ahead, “I Want to Hold Your Hand” would chart at Number 1 on the U.S. Cashbook hit list! Utterly phenomenal! And just in the nick of time, too: The Beatles were booked to fly into New York City on 7 February for a three-week tour. Cheering and cavorting, the elated Liverpool lads were filled with hope that soon they’d claim “the toppermost of the poppermost.”

 

[Note: A long-held legend states that The Beatles had vowed not to appear in the U.S. unless they had secured a Number One, and this good news gave them the “green light” to journey on to The States. Well, the truth is, The Beatles were already booked to appear in America on three Ed Sullivan shows, whether or not the Number 1 slot was attainable. Brian had arranged the trip back in autumn of 1963. So, the Paris telegram was truly a bit of happy serendipity! Good fortune to begin the year.]

 

January 1965 – John and Cynthia, George Martin and his girlfriend, Judy Lockhart-Smith, flew to St. Moritz, Switzerland for a few days of rest and relaxation, following the close of “Another Beatles Christmas Show” in the Hammersmith Odeon, London. One side goal of the Swiss trek was to give John an opportunity to learn to ski, since in just a few weeks, he would be filming a ski scene for The Beatles’ upcoming United Artists film. All four travelers were excited to hit the slopes with their private ski instructors. But on first night in the hotel, John and George were entertaining the ladies with mad antics, when George fell and broke his foot. For the producer, there would be no happy jaunts on the picturesque Alpine slopes. Not this trip.

 

The next evening, to amuse Martin and draw him out of the doldrums, John performed two new songs…songs that John had composed for the new film (eventually to be known as “Help!”). The first number was haunting and lovely, but because it was clearly a song about an affair John had had, Martin was unnerved. He felt awful that Cynthia was sitting only a few feet away, chatting with Judy. So, he urged John along to the next composition. This one was fast-paced — a hard-hitter about a girl who was leaving the singer flat. “Ticket to Ride” was, even in its early, unplugged version, incredible. Later, John would call the number “the first heavy song The Beatles ever did.” In fact, he said it was “heavy before there even was heavy!” It would be released on 9 April in the U.K. and go to Number 1 only five days later. This January 1965 composition, born of the desire for greater experimentation and variety in The Beatles’ musical creations, would take them in a new direction.

 

January 1966 – John had been married since August of 1962, and Ringo since January of 1965. But Paul and George remained eligible bachelors until January of 1966 when George and Patti Boyd said their “I do’s” at the Epsom Register Office in Surrey. In a very brief, 7-minute ceremony, the couple (who had dated since they met on the set of “A Hard Day’s Night” in 1964) became Mr. and Mrs. George Harrison. And full of hope, a new year and a new life began for The Beatle as well as his gorgeous new bride, a former model.

 

January 1968 – The end of 1967 had left The Beatles deeply despondent. They were mired in Apple’s machinations, and “Magical Mystery Tour” — airing on BBC1 on Boxing Day, 1967 — had disappointed both the public and the press. But in January, George Harrison, who had been in India, working on the music for the film, “Wonderwall,” came home filled with a serene spiritual peace. Certain that he could connect his mates to this new font of inspiration as well, George began to coax them to “at least listen” to “the truth” he had found. Already, seeds were being planted for The Beatles’ February 1968 sojourn to Rishikesh where, in the Ashram of the Maharishi Mahesh Yogi, the four boys would refresh their weary souls, write most of “The White Album,” and return home with renewed energy and creativity for the studio. George had given them hope by reminding them that, as always, the world could not break their spirit.

 

And so, looking back over the lads’ myriad Januarys together, we find that The Beatles are not so different from you and me.

 

Hope visited The Fab Four regularly in January, as it comes to us all: a flicker in the dark of winter, a soft whisper that no matter how we’ve failed in the year before, we have a chance to try again: a new world to conquer, a new marriage to tend, a new song to sing, and a newness of soul to seek. Over and over, The Beatles kicked off the year, as we must, in a spirit of optimism — believing that life is doable, if only we can pick ourselves up and start again. They also began in expectation, claiming the year ahead as their own and pledging the determination and hard work to make it so. And so, my dear Fest family…so can we.


