Abbey Road Studios. See EMI Studios
Actors’ Equity, 183
Adventures of Robin Hood, The (television show), 39–40
“(Ain’t That) Just Like Me,” 145
“All I’ve Got to Do,” 146
“All My Loving,” 139, 153, 155, 226–227, 274
“All Quiet on the Mersey Front,” 217, 271
“America,” 235
American Federation of Musicians, 173
“And I Love Her,” 176, 177, 178, 179, 186, 195, 204, 215
“Anna (Go to Him),” 122
“Another Girl,” 248
“Any Old Iron,” 45–46
“Any Time at All,” 198, 199, 202, 204
“Anyone Who Had a Heart,” 143–144
Ardmore and Beechwood
Beatles’ first single selection and promotion, 91, 104, 108
Beatles promotion for publishing, 68–69, 83–84, 89
Beatles’ publishing contract loss, 107, 110–111
Around the Beatles (television special), 258
“Arrivederci Darling,” 53
Asher, Jane, 40, 158, 261, 296
Asher, Peter (Peter and Gordon), 40, 279, 297
“Ask Me Why,” xiii, 91, 93, 102, 107, 109, 112
Aspinall, Neil, 90, 102, 158, 199, 243
Associated Independent Recording (AIR), 279–282
Associated London Scripts, 279
At the Drop of a Hat (comedy show), 43–44
At the Drop of Another Hat (live comedy recording), 214
Atwell, Winifred, 65
“Baby It’s You,” 122, 124, 125, 274
“Baby’s in Black,” 231–232
Bacharach, Burt, 143, 272, 273
“Bad Boy,” 259
“Bad Penny Blues,” 43
Badgasarian, Ross, Sr., 48
Band of Irish Guards, 27
banned music, 55
Barrow, Tony, 108
Barry, John, 225
Bart, Lionel, 222–223
Bassey, Shirley, 143, 224–226, 273
BBC Music Library, 24
BBC Radiophonics Workshop, 65
“Be My Love,” 31
American travels, first visit, 167–174
concert experiences, 157–158, 165, 173, 203, 210–212, 269, 285
early, 135
negative effects of, 170–172, 184, 194, 211–212, 269, 285, 289
recording studio as refuge from, 247, 269, 289
roots of, 170
television audiences, 147
television news report stories on, 184
terminology origins, 147
Beatles. See also Beatles’ recording sessions; Beatles’ tours and performances; specific song and album titles
achievement and success, 209, 219
American labels and distribution, 142–143, 166–168, 173, 182–183, 184, 187
American visits, first, 167–174
band name criticism, xii, 83, 90
British social class system and, 171–172
celebrity (see Beatlemania)
Christmas recordings, 149, 292, 300
descriptions, 90
Dylan meeting and influence, 233, 244
earnings (1964), 243
EMI celebrations honoring, 154, 249, 252
Epstein management and promotion of, 67, 68–71, 87–88, 165
films, 309 (see also Hard Day’s Night, A; Help!)
gratitude, 228
haircut fads and publicity, 184
harmony singing, 151–152
longevity, 200–201
marketing strategies, xiv–xv, 90, 95, 100, 101, 108, 109
Martin relationship with, 130–131, 252, 267–268
Martin resignation and, 228
musical development, 193, 244, 247, 248
musical talent criticism, xiii, xiv, 92, 97, 104
personality descriptions, xiv, 94, 113, 151, 155, 169
Presley meeting, 286
publishing copyright, 83–84, 110–111, 111
radio performances, 138
recording contracts, xii, xiv, 86–87, 157, 249
recording studio as sanctuary for, 247, 269, 289
relationship change, 311–312
scheduling challenges, 195–196, 231–232, 259, 289
songwriting development and process, 120–121, 256, 292
sound development, 83, 112, 137
television performances, American, 165–166, 167, 169, 174, 175, 263
television performances, British, 115, 119, 147, 155, 184, 274
television specials, 258, 297, 309–311
Beatles for Sale (LP), 231–244
1962, first, xii–xiv, 89–95, 99–108, 112, 113
1963, first single, 135–136
1963, second LP, 138–140, 145–147, 149–153
1963, third single, 129
1964, third LP and film soundtrack, 175–179, 181, 185–187, 188–199, 202
1964, fourth LP, 231–243
1965, fifth LP and film soundtrack, 246–249, 250–253, 257–263, 265–267
1965, sixth LP, 259–260
1965, seventh LP, 285, 286–296, 297–302, 304
Beatles’ Second Album (Capitol Records), 183
Beatles’ tours and performances
American, 166, 169–170, 173, 208, 209–211, 285–286
early, 68, 117, 119, 120, 125, 134, 138, 140
illness and stand-in drummer, 199–200, 201–204
last in Britain, 307
Beatles VI (Capitol Records), 259–260
Bennett, Kim, 69, 83–84, 108, 110, 111
“Bésame Mucho,” 91, 93, 107, 121
Best, Pete
as Beatles tour stand-in option, 201
fan devotion and altercations, 101
