BEATLES

The Story Behind 'A Hard Day's Night'

2010-02-18T20:08:00.000-08:00

A Hard Day's Night is a 1964 British comedy film written by Alun Owen starring The Beatles—John Lennon, Paul McCartney, George Harrison and Ringo Starr—during the height of Beatlemania. It was directed by Richard Lester and originally released by United Artists. The film was made in the style of a mock documentary, describing a couple of days in the lives of the group.

The film premiered at The Pavilion Theatre in London on 6 July 1964—the eve of Ringo Starr's 24th birthday—and its soundtrack of the same name was released four days later. It was The Beatles' first soundtrack album. Reviews of the film were mostly positive; one oft-quoted assessment was provided by Village Voice, which labelled A Hard Day’s Night "the Citizen Kane of jukebox musical." Time magazine called the film "One of the smoothest, freshest, funniest films ever made for purposes of exploitation."Film critic Roger Ebert described the film as "one of the great life-affirming landmarks of the movies". In 2004, Total Film magazine named A Hard Day's Night the 42nd greatest British film of all time. In 2005, Time.com named it one of the 100 best films of the last 80 years. Leslie Halliwell gave the film his highest rating, four stars, the only British film of 1964 to achieve that accolade. It has a 100% rating on Rotten Tomatoes based on 71 sources, and it was placed in #1 position on its list of Best Reviewed Movies of All Time.

New York Times film critic Bosley Crowther noted the film was a subtle satire on the image of rock-and-roll music (and the Beatles in particular) as a source of youth rebellion and defiance of authority. The Beatles are portrayed as likable young lads who are constantly amazed at the attention they receive and who want nothing more than a little peace and quiet; however, they have to deal with screaming crowds, journalists who ask nonsensical questions, and authority figures who constantly look down upon them. In fact their biggest problem is McCartney's elderly, but "clean" grandfather, played by Wilfrid Brambell.
A Hard Day's Night was nominated for two Academy Awards; for Best Screenplay (Alun Owen), and Best Score (Adaptation) (George Martin).

The Beatles' First Film

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Capitol Records' lack of interest throughout 1963 had not gone unnoticed, and a competitor, United Artists Records, encouraged United Artists' film division to offer The Beatles a motion picture contract in the hope that it would lead to a record deal. Directed by Richard Lester and originally released by United Artists, A Hard Day's Night was made in the style of a mock documentary, describing a couple of days in the lives of the group.
It was successful both financially and critically; it was rated by Time magazine as one of the all-time great 100 films. British critic Leslie Halliwell described it as a "comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book" and awarded it a full four stars. The film is credited with having influenced 1960s spy films, The Monkees' television show and pop music videos.

The screenplay was written by Alun Owen, who was chosen because the Beatles were familiar with his play No Trams to Lime Street, and he had shown an aptitude for Liverpudlian dialogue. McCartney commented, "Alun hung around with us and was careful to try and put words in our mouths that he might've heard us speak, so I thought he did a very good script." Owen spent several days with the group, who told him their lives were like "a train and a room and a car and a room and a room and a room"; the character of Paul's grandfather refers to this in the dialogue. Owen wrote the script from the viewpoint that the Beatles had become prisoners of their own fame, their schedule of performances and studio work having become punishing.

The film was shot for United Artists using a cinema verite style in black-and-white and produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) and filming was finished in six weeks. Unlike most productions, it was filmed in near sequential order, as stated by Lennon in 1964. Filming began at Paddington Station on 2 March 1964, the Beatles having only joined the actors' union, Equity, that morning. The first week of filming was on a train travelling between London and Minehead. On 10 March, scenes with Ringo were shot at the Turk's Head pub in Twickenham, and over the following week various interior scenes were filmed at Twickenham Studios. From 23 to 30 March, filming moved to the Scala Theatre, and on 31 March, concert footage was shot there, although the group mimed to backing tracks. Among the 350 audience members was Phil Collins, who was a 13-year-old child actor at the time. The "Can't Buy Me Love" segment, which featured creative camera work and the band running and jumping around in a field was shot on 23 April 1964 at Thornbury Playing Fields, Isleworth, Middlesex. The final scene was filmed the following day in West Ealing, London, where Ringo obligingly drops his coat over puddles for a lady to step on, only to discover that the final puddle is actually a large hole in the road.