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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In My Life — What are your earliest memories of The Beatles?

What are your earliest memories of The Beatles? How did your journey with the Fab Four begin? Jude Kessler, author of The John Lennon Series, shares her sentimental journey and encourages you to share yours! Our panel of judges will award 3 prizes for the best very brief stories in our Comments section below. The winners will get to expand their stories and be highlighted as our Featured Fest Bloggers in June!

 

Here’s Jude’s true tale:

 

I’ve told the story at least a hundred times: how 9-year-old Pattie Holly Singer — clasping an early Beatles 45-rpm photo jacket — waylaid me en route to class at Horseshoe Drive Elementary in Alexandria, Louisiana.

 

These are The Beatles!” she exhaled, her eyes dancing nervously. “Everyone’s in love with them!!! You’ve gotta pick one to fall in love with…by recess!” That was the beginning of it all, really — the sojourn into the frenetic and frantic land of Beatlemania.

 

All the rest of my memories that year center on The Beatles. I can’t recall anything else “in my life.”

 

My father, Dr. Tom Paul Southerland, the Rapides Parish Assistant Superintendent of Schools, was not impressed. Each month, he’d call me into his office and sit me down to begin the standard lecture: “You’re in love with that John Lennon, and it has to stop! He’s a hoodlum, I tell you. A hoodlum!” But the more my dad divulged that “fact,” the more I was attracted to the almond-eyed guitar player with his razored wit and deep, gritty voice…the more “The Leader Beatle” invoked devotion.

 

Despite my father’s despair over Lennon-mania, though, he saw sense. When “A Hard Day’s Night” came to Alexandria’s Don Theater, late that summer, he offered to take me to the film. He even did some research on it and commented on the cautious drive downtown, “I hear these Beatles are a lot like the Marx Brothers. Some people say they’re the Marx Brothers and the Keystone Cops, all rolled into one. In fact, down at the office, they tell me this movie really shows that side of their comedy.”

 

I don’t remember my response; I’m sure it was polite and agreeable. But in that fat, baby-blue-and-white, four-door Buick, I do remember thinking that I’d seen “You Bet Your Life” on TV and that John Lennon was nothing whatsoever like gruff, bespectacled, OLD Groucho Marx. I saw no correlation between Marx and Lennon, and frankly, I couldn’t imagine anyone who could! I bit my lip and sighed and thought my father and I, worlds apart.

 

At the end of film that afternoon, as the credits rolled across the screen (names I would come to know intimately in my adult life…some, like Victor Spinetti, whom I would meet and interview at our own Fest for Beatles Fans), I sat in the darkness and wept. I cried because I’d loved every minute of John’s film. (As Susan Ryan said to me years later, “What??! The other Beatles were in that movie????”) I sobbed because it had ended all too quickly. And I wept because there was no one there to understand my heart.

 

“Would you like to stay and see it again?” my father leaned over, asking me quietly. I was floored. Stunned! The man who had railed against The Beatles for months got it!!!! Somehow, he understood. And he was offering to devote two more hours of his life to a film he really didn’t want to see. It was a moment…one of the best of my childhood. My father had unwittingly conspired with The Beatles to create a forever memory.

 

Today, I live about two hours from Alexandria — or “Beatle Town,” as I call it. Every time I have an occasion to drive through the city or visit friends there, I fly back to 1964. I remember it all. I remember asking for my first Beatles album on my November birthday and getting, instead, a black-and-white LP by The Liverpool Beats singing, “I Want to Hold Your Hand” and “I Saw Her Standing There,” right alongside “Joshua” and “Maybe I Will.” I vividly recall fighting back hot tears over the sound of “Happy birthday to you, happy birthday to you…” and trying to act thrilled over the errant record looming next to my chocolate cake. I also remember climbing into bed that night and writing a very early letter Santa, who surely, in just a few short weeks, would right the wrong and deliver the treasure I so craved.

 

On a very chilly and early 25 December 1964, as I tore into the thick, crimson foil encasing Capitol’s “Meet the Beatles,” my introduction to “the lads” was finally complete. In twelve short months I had found my passion for a lifetime and stepped into my future career. I had selected not only “a Beatle to love,” but had chosen the direction for my college course of study and the path of my professional life. From that day on, it would be all John Lennon, all the time.