recording sessions with, xiii, xiv, 90, 91, 92, 93, 95
Best of Sellers, The, 46–47
Beyond the Fringe (comedy troupe), xi, 48
Beyond the Fringe (EP), 49, 50, 118
Black, Cilla (Priscilla White)
audition, 141
Beatles and Smith Lockhart relationship, 168
Beatles television special featuring, 297
film soundtracks featuring, 217
marketplace challenges, 273
performances, 226
production scheduling, 154
recordings, 142–144, 220–222, 273–274
Black, Stanley, 28
Blackpool Night Out (television show), 274
“Bluebell Polka, The,” 39
Boast, Bob, 68
“Boiled Bananas and Carrots,” 45–46
Bown, Peter, 57
“Boys,” 122
Boys, Jerry, 298
Bridge on the River Wye, The (LP), 98
Brown, Peter, 131–132
Calculated Risk (film), 78
Cambridge Circus (comedy review), 214
“Can This Be Love?,” 73
“Can’t Buy Me Love”
film scenes with, 197
instrumentals of, 226
LPs featuring, 195
other artists’ covers of, 218–219
recording and postproduction issues, 159–160, 177, 186, 187
release and sales, 161, 176–177, 187
Capitol Cinema concerts, 307
Capitol Records
Beatles claim and publicity, 168
Beatles’ concert live recording, 173
Beatles distribution, 166–167, 182–183, 187
Beatles’ promotion, 184
Beatles rejection, 142, 166, 168
EMI buyout and agreements with, 41–42
Parlophone releases and rejection from, 118–119, 142–143
skiffle recordings and marketing, 56
visit to, 56
Carl Lindström Company, 24, 25
Cavern Club, 68, 101, 110, 115–117, 141, 145
CBS, 30
Cellarful of Noise, A (Epstein), 85
censorship, 55
“Chains,” 122
Chapman, Graham, 214
“Chipmunk Song (Christmas Don’t Be Late), The,” 48
Christmas records, 149, 292, 300
Cilla (LP), 274
Clair, Kenny, 105
Clay, Cassius (Muhammad Ali), 175
Cleave, Maureen, 188, 189, 193, 194
Cleese, John, 214
Colman, Sid, 69, 83–84, 89, 104, 107, 111
as EMI subsidiary recording label, xii, 24
Garland recording sessions at, 223
pop music production, 279
Columbia Graphophone Company, 24–25
Come Fly with Me (album), 56–57, 58
“Come to Me,” 274
comedy, British, 34–35, 43–50, 52, 54, 98, 213–214, 356
Committee for the Promotion of New Music, 15
Compact (television soap opera), 65–66
compressor effects, 57, 136, 146, 151
Cooper, Alan “Hooter,” 61
Cow Palace concerts, 286
Cribbins, Bernard, 48, 49, 66–67, 69, 98–99
Crooks Anonymous (film), 77, 78
“Crying for the Moon,” 65–66
CTS Studios, 225
“Cumberland Gap,” 55
Dankworth, John, 25, 41, 43, 49, 215
Davies, Arthur E., 27
Davies, Malcolm, 129
“Day Tripper,” 289, 292–293, 296, 297, 300
Debussy, Claude, 7
Decca Records
American recordings released by, 59
artists lost to, 30, 42, 45, 55
Beatles’ audition and rejection, 68, 71
employment offers from, 37
recording technology, 30
Demmlar, Otto, 158
Department of Naval Entertainments, 14
“Devil in Her Heart,” 138
Dexter, Dave E., Jr., 142–143, 166, 259
Dick James Music, 73, 76, 106, 110–111, 131–132
Do It Yourself discs, 53–54
“Do You Want to Know a Secret,” 122, 125, 133–134, 273
Dobereiner, Peter, 214–215
Doctor Who (soundtrack), 65
“Don’t Pass Me By,” 234
“Don’t You Rock Me, Daddy-O,” 55
“Double Scotch,” 73
“Downtown,” 271
Drake’s Progress (television show), 48
“Drive My Car,” 288–289, 296, 303
“Drop of the Hard Stuff, A,” 46
Dylan, Bob, 233, 244, 250, 251, 254
Eight Arms to Hold You (film). See Help! (film)
“Eight Days a Week,” 236–237, 238
Electrola Gesellschaft, 158
electronic music, 64–65
Elgar, Edward, 25
Elizabeth II, Queen of England, 27, 260, 296–297
Eltham, Stuart, 47, 50, 98, 124
Emerick, Geoff
Beatles’ fans, 135
Beatles’ musical development, 138
Beatles’ recording sessions, 136, 146–147, 160, 161, 238, 239, 240–241
EMI bias and cynicism, 150
employment, 102
Garland recording sessions, 222, 223–224
Hard Day’s Night director collaboration, 189, 190, 192–193
promotion to Beatles engineer, 312
recording techniques, 124–126
“This Boy” three-part harmony complexity, 152
EMI (Electrical and Musical Industries) Group
American recording companies bought by, 41–42
Beatles celebrations at, 154, 249, 252
Beatles recording contracts with, xii, xiv, 86–87, 157, 249–250
Christmas bonus dispute, 156
competition of, 36
corporate character of, 30–31, 57
Martin contract renegotiation and resignation, 212, 227–228, 249, 275, 276–279
Martin contract renewals, 51, 52, 80–81, 88
music publishing acquisition negotiations, 236
producers’ cooperative partnerships, 280–281
songwriting royalties and unethical practices, 52, 74–75
subsidiary labels of, xi, xii, 24 (See also Columbia; HMV; Parlophone Records)
EMI Studios (renamed Abbey Road Studios). See also Beatles’ recording sessions
album covers photographed at, 127
as Beatle sanctuary, 247, 269, 289
Beatles’ monopoly of, 286–287
curfews at, 289
history and descriptions, 25
location and building history, 25
professionalism requirements at, 29
recording equipment at, 149
union regulations and closed-shop organization, 33–34
Epstein, Brian
AIR production and, 281–282
background, 67–68
Beatles and American markets, 142–143, 163
at Beatles’ EMI celebration, 249
Beatles’ film deals, 159
Beatles performance, first seen, 68
Beatles promotion to record labels, xii, 68–71, 85, 86, 87–88
Beatles’ publicity, 107, 115, 165–166
Beatles recording contract, xii–xiii, 86–87
Beatles recording sessions, early, xii, 85, 91, 100
Beatles’ scheduling challenges, 195–196, 259
on Beatles’ success, 264
Beatles’ world tour and Ringo’s illness, 199–200
film soundtrack production, 217
Lennon-McCartney publishing contracts, 110–111, 131–132
Liverpool visits and tour with, 117
Martin relationship, 88, 117, 133, 135
other artists managed by, 117, 132–135, 140–141, 215–216, 258, 272
post–British embassy visit and morale, 171–172
production formulas, 154
record session absences, 176
“Yesterday” as solo work debate, 263
Essex, Kenneth, 263
“Every Little Thing,” 234
“Everybody’s Trying to Be My Baby,” 240
“Experiments with Mice,” 41
Fairchild limiter compressors, 57
“Fantasy,” 15
feedback experimentation, 239–240
“Ferry Across the Mersey,” 217–218
Ferry Cross the Mersey (film and soundtrack), 216–217, 271
film scores, 77–78, 215, 216–218. See also Hard Day’s Night, A (film); Help! (film)
First and Fourmost, 271
Fisher, Joan, 80
Fitzgerald, Ella, 218–219
Four Just Men, 272
Fourmost, 117, 140, 216, 217, 271–272
four-track recordings, 124, 149–150, 151, 182, 190, 198–199, 242
Freeman, Robert, 153, 208, 244, 270, 305
Freiborghaus, Roland, 56
“From Me to You,” 129, 130, 131, 132, 143, 147, 227
“From Russia with Love,” 215
Frost, David, 49, 74–75, 116, 213, 214
Funny Games, Politics (LP), 214–215
fuzz boxes, 300
Gabarro, Francisco, 263
Garland, Judy, 222–224
“Gas Man Cometh, The,” 214
George Martin and His Orchestra, 204, 217, 226–227, 270–271, 297
George Martin Scores Instrumental Versions of the Hits (LP), 271
Geraldo (Gerald Bright), 28, 38
German-language translations, 158–159, 187
Gerry and the Pacemakers, 132–133, 154, 216–218, 272, 275
Gilbert, Tony, 263
Gilmore, Voyle, 56, 58, 173, 210
Ginsberg, Allen, 286
“Girl Can’t Help It, The,” 271
“Girls, Girls, Girls,” 272
“Goldfinger,” 225
“Goodness Gracious Me!,” 73
Goodwin, Ron, 28–29, 43–45, 56, 73, 79, 145
Goon Show, The (radio program)
comedy recordings of members from, 45, 48, 80, 88, 98, 99
directors of, 176
Indian soundtrack recordings for, 256, 288
music composers for, 28
parodies and copyright rejections, 45
record label changes, 45
Graphophone Company, 25
Great Depression, 3–4
Guildhall School of Music and Drama, 17–18, 21–24
Haas, Karl, 27
Handl, Irene, 47
budget, 183
contract, 159
directors for, 175–176
incidental music and song instrumentals, 159, 175, 181, 185, 204, 270
producers for, 159
reception and reviews, 206–207, 217
screenplay and filming, 160–161, 183–184
title track composition and recording, 188–194
track recordings and postproduction, 175, 176, 181, 184–187, 196
Hard Day’s Night, A (LP)
American version, 204
cover photography, 208
descriptions, 208
instrumental arrangements on, 204
recording, 193, 195, 196–199, 202
release and reception, 195, 204, 208, 209
title track composition and recording, 188–194
“Hard Day’s Night, A” (song), 188–194, 195, 204, 205, 310–311
Hard Day’s Night: Instrumental Versions of the Motion Picture Score (LP), 270–271
Hare, Ken, 44–45
Harris, Rolf, 66
Harrison, George. See also Beatles; Beatles’ recording sessions; Beatles’ tours and performances; specific song and album titles