 

And yes Virginia, it still is.

 

*********

Now…it’s your turn. Share your first and earliest Beatles’ story with us in the Comments below…let the memories Shine On.


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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Shine On! These second generation Beatles fans are among our torch-bearers

At the dramatic close of the 1960’s Broadway hit, “Camelot,” a beleaguered King Arthur — preparing to face the final battle against his arch-enemy, Mordred — calls a young boy to his side. He instructs the youth to scarper from the battle as quickly as he can and to protect himself so that he will never

 

“…let it be forgot

that once there was a spot,

for one brief, shining moment that was known as Camelot!”

 

That boy, King Arthur realizes, is the key to tomorrow. He is the one who will tell generations to come about the Knights of the Round Table — about their valiant deeds and their unique code of chivalry. To “this boy” belongs the future and the ongoing life of all that King Arthur so passionately created. The boy is, in our Beatles lingo, a “Second Gen Fan.”

 

Truly, our Second Generation Beatles Fans are our torch bearers. They (and their children, the Third Genners) are the ones who’ve taken up the light of Beatlemania. These fans — who never saw a live concert, who never watched The Beatles on Ed Sullivan (unless they did so via DVD), and who never stood screaming on an airport tarmac — are just as passionate, just as devoted, and just as committed to The Beatles as are the Baby Boomers. In fact, they are busy spreading the Beatles legend in extremely creative and original ways.


SCOTT ERICKSON
, a Second Gen fan from Danville, PA is a beloved and respected member of our Fest Family! A gifted musician who plays acoustic guitar, bass guitar, ukulele, keyboard, harmonica, and (as he says) “the occasional kazoo,” Scott is a devoted student of Beatles music. He performs at least one live session at each Fest for Beatles Fans, and we are blessed to have him! Scott has opened for Blue Oyster Cult, The Bacon Brothers (Actor Kevin Bacon and his brother Michael), comedian Gilbert Gottfried, and many others…and over the course of his career he’s performed and jammed with Keith Urban, members of The Smithereens, (former sidemen for Sir Paul!) Hamish Stuart, Robbie McIntosh and Wings drummer Steve Holley! Scott offers up widely varied music from country to pop, but always, The Beatles serve as his inspiration. At each Fest for Beatles Fans, he teams up with Dr. Kit O’Toole to share a “Deep Beatles” spotlight of some the lads’ lesser-known tunes. Coming up in Chicago, for example, the powerhouse duo will highlight a not-to-be missed session on The Esher Demos.

 

For more information on Scott Erickson and his upcoming gigs, go to: https://www.scottericksonmusic.com/

 

Or follow him on Facebook at http://www.facebook.com/officialscotterickson

LANEA STAGG, another animated, multi-talented Second Genner, hails from the Kansas City area and currently resides in Evansville, Indiana. Lanea is the creator and author of four music-inspired books in The Recipe Records Cookbook Series. Based on hit songs, Recipe Records offers menus (and song facts, trivia, and stories) that get us “out in the kitchen [to] rattle those pots and pans.” Each easy-to-prepare recipe is coupled with a “Song List” (instead of a “Wine List”) to play as one cooks, using Alexa – or a comparable device – to supply the sounds! In her Recipe Records: A Culinary Tribute to The Beatles, Stagg provides us with fun and delicious recipes such as Stuffed Sgt. Peppers, George Martinis, I Am the Eggs, Man!   In her Recipe Records: The 60s Edition book, she gives us Give Peas a Chance, and You Say Goodbye, I Say Jello. With guest Beatles-based chefs sharing their favorite recipes (Liverpool’s own David Bedford teaches us how to prepare “Scouse” and Jude Southerland Kessler supplies “Strawberry Pie Forever”), Stagg demonstrates her passion for The Fab Four in a very unique, hands-on, and joyous way. In her “spare” time (LOL!!!), Stagg co-hosts the “She Said She Said” Beatles podcast and was a speaker at the 2018 White Album Conference. She is also co-chairing the 2019 Beatles at the Ridge Symposium coming up in September! (We won’t even mention her Little Dog Series of children’s books! Second Gen energy for sure!) Lanea Stagg is multi-talented.

 

For more information on Lanea Stagg or to purchase her books, go to https://www.laneastagg.com

 

Or follow her on Facebook at:  https://www.facebook.com/LaneaStagg/

ERIKA WHITE (above) AND ALLISON BORON (below), podcast hosts of “BC The Beatles” hail from opposite coasts but they are united in their love of John, Paul, George, and Ringo. Erika resides in New York’s bustling atmosphere, and Allison works in Los Angeles, but they “come together” to interview big names in The Beatles world such as Candy Leonard, Dr. Ken Womack, and Rob Sheffield.  They also tackle topics such as “What If The Beatles Had Passed the Decca Audition?” and “John Lennon: Sinner or Saint?”

Boron and White have both served on the Fest’s “Historian’s Panel” for years and have moderated numerous panels, individually. They were invited to speak at the 2018 White Album Conference in Monmouth University and are Featured Speakers for this year’s 2019 Beatles at the Ridge Beatles Symposium. Wildly popular, these two enthusiastic Second Gen Fans know their Beatles, and their podcasts certainly reflect that!

 

To listen to “B.C. The Beatles,” go to: https://bcthebeatles.podbean.com/

 

Or, follow them on Facebook at: https://www.facebook.com/bcthebeatles/

 

Happily for all of us, the recent New York Metro Fest for Beatles Fans this year was replete with Second (and Third) Gen musicians, fans, and speakers…and Chicago will be as well! We appreciate authors such as Robert Rodriguez and Dr. Kit O’Toole, podcast hosts such as Dave Thurmaier (“I’ve Got A Beatles Podcast”), Robert Rodriguez (“Something About The Beatles”) and Steven Krage (“The Objectivist”) and exuberant Public Relations agent, Nicole Michael of 910 Public Relations, who represents over 20 outstanding Beatles authors/speakers. Our Second Gen fans give us new perspectives, new insights, and new hope. They carry The Beatles into the coming years and inspire their children and grandchildren to keep the records playing.

 

As a Baby Boomer of the first order, I send love and support to them. Dragging them aside from life’s fray, I beg them to keep the true story accurate and alive. “Be well,” I say. “Be brave. But most of all, dear friends, shine on.”


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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An Open Letter to Sir Paul McCartney: Come to the Fest!

Dear Sir Paul, (although many of us still fondly think of you as Paul, the lad from Allerton)

 

It was your idea, remember? In 1969, you tried to convince John that The Beatles ought to surprise random audiences and give impromptu concerts at smaller venues. He called the concept “daft.” We think it, genius.

 

Please…surprise us!!!

 

Last year, we watched longingly as you played the Philharmonic Pub to that lucky crowd gathered around you (and James Corden). We smiled to see you enjoying “Get (ting) Back” to your roots — to the haunts around The Institute that you know so well. We grinned along with the thrilled, enthusiastic crowd who will most certainly tell their grandchildren about the day they were fortunate to see Paul McCartney in Hope Street.

 

Please…thrill us!!!

 

Every one of us shared the priceless photo on social media (and in The Sun) of you riding blissfully along on a U.K. train, checking your texts and reading the newspaper…sitting there casually “in the trenches,” one of us again. To a man, (and a woman), we pretended that we were the providential passenger sitting across the aisle, giving you complete privacy while longing to lean over and whisper, “Just so you know, you changed my life forever.”

 

Give us that chance.

 

Please…trust us!!!

 

The Fest for Beatles Fans is in its 45th year, and for 45 years, we have gathered twice annually (in some years, three and four times) to play your songs, discuss the events of your life in depth, celebrate your new releases, and share our treasured photographs from your concerts. Some of us can boast never missing a Fest for Beatles Fans since its inception. Others are proud to have attended for 15 or 20 consecutive years, and yes, even that “modest” number is an investment of time, money, and devotion. We are fans in the truest sense of the word. No group of people anywhere would be more appreciative or more overcome with joy to welcome you in person.