Beatles’ auditions and first recording session, xiii, xiv, 70, 90
Cavern Club fight, 101
flying fears, 210
Hindustani music, 255–256
Martin first impressions, 94
personality descriptions, xiv, 86, 94
recording contract announcement response, 87
on songwriting, 290
Harrison, Sidney, 15, 17, 22, 24, 26, 54
head arrangement, 130
drug use during, 254
incidental music for, 256
instrumentals based on, 271
plot overview, 253–254
premiere, 268
production schedule, 242
reviews, 268–269
title selection, 236, 253, 256–257
title track composition and recording, 257–259
track recordings, 246–249, 250–253, 265, 266
Help! (LP), 257–259, 260–263, 265–267, 269–270
Hendrix, Jimi, 240
high-fidelity, 186
Hindustani music, 255–256
HMV (“His Master’s Voice”), 24, 25, 43, 53, 118, 279
“Hold Me Tight,” 122, 146, 153
“Hole in the Ground, The,” 66–67
Hollywood Bowl concerts, 209–210, 286
“Honey Don’t,” 242
“How Do You Do It,” 99–100, 101, 102–103, 104–105, 107, 109, 132
Howes, Arthur, 119
“Humor on Record” (festival presentation), 80
Humperdinck, Engelbert, 279, 286
Hyland, Brian, 58
“I (Who Have Nothing),” 224
“I Call Your Name,” 182, 183, 186, 187, 196
“I Don’t Want to Spoil the Party,” 234, 244
“I Feel Fine,” 237, 239–240, 243, 271, 297
“I Got It Bad and That Ain’t Good,” 41
I Have Dreamed (LP), 274
“I Knew Right Away,” 226
“I Like It,” 133
“I Love You Too,” 217
“I Need You,” 248–249
“I Saw Her Standing There” (formerly “Seventeen”), 121, 122, 175, 208, 226
“I Should Have Known Better,” 177, 178, 186, 195, 204, 270
“I Wanna Be Your Man,” 145, 146, 152–153
“I Want to Hold Your Hand”
American release and reception, 162–163, 167, 175, 177
German-language versions, 158–159, 187
instrumentals of, 227
recording, 150–151
release and sales, 151–152, 153, 154
“If I Fell,” 178, 179, 186–187, 195, 204
“If I Needed Someone,” 289–290, 296
“If This Should Be a Dream,” 274
“If You’ve Got Trouble,” 251, 258, 267
“I’ll Be Back,” 197–198, 206, 208
“I’ll Be on My Way,” 134
“I’ll Cry Instead,” 195, 196–197
“I’ll Follow the Sun,” 240
“I’ll Keep You Satisfied,” 215, 272
“I’m Gonna Knock on Your Door,” 201
“I’m Happy Just to Dance with You,” 182, 186, 195
“I’m in Love,” 140
“I’m Looking Through You,” 296, 299, 302, 303
“I’m Walking Backwards for Christmas,” 45
In His Own Write (J. Lennon), 245
“In My Life,” 290–291, 292, 294–295, 296, 305
Indian music, 256
Inglez, Roberto, 35
Iron and Steel Federation, 19
“Is It Love?,” 217
“It Won’t Be Long,” 139, 153, 208
“It’s Not Unusual,” 275
“It’s Only Love,” 265
“It’s You,” 226
“It’s Yourself,” 223
“Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini,” 58–59
“I’ve Just Seen a Face,” 260
Jaeger, C. H., 27
Jakka and the Flying Saucers, 44–45
James, Dick
background, 39
Beatle songwriting improvement, 236
Beatles’ demos and Liverpool jokes, 99
Beatles’ first single selection disputes, 104–105
Beatles music publishing, 110–111, 131–132
Martin compositions published by, 76
Martin cowritten compositions with, 274
music publishing companies of, 73
recording session visits, 176, 189
Smith, Norman, song copyright purchase offer, 266
television theme songs composed by, 39–40
James, Stephen, 40
James Bond films, 215
Johnson, Lyndon B., 209
Jones, Raymond, 68
“Judge Not,” 214
Juke Box Jury (television show), 59, 63, 65, 144
Junkin, John, 310
“Kansas City” / “Hey-Hey-Hey-Hey!,” 238
Karan, Chris, 49
Kaufman, “Murray the K,” 168
Kirchherr, Astrid, 232
“Komm, Gib Mir Deine Hand,” 158–159, 187
Kramer, Billy J., and the Dakotas, 133–135, 151, 182, 215–216, 272–273, 297
Kretzmer, Herbert, 73
Laine, Cleo, 41
“Land of Promises, The,” 223
Langham, Richard
Beatles postproduction, 160, 177, 206
Beatles recordings, 102, 121, 122, 123, 129, 145
Beatles’ work ethic, 121, 123–124
as second engineer, 102
Lanza, Mario, 31
“Leave My Kitten Alone,” 232, 234, 238, 258
Lee, Benny, 54
Lee, David, 73
Lennon, Cynthia, 245
Lennon, John. See also Beatles; Beatles’ recording sessions; Beatles’ tours and performances; specific song and album titles
amplification feedback experiments, 239
Black session attendance, 220–221
Carnegie Hall concert criticism, 173
drivers’ license, 246
harmonica sound, xiii, 92, 102, 109, 122, 129–130
Kramer teasing, 215
on LP playback, 127
Martin relationship with, 245–246
record deal despondency, 85–86
recording contract announcement response, 87
song demo assignment, 100
songwriting influences, 233, 244, 250, 257
songwriting process, 231–232, 246
vocal quality, xiv, 176, 241, 250
Lennon-McCartney songwriting. See also specific song titles
development and process, 120–121, 231–232, 268, 292
legacy of, 311
as marketing strategy, 108, 109
Martin collaboration, 262, 298
McCartney process, 139
other artists recordings of, 133–135, 142, 215–216, 218–219, 220–221, 235
peace anthems, 301
publishing contracts, 110–111, 131–132
quality of, 293
with Starr, 299
subjective/introspective style, 233, 244, 257
television specials on, 297, 309–311
Lester, Richard
Hard Day’s Night film director, 175–176, 181–183
Hard Day’s Night soundtrack collaborations, 184–185, 205, 207
Hard Day’s Night title selection, 181
Hard Day’s Night title track collaborations, 188, 189–190, 191, 192–193
Hard Day’s Night track selections, 196–197
Help! film director, 246, 254, 256
Lewis, Meade Lux, 8
Lewis, Peter, 214–215
Light Programme (BBC), 65
Limelight (film), 29
Lincoln, A. B., 125
“Little Children,” 215–216, 272
Little Richard, 182, 238, 260, 271
Livingston, Alan, 166, 167, 168
Lockwood, Sir Joseph, 41, 48, 67, 154, 167, 249
London Baroque Ensemble, 27
London Baroque Society, 27
London Palladium, 61, 147, 226
“Long Tall Sally,” 182, 183, 187
Long Tall Sally (EP), 195, 196, 197, 204, 206
Loren, Sophia, 73
Love, Mike, 286
“Love Is a Many Splendored Thing,” 274
“Love Me Do”
as first single, 103–105, 106–107
recording, xiii, 91, 92–93, 97, 102, 103, 106
television performances of, 115
Lovelady, Dave, 140
Lush, Richard, 302–303
Luton Girls Choir, 27
Lyttelton, Humphrey, 31–32, 43, 49, 207
“Maggie, Maggie May” (song), 223, 224
“Maggie May” (folk song), 55
Maggie May (musical), 222–223, 224
magnetic tape, 29
Maguire, Leo, 65–66
Mann, Manfred, 279
Mann, William, 310
Marquee Studio, 292
Marsden, Gerry (Gerry and the Pacemakers), 132–133, 154, 216–218, 272, 275
Martin, Alexis, 37, 60, 76, 79, 255
Martin, Bertha “Cissie” (née Simpson)
death of, 21
family life descriptions, 1–2, 3, 4
foster parenting, 20
son’s career aspirations, 10
son’s military enlistment, 11
son’s postmilitary relationship with, 20, 21
Martin, George
A&R assistant, 24, 25–29, 31–32
A&R management, 36, 39–43, 50, 52, 64
A&R management contract renegotiations, 51, 52, 80–81, 88
A&R management resignation, 212, 227–228, 249, 275, 276–279
automobiles, first, 38
descriptions, personality, 13, 20–21, 22, 41, 94–95
descriptions, physical, 41, 67
descriptions, self-depreciation, 152, 228, 233
early years, 1–10
Epstein relationship, 88, 133, 135
extramarital affairs, 75, 76, 78–79, 80, 85
instrumental recordings, 204, 217, 226–227, 270–271, 297
marriage and divorce, 20–21, 60, 75–76, 78–80, 255
musical background and education, 1–8, 14, 17–18, 21–24
news columns written by, 60–61
prerecording butterflies, 246–247
professional goals, early, xi–xii, 52–53, 71–72
record production philosophies, 40, 45, 64
ski trip and broken foot, 245–246
songwriting and incidental music, 46–47, 48, 77, 159, 175, 181, 185, 204
songwriting collaborations, 73, 262, 274, 298
songwriting film scores, 76–78, 215, 216–218
Martin, Jean “Sheena” Chisholm
descriptions and background, 16, 20
marriage and divorce, 20–21, 75, 76, 78–80, 255
Martin, Millicent, 213, 214, 215
“Matchbox,” 196
Matheson, Muir, 78
Matt’s Kind of Music (LP), 73
May, Billy, 56
McBean, Angus, 126–127
McCartney, Paul. See also Beatles; Beatles’ recording sessions; Beatles’ tours and performances; specific song and album titles
Black session attendance, 220–221
left-handed basses of, 288
on Lennon songwriting process, 231–232
other artists’ recordings featuring, 216, 221, 226
on publishing agreement, 132
recording contract announcement response, 87
recording contract despondency, 85, 86
residences, 151
songwriting composition process, 139
success attributions, 188
voice quality, xiv
McDowell, Paul, 61
McGurk, Pete, 49
Meet the Beatles! (Capitol Records), 175, 183. See also With the Beatles (LP)
Merseybeat sound, 83, 112, 216–217