 

We think you’d enjoy meeting us as well. A good many of us remember that first Ed Sullivan show. We were there, too…watching…agog. And for us, that night was just the beginning of live concerts, purchased LPs, trips to Liverpool, and a life of devotion.

 

Others of us are Second Gen fans…schoolteachers and dentists and accountants in our forties. But don’t let our age fool you! We’re no less devoted than the Baby Boomers. In fact, because we were introduced to The Beatles and Wings and “Macca” by our parents, teachers, or slightly older friends, we’ve compensated by becoming intensely passionate fans.

 

Finally, a huge portion of our Fest Family is comprised of Third Genners…excited and proud to be Beatles and McCartney fans in our teens and twenties. We know the stories just as well as the others do. And fifty years from now, we’ll be the ones telling them to those who will follow.

 

We are diverse. But demographics aside, Paul, we find that at heart, our Fest Family is very much alike. We subscribe to Beatlefan magazine and Octopus’ Garden fanzine. We listen to podcasts such as “Something About The Beatles” and “Breakfast with The Beatles” and “Beatles Brunch.” We have McCartney and Beatles libraries in our homes. We’ve collected every concert t-shirt you’ve ever printed. In short, we are your people — the ones who would really cherish that incredible moment when you’d suddenly appear on The Fest for Beatles Fans stage and rave across the boards, with a little help from your friends.

 

This year, the New Jersey Fest for Beatles Fans is set for Friday, 29 March; Saturday, 30 March, and Sunday, 31 March, and you are most cordially invited, Sir Paul. It would, indeed, be the honor of a lifetime to have you there!

 

We hope to see you in Jersey City at the Hyatt Regency where, thanks to the hard work of Mark and Carol Lapidos, their daughters Michelle Joni and Jessica, and the Fest staff and family, a “splendid time is guaranteed for all.” Having you with us, even for a moment or so, would certainly make it so. It was a great idea in 1969…but it’s an even better one now!

 

Cryin’, wishin’, hopin’, (your Cavern song!)

Your Fest Fans

 

P.S. We love you.


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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Esher You Love It, Or You Don’t

The Esher Demos, those delightful “unplugged” precursors to The Beatles’ self-titled LP (commonly known as the White Album), were proof positive that Lennon and McCartney had completely different ideas about the way that rock’n’roll should be fashioned. 

 

From Day One, John firmly believed that music should be created extemporaneously — that reworking a piece over and over was “doin’ a thing to death.” John believed that a song’s beauty lay in its imperfection. Paul, on the other hand, thought that a musical composition should be slowly honed and developed…that a recording should be tweaked and re-recorded until the final product was exactly the way the songwriter wanted it. Two concepts. Both viable. 180 out.

 

Paul, therefore, arrived at George Harrison’s home, Kinfauns, in Esher, England on that day in late May 1968, with a pre-recorded tape of polished offerings for the next album. The songs that Paul played for his friends that chilly afternoon were very similar to the final product he offered listeners via the White Album tracks. Paul changed little in studio because he had worked diligently, (by himself and ahead of time) before he presented his Esher demos to The Beatles.

 

Not so with John Lennon. John arrived in Kinfauns with the beginnings of several excellent songs. He brought with him ideas and concepts that were to be “fleshed out by the band.” John proposed tangible ideas for his songs, but he had always believed that it took the consummate talents of the entire group to bring a song to life.

 

However, in the case of two tracks that John created for the White Album, there was a bit of theoretical acquiescence and compromise. In developing these songs, John did use the talents and efforts of his entire group, but he also employed the McCartney recipe for success. The two songs we’re about to look at evolved slowly, and they changed dramatically from May of 1968 to their eventual, delayed release. They are:

 

Child of Nature

 

Whist in Rishikesh, both John and Paul were inspired to write songs based on a talk that the Maharishi had given about the relationship between man and nature. Paul wrote “Mother Nature’s Son,” and John penned “Child of Nature.”

 

On some level, John must have known that the lyrics he’d scribbled onto paper were rather ludicrous. John was no child of nature.  In fact, I can only think of ONE instance in which he was profoundly touched by the majesty of his surroundings. In May of 1964, when John and Cynthia visited the Irish Cliffs of Mohr, John had perched alone, for some time, on a rocky, wind-swept Irish ledge. With Cynthia watching him protectively from a distance, John had taken it all in. And that afternoon as the sun set, he discovered a deep kinship with Ireland…a spiritual connection that spurred him to tell Cynthia that Ireland was where he wanted to retire, to spend the end of his life.

 

But otherwise, John spent as little time in nature as possible. Even when fervently trying to raise funds for a new guitar by mowing Mimi’s lawn, he never quite finished the job. Mimi told Ray Coleman: “He’d do half the job and give me a squeaker kiss for the rest.” John Lennon was no Euell Gibbons.

 

So here, in “Child of Nature” — as John tries to create a song about a theme that is foreign to him — he can’t quite take the job seriously. Indeed, as he sings his demo at Kinfauns, he warbles in a rather mocking way, filling the performance with exaggerated vibrato. It almost seems as if he is making fun of himself. In his heart of hearts, John knew that his lyrics lacked sincerity.

 

However, John didn’t give up on the offering…that afternoon, he diligently worked with his group. He double-tracked his voice on George’s Ampex recorder; he asked Ringo to use a shaker to accompany him. But despite a sincere effort, the song failed to soar.

 

Always shrewd and self-evaluating, John didn’t permit “Child of Nature” to be included on the White Album. For months after the LP’s release, he held it in abeyance.

 

Then, on the first day of the Let It Be sessions, John toyed with the offering again, recording it without that famous opening line, “On the road to Rishikesh.” By that juncture in history, John wanted nothing to remind him of the Maharishi. But try as he might, “Child of Nature” still didn’t work.

 

Finally, in 1971, John got down to brass tacks. He completely retooled the song into the very honest, open, and frank “Jealous Guy.” Now singing bespoke lyrics that suited his life and personality, John hit the mark.

 

I was dreaming of the past

And my heart was beating fast

I began to lose control, I began to lose control…

I didn’t mean to hurt you

I’m sorry that I made you cry…

 

Now this was about the real John…the little boy who had been so abandoned in his past that he could never trust future relationships…the child who had been so unloved that he could never relax into loving without the trembling query, “If I fell in love with you, would you promise to be true??” The lyrics of “Jealous Guy” were fitting for the man who often hurt people before they could hurt him. It was a genuine song.

 

In transforming “Child of Nature,” John had adopted Paul’s caution against work created too spontaneously. Though much later, John’s bent towards immediate release would succeed with “Instant Karma,” here a brilliant work was unearthed through years of change and reconsideration. “Child of Nature” was the germ of what would later become one of John’s most outstanding works.

 

Sexy Sadie

 

Like the British Romantic poets (Keats, Shelly, Wordsworth, Poe, Coleridge), John was most productive during periods of trial. His gift (and his key to survival) was transforming pain into music. And since the spring of 1968 was replete with pain and anguish for him, John was writing superb music.  Therefore, John came to Kinfauns bearing splendid songs to offer his mates. Some, like “Sexy Sadie,” however, still needed work.

 

Most Beatles fans know that John had penned “Sexy Sadie” in Rishikesh, during the aftermath of a rumour that the Maharishi had committed a grave impropriety with one of the young females on the Rishikesh excursion (a Mia Farrow look-alike named Pat, a nurse from Southern California).

 

John, who’d fervently hoped that the Maharishi would be “The Answer” to his marital problems and his discontent, reacted violently to the “griff” that the supposed holy man was more man than holy. John deducted, very sadly, that the Maharishi, therefore, probably didn’t hold the peace he was seeking, and disgusted, John had begun packing to leave India.

 

The version of “Sexy Sadie” that John sang to his friends in Esher wasn’t, of course, the original Rishikesh version. Only George Harrison had heard the initial lyrics, and he’d wisely convinced John not to use them. George had also encouraged John to scrap the very pointed title, “Maharishi,” pointing out not only the legal ramifications, but also, the bad karma one might incur from such a rash move. And John had listened.

 

With wisdom prevailing, John didn’t perform the original song at Kinfauns, either. Already, he’d begun the process of transforming “Maharishi” into the more acceptable “Sexy Sadie.” John had already implemented changes that would permit this song to be played on radio.