Miami Beach, 174
“Michelle,” 297–298
Midsummer Night’s Dream, A, 258
Miller, Mandy, 54
Milligan, Spike, 45, 48, 49, 50, 54, 60, 73, 98, 181
Milligan Preserved (album), 48
Millionairess, The (film), 73
Millward, Mike, 272
“Money (That’s What I Want),” 138, 139, 146, 153, 208
Monro, Matt, 72–73, 145, 215, 271, 273, 274–275
“Moonlight Bay,” 155
Morecambe, Eric, 155
Most Excellent Order of the British Empire (MBE), 260, 296–297
motorbikes, 39
“Move It,” 74
“Mr. Moonlight,” 232, 233–234, 238–239
Murray, Mitch (Lionel Stitcher), 99, 100, 105, 109, 132
Murray, Pete, 59
Music of Lennon and McCartney, The (television special), 297, 309–311
musique concrète, 64–65
“My Boomerang Won’t Come Back,” 49
“My Kind of Girl,” 72
National Society for the Prevention of Cruelty to Children, 170–171
Navy Mixture (television variety show), 14
Nellie the Elephant, 54
“Niagara Theme, The,” 73
Nicol, Jimmie, 201–203, 204, 206
“Night Before, The,” 250
“No Other Baby,” 55
“No Reply,” 202, 235, 244, 271
North End Music Stores (NEMS), 67–68
“Norwegian Wood (This Bird Has Flown)” (formerly “This Bird Has Flown”), 246, 287–288, 293, 296, 305
“Nowhere Man,” 293–294, 295, 296, 305
Odeon, 158
Off the Beatle Track, 226–227
O’Hara, Brian, 140, 216, 271–272
Olympia Theatre, Paris, 157–158
“Once in Every Long and Lonely While,” 274
“One After 909, The,” 129, 130
“One and One Is Two,” 216
“Open (Your Lovin’ Arms),” 91
overdubbing, 124–125
Owen, Alun, 183, 185, 206–207, 222
Paar, Jack, 184
Paramor, Norrie
Beatles signing opportunity, 69
as Columbia A&R manager, xii, 154
national television exposé of, 116
pop music production, 279
songwriting practices and ethics violations, 74–75, 116
A&R assistants and staff at, 24, 25, 42
A&R job descriptions at, xi, 29, 33–34, 40–41, 60–61, 130–131, 161–162
British comedy recordings, 34–35, 43–50, 52, 54, 98, 213–214, 356
challenges, 30–31
classical recordings, 54
film scores, 77–78, 215, 216–218
founding and history, 24–25
Garland recordings, 222–224
headquarters locations, 42
innovations, 53
jazz recordings, 24, 31–32, 41, 60, 61–62, 63, 64, 218–219, 224–226
mobile recording units, 39
plagiarism accusations, 58–59
pop/rock music recordings, 53, 58–59, 65–66, 132–135, 141–144, 226 (See also Beatles)
record promotion duties, 35
recording specialties of, notable, 24, 132
reputation of, 69
revitalization and success of, 43, 47, 50, 51–52, 60, 73–74, 145, 154–155, 227
rhythm and blues recordings, 53
skiffle recordings, 54–55
studios of (See EMI Studios)
work atmosphere of, 29
“Pasadena,” 61
Pathé Marconi studios, Paris, 158–160
Perkins, Carl, 196, 240, 242, 299
Pertwee, Jon, 14
Pet Sounds (Beach Boys album), 306
Pete Best Four, 201
Philips Electrical, 36
Phillips, Leslie, 78
“Piccadilly Line,” 55
“Pickin’ a Chicken,” 39
“Please Mr. Postman,” 138
Please Please Me (LP)
American licensing rights, 143, 175
cover photography, 126–127
song placement and structuring process, 208
title selection, 126
“Please Please Me” (song)
Capitol rejection of, 143
postproduction stereo mix for, 125
recording of, 102, 105, 106, 107, 109, 112
television performances of, 119
Poole, Brian, and the Tremeloes, 71, 99
Portland Coliseum, 286
“Portland Coliseum,” 286
“Prelude,” 14
Presley, Elvis, 25, 30, 64, 110, 272, 287
Preuss, Oscar, 24–27, 32, 35, 36, 38, 51
“Princess Elizabeth of England,” 27
“P.S. I Love You,” xiii, 91, 93, 102, 106, 107, 271
Quavers, 7
Quickly, Tommy, 235
Radio Luxembourg, 63, 107, 119
Rawley, Peter, 98
RCA-Victor, 30
Red Rocks Amphitheatre, Colorado, 210–212, 269
Regal-Zonophone, 24
Reilly, Tommy, 26
René, Henri, 218
Richard, Cliff, and the Shadows, xii, 52, 64, 74, 126–127, 154
Richards, Ron
as A&R assistant, 42
on Beatles’ arrangements, 129
Beatles’ early recording sessions, xii–xiii, 90–93, 99, 105, 106
EMI resignation and producers’ cooperative, 279
Gerry and the Pacemakers live recordings, 275
Loren recordings, 73
Parlophone’s financial success, 50, 71–72
Proby recordings, 258
talent scouting, 145
Rickenbacker 4001S left-handed bass, 288
Ridgway, Patricia, 98
“Right, Said Fred,” 98–99
Righteous Brothers, 161, 221–222
“Ringo Beat,” 219
“Ringo’s Theme (This Boy),” 204, 215, 227, 270
“Rock and Roll Music,” 240, 241
“Rock ’n’ Roll Santa Claus,” 54
“Roll Over Beethoven,” 139, 177
Royal Air Force jazz band, 7
Royal Navy (Fleet Air Arm), 11–15, 17
Royal Variety Command Performance, 165
royalties
American music producers and, 275
EMI contract negotiations for, 51, 52, 74, 80–81, 88, 276–277
EMI/AIR and Beatles’ contract, 281
songwriting pseudonyms for, 74–75, 116
Rubber Soul (LP)
cover photography, 303, 305–306
manufacturing problems, 303
recording and postproduction, 285, 286–296, 297–302
release and reception, 306, 307
song order, 303
Running Jumping & Standing Still Film, The, 181
“Sail Away Ladies,” 55
Saints Jazz Band, 61
Saturday Club (radio program), 49, 138
“Saturday Jump,” 49
Saturday Night Show (television show), 35
Savage, Edna, 53
Sax, Sidney, 263
Schaeffer, Pierre, 64
Scott, John, 251
Scott, Ken, 198–199, 247, 248, 260, 296
“Searchin’,” 145
segregation, 209
Sellers, Peter
Beatles television special featuring, 297, 310–311
comedy recordings of, 45–47, 49, 60, 72, 73, 98, 256, 288
films featuring, 181
films written for, 253
“Seventeen” (renamed “I Saw Her Standing There”), 121, 122, 175, 208, 226
“Shadows in the Grass,” 47
Shankar, Ravi, 255–256
Shannon, Mike, 216
Shaper, Hal, 274
“She Loves You”
Capitol rejection of, 143
composition, 136
German-language versions, 158–159, 187
instrumentals of, 226
recording, 136
release and reception, 136, 137, 145, 177
television performances, 147, 184
television skits including, 155
Shea Stadium concerts, 285
Shearing, George, 8
Shenson, Walter, 159, 181, 183, 185, 189, 249, 257, 309
Sidney Harrison Shows You How, 54
Sidney Torch and His Orchestra, 27–28
“Sie Liebt Dich,” 158–159, 187
Sigman, Carl, 220
“Sitting on the Bench,” 49
633 Squadron (film), 215
Six-Five Special (movie), 55
Six-Five Special (rock ’n’ roll television review), 55
$64,000 Question, The (game show), 54
“Skiffling Strings,” 56
Skinner, John, 90
Smith, Judy Lockhart
Beatles relationship with, 168, 245
Beatles visit to USA, 167, 168, 169, 170, 171, 174–175
EMI resignation and producers’ cooperative, 279
Epstein meeting, 69–70
extramarital affairs with, 75, 76, 78–79, 80, 85
Liverpool trip, 115
Martin resignation support, 212
personality and social class descriptions, 25–26, 37
ski trip, 245–246
Smith, Kenneth Lockhart, 26, 76–77
Smith, Norman. See also specific song and album titles
background, 42
Beatles’ chemistry change, 311–312
Beatles’ first recording session, xiii, xiv, 90–95
Beatles musical growth and innovation, 251
Beatles’ recording contracts, 84–85
Beatles’ recording survival strategies, 121
Beatles relationship with, 136
Beatles’ setup arrangement, 102–103, 112
drum overdubs on Beatles’ recordings, 160–161
live-sounding echo effects, 240
as Parlophone A&R manager, 312
as Parlophone A&R recording assistant, 42
as Parlophone balance engineer, 84, 102
recording assistants of, 42
resignation and gift, 312
song compositions and publishing offers, 266
stereo mixes, 187
studio discipline influences, 289
“Some Kind of Wonderful,” 271
Song for Britain, A (television show), 72
Songs for Swingin’ Sellers, 47, 72
songwriting. See also Lennon-McCartney songwriting
Beatles collaborations, 262, 298
Beatles instrumentals, 299
EMI ethics violations and royalties with, 74–75, 76, 116
film scores, 76–78, 215, 216–218
Harrison, George, on, 290
incidental music, 46–47, 48, 77, 159, 175, 181, 185, 204
Martin compositions, 1, 5, 15, 56, 73, 76, 274
Soper, Donald, 2
Southlanders, 53
Spaniard in the Works, A (J. Lennon), 265
“Splish Splash,” 53
Squadronaires, 7
Starr, Ringo (Richard Starkey). See also Beatles; Beatles’ recording sessions; Beatles’ tours and performances; specific song and album titles
background, 101
British embassy haircutting incident, 171
concert drum riser problems, 170
as drummer replacement, 100, 106, 107
family, 286
Hard Day’s Night, A, title origins, 188–189
illness and stand-in drummer, 199–200, 201–204
MBE award and conversation with queen, 296–297
other artists’ recordings featuring, 235
songwriting, 299
“Stay,” 145
STEED (single tape echo and echo delay), 240
Steele, Tommy (Tommy Hicks), 54, 55, 117
stereophonic sound, 57