 

On July 19 and 21, in EMI Studios, John continued to cultivate his song. But this time, he moved more rapidly than he did with “Child of Nature.” Following his long-held philosophy of developing a song in studio with his band, John worked with “the group” to shape the track. The Beatles did 21 takes of “Sexy Sadie” on July 19, and then, completed another 23 takes on 24 July.  And that work certainly paid off.

 

“Sexy Sadie” emerged as the version that we now know. Although it is a rather “watered down” shadow of John’s original manuscript, the enhanced track appealed to a much wider group of listeners. Who hadn’t, at least once, been duped by a charming and duplicitous man or woman? Who hadn’t been deceived? John Lennon had sagely turned a personal affront into a universal theme…and in doing so, had created one of the strongest offerings on the White.

 

To learn more about the Esher Demos, attend Dr. Kit O’Toole’s presentation at the 2019 New York Metro Fest for Beatles Fans where you’ll be able to hear gifted musician, Scott Erickson, perform many of these unique songs for you.

 

To order your own copy of the newly remastered Esher Demos, HEAD HERE


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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‘Tis the Esher Season!

Part 1

 

Prior to their 1968 summer and early autumn recording sessions at EMI, Paul McCartney stated that The Beatles’ original plan was to have several rehearsals prior to the recording of their new LP.[i] But “life,” as we all know, “is what happens while you’re making other plans.” [ii] And so, the boys got one day and one day only to present their ideas and concept songs for The Beatles LP to one another. But what a magical day it turned out to be…and what remarkable tracks have recently been revealed to us via the long-awaited mid-November 2018 release of the Esher Demos.

 

For McCartney fans, there are not as many diamonds to unearth on Esher as there are for Lennon or Harrison aficionados. In keeping with Paul’s lifelong belief that rock’n’roll should be well-manufactured rather than grown, extemporaneously organic, Paul came to George Harrison’s house at Kinfauns with his demo songs almost completely fleshed out. Prior to his arrival in Esher, Paul had performed and recorded the songs with full backing tracks. He’d left very little to the imagination. Indeed, few of McCartney’s Esher offerings deviate significantly from the version we’ve come to know so well on the White Album.

 

And although Ringo contributed significantly to the White Album, there was no original Starr composition proudly presented to the others on that late day in May 1968. Therefore, in Part 1 of our discussion of the Esher Demos, our focus will turn to two of George Harrison’s offerings, “While My Guitar Gently Weeps” and “Not Guilty.”  In Part 2, we’ll consider Harrison’s “Sour Milk Sea” and a clever Lennon contribution: “What’s the New Mary Jane?” And in our final blog prior to the New York Metro Fest, we’ll examine John’s “Child of Nature” and “Julia.”

 

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While My Guitar Gently Weeps — In Rishikesh, India, George was less productive musically than John and Paul because he firmly believed that writing music was contrary to everything The Beatles had journeyed to India to achieve. They were supposed to be (he insisted) retreating from work and the pressures of business; they were supposed to be concentrating on their souls.

 

Paul later commented on the Rishikesh experience: “I remember talking about the next album, and George was quite strict. He’d say, ‘We’re not here to talk music; we’re here to meditate.’”[iii]  But agreeing to George’s face, Paul kept right on clandestinely writing music…while John meditated but worked openly — looking, all the while, for “a shortcut” to the Inner Light.

 

But despite their myriad of distractions from the Maharishi Mahesh Yogi’s teachings, the deep influence of India, nevertheless, filled the White Album. Indeed, George was later quoted as saying, “The experience of India was all embodied in that album.”[iv] And nowhere is it heard or felt more than in the reflective, soul-searching Esher version of “While My Guitar Gently Weeps.”

 

Without being preachy (and George could occasionally be preachy, as in “Within You, Without You”), this quiet song enumerates the sins and faults of his “brothers” and almost pleads with them for repentance and a better way forward.

 

In this raw, primitive Esher version — minus the urgency of Clapton’s dazzling lead guitar — you can hear George’s heartbreak. Rock’n’roll author of The Recipe Records Series, Lanea Stagg, commented, “You can almost taste the salt of George’s tears.” Pared down to its essentials, Esher’s “While My Guitar Gently Weeps” is even more poignant and touching than its final iteration.