Stereosonic records, 41
Stitcher, Lionel (a.k.a. Mitch Murray), 99, 100, 105, 109, 132
Storm, Rory, and the Hurricanes, 235
Strach, Walter, 253
Strangers, 216
“Streamline Train,” 55
“Strictly for the Birds,” 49
“Sugar Bush,” 39
Sullivan, Ed (The Ed Sullivan Show), 165–166, 167, 169, 174, 175, 263
“Sun Arise,” 66
Sunday Night at the London Palladium (television show), 147, 165
superimpositions (SIs), 124–125
Sutcliffe, Stuart, 232
“Swinging Sweethearts,” 56
Take Me Over (film), 77–78
Talent for Loving, A (film), 309
“Taste of Honey, A,” 121–122
“Tell Me What You See,” 251–252
“Tell Me Why,” 178, 186, 195, 299
Temperance Seven, 60, 61–62, 63, 64, 77–78
Thank Your Lucky Stars (television show), 63, 119, 165
“That Means a Lot,” 253, 257–258, 267
“That Was the Week That Was, It’s Over, Let It Go,” 214
That Was the Week That Was (television show), 49, 116, 213–214
“There’s Only One Union,” 223, 224
“Things We Said Today,” 198, 202
“Think for Yourself,” 300, 312
“This Bird Has Flown” (renamed “Norwegian Wood [This Bird Has Flown]”), 246, 287–288, 293, 296, 305
“This Boy,” 151–152, 155, 175, 204, 215, 227, 270
Thomas, C. H., 43
Thorne, Ken, 256
“Ticket to Ride,” 246–248, 256, 270
“Tie Me Kangaroo Down Sport,” 66
“Till There Was You,” 70, 138, 139, 178
“Till You Say You’ll Be Mine,” 271
“Time Beat,” 65
“Time Is on My Side,” 271
“Too Young,” 28
Torch, Sidney, and his Orchestra, 27–28, 34
Townsend, Ken, 90–91, 93, 150, 300
“Trains and Boats and Planes,” 272, 273
Trains and Boats and Planes (LP), 272–273
treble guitars, 295
Tuesday Rendezvous (television show), 115
TWA album cover advertising, 58
“12-Bar Original,” 299
“Twilight Time,” 273
twin-track recordings, 102–103, 124, 125, 149, 186
“Twist and Shout,” 122–123, 147, 155, 165, 177, 208, 235
Two of a Kind (television show), 155
“Unchained Melody,” 45
“Under the Boardwalk,” 273
United States
Beatles and British embassy charity events, 170–171
Beatles charting in, 162–163, 175, 177
Beatles’ first visit and reception, 167–168, 172–173
Beatles’ Miami Beach visit, 174–174
Beatles’ television appearances in, 165–166, 167, 169, 174, 175, 263
Beatles tours and concerts in, 170, 285–286
Martin’s early visits to, 12, 56
music industry marketing in, comparisons, 185, 186
Urquhart, Mr., 8–9
Valentino, Val, 56–57
varispeed recording, 48, 124, 134, 192, 215
Vaughan, Jan, 298
“Volare (Nel Blu Dipinto Di Blu),” 48
“Walk Away,” 271
Waltzing Cat, The, 28
War Office, 10–11
Warner Brothers, 58
Warren, Tony, 217
Washington Coliseum concerts, 169
“We Can Work It Out,” 292–293, 297, 300
Weedon, Bert, 54
Weston, Carol, 279
“What You’re Doing,” 234–235, 242
“When I Get Home,” 198–199, 204
“When Liberace Winked at Me,” 54
“When You Walk in the Room,” 273
Whitcomb, Noel, 54
White, Andy, 105, 108, 109, 201
White, Priscilla. See Black, Cilla
“Who Can I Turn To?,” 224
Whyton, Wally, 54–55
“Will You Love Me Tomorrow,” 91
Wilson, Brian, 306
Wilson, Carl, 286
Wise, Ernie, 155
With the Beatles (LP), 137–140, 145–147, 149–154, 175, 183, 208
“Won’t Be There with You” (retitled “Think for Yourself”), 300, 312
Wood, L. G. “Len”
Beatles and Capitol Records distribution, 166–167
Beatles recording contracts, 84–85, 89
manufacturing orders for “She Loves You,” 145
Martin contract renegotiations and resignation, 227, 275, 276–278
Martin contract renewals, 80–81, 88
photographs with Martin, Beatles, Lockwood and, 154
production cooperative partnerships, 280–281
Wooler, Bob, 87
“Word, The,” 301
“Wouldn’t It Be Loverly,” 256, 288
Wrens (Women’s Royal Navy Service choir), 16
“Yakety Yak,” 271
“Yes It Is,” 249
“Yesterday,” 261–264, 270, 274, 310
Yorke, Peter, 28
“You Can’t Do That,” 175, 176, 177, 187
“You Gotta Go Oww!,” 54
“You Know, It’s Really Quite a Funny Job” (Eminews article), 60–61
“You Know What to Do,” 202
“You Like Me Too Much,” 250
“You Really Got a Hold on Me,” 138, 150, 291
“You Won’t See Me,” 301
“You’ll Never Walk Alone,” 133
Young, Jimmy, 28
“You’re Driving Me Crazy,” 60, 61–62, 63, 64
“You’re Going to Lose That Girl,” 252
“You’re My World,” 220
“You’ve Got to Hide Your Love Away,” 250–251
“You’ve Lost That Lovin’ Feeling,” 161–162, 221–222, 271
“Zoo Be Zoo Be Zoo,” 73