 

This May 1968 version of the song is the background that we hear playing as Martin Scorsese’s “Living in the Material World, Part II” opens. And it’s an apt beginning to the second half of George’s biography, because with this song, Harrison more or less declares his independence from The Beatle collective and dejectedly, but firmly, sets out on his solo career.

 

Once this song goes into EMI production — once it’s engineered and filled out — the listener will hear Harrison’s words less clearly, less pointedly. But here, with minimal embellishment, one digests the deep disappointment that George has found in John and Paul:

 

“I don’t know why nobody told you how to unfold your love,

I don’t know how someone controlled you,

They bought and sold you.”

 

 

However, although you can’t miss the sorrow in George’s voice (the regret that things have played out as they have), you can also hear his resolve. He has come to terms with the fact that the world is still turning; he realizes that there are other options for him. And if waiting around too long to be respected has been a mistake, well, “with every mistake, we must surely be learning.” And so, George is sadly — very sadly — realizing that he must now move on.

 

“While My Guitar Gently Weeps” always tugs at the heartstrings, but never more than when you hear it without any distractions. This is just George from Speke telling his boyhood Merseyside friends how much he has loved them and how much he has suffered…and now, at last, he intends to say goodbye.

 

In this version, it is George Harrison’s — and no one else’s — guitar that gently weeps.

 

Not Guilty –

 

“Not Guilty” is another of George Harrison’s songs (in the same vein as “Piggies,” “While My Guitar Gently Weeps,” and “Sour Milk Sea”) in which he reprimands his mates for the way they’ve dealt with him through the years.  However, his other songs are rather veiled — somewhat softened. This track is not milquetoast. This is Harrison standing up for himself, without apology, without regret.

 

In fact, in 1999, George told Billboard Editor-in-Chief, Timothy White, that this song addresses “the grief I was catching from Lennon and McCartney post-India.” He went on to say that he was telling them once and for all that: “I wasn’t guilty of getting in the way of their career. I said I wasn’t guilty of leading them astray in our going to Rishikesh to see the Maharishi. I was sticking up for myself …”[v]

 

According to Harrison biographer Peter Doggett, in You Never Give Me Your Money, another issue that George was addressing was the incredible amount of money that The Beatles had invested on the launch of Apple. George had always been a sharp-eyed steward of the group’s finances, and in the spring of 1968, he felt that Apple’s extravagances were “too lavish” and unnecessary. In “Not Guilty,” Harrison relents and says he “won’t upset the Apple cart.” But, clearly, George isn’t pleased with the status quo.

 

The Esher version of “Not Guilty” is clear evidence that by May of 1968, George Harrison was no longer content to be long-suffering, to bite back his indignation, to “get along.” From the secure environment of his own home, Harrison cleared his throat, lifted his head, and sang his lyrics unabashedly — face-to-face with the friends who’d implied that he’d led them astray by convincing them to go to Rishikesh. He stared into their eyes and told them that he had never stood in the way of their progress…and that he had no apologies whatsoever for his behavior. It was a bold move, albeit an emotional one.

 

In the Esher Demo of “Not Guilty,” you can hear the passion in George’s voice. You can also feel the rigid, awkward silence all around him.

 

Next blog: “Sour Milk Sea” and “What’s the New Mary Jane?”

 

Purchase the re-engineered White Album with the Esher Demos and liner notes HERE.


[i] Howlett, Kevin, “Esher Demos” liner notes for the re-engineered White Album, November 2018.

[ii] Lennon, John, “Beautiful Boy” lyrics, with credit to Allen Saunders, an American cartoonist who created Mary Worth and used this phrase in a piece in Readers’ Digest in Feb. 1957.

[iii] Howlett, Kevin, “On the Road to the White Album,” liner notes for the re-engineered White Album, November 2018.

[iv] Howlett, “Esher Demos” liner notes for the re-engineered White Album, November 2018.

[v] Huntley, Elliot J., Mystical One: George Harrison – After the Break-Up of The Beatles, 165.


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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