Taken from wikipedia

International Tour

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The Beatles toured internationally in June. Staging thirty-two concerts over nineteen days in Denmark, Hong Kong, Australia and New Zealand, they were ardently received at every venue. Starr was ill for the first half of the tour, and Jimmy Nicol sat in on drums. In August they returned to the US, with a thirty-concert tour of twenty-three cities. Generating intense interest once again, the month-long tour attracted between ten and twenty thousand fans to each thirty-minute performance in cities from San Francisco to New York. However, their music could hardly be heard. On-stage amplification at the time was modest compared to modern-day equipment, and the band's small Vox amplifiers struggled to compete with the volume of sound generated by screaming fans. Forced to accept that neither they nor their audiences could hear the details of their performance, the band grew increasingly bored with the routine of concert touring.

At the end of the August tour they were introduced to Bob Dylan in New York at the instigation of journalist Al Aronowitz. Visiting the band in their hotel suite, Dylan introduced them to cannabis. Music historian Jonathan Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's core audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with The Beatles' core audience of "veritable 'teeny-boppers'—kids in high school or grade school whose lives were totally wrapped up in the commercialized popular culture of television, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists." Within six months of the meeting, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona." Within a year, Dylan would "proceed, with the help of a five-piece group and a Fender Stratocaster electric guitar, to shake the monkey of folk authenticity permanently off his back"; "the distinction between the folk and rock audiences would have nearly evaporated"; and The Beatles' audience would be "showing signs of growing up"

Goes To US

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Beatles releases in the United States were initially delayed for nearly a year when Capitol Records, EMI's American subsidiary, declined to issue either "Please Please Me" or "From Me to You". Negotiations with independent US labels led to the release of some singles, but issues with royalties and derision of The Beatles' "moptop" hairstyle posed further obstacles. Once Capitol did start to issue the material, rather than releasing the LPs in their original configuration, they compiled distinct US albums from an assortment of the band's recordings, and issued songs of their own choice as singles. American chart success came suddenly after a news broadcast about British Beatlemania triggered great demand, leading Capitol to rush-release "I Want to Hold Your Hand" in December 1963. The band's US debut was already scheduled to take place a few weeks later.

When The Beatles left the United Kingdom on 7 February 1964, an estimated four thousand fans gathered at Heathrow, waving and screaming as the aircraft took off. "I Want to Hold Your Hand" had sold 2.6 million copies in the US over the previous two weeks, but the group were still nervous about how they would be received. At New York's John F Kennedy Airport they were greeted by another vociferous crowd, estimated at about three thousand people. They gave their first live US television performance two days later on The Ed Sullivan Show, watched by approximately 74 million viewers—over 40 percent of the American population. The next morning one newspaper wrote that The Beatles "could not carry a tune across the Atlantic", but a day later their first US concert saw Beatlemania erupt at Washington Coliseum. Back in New York the following day, they met with another strong reception at Carnegie Hall. The band appeared on the weekly Ed Sullivan Show a second time, before returning to the UK on 22 February. During the week of 4 April, The Beatles held twelve positions on the Billboard Hot 100 singles chart, including the top five. That same week, a third American LP joined the two already in circulation; all three reached the first or second spot on the US album chart. The band's popularity generated unprecedented interest in British music, and a number of other UK acts subsequently made their own American debuts, successfully touring over the next three years in what was termed the British Invasion. The Beatles' hairstyle, unusually long for the era and still mocked by many adults, was widely adopted and became an emblem of the burgeoning youth culture.

Based from wikipedia

UK Tour

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The Beatles' iconic "drop-T" logo, based on an impromptu sketch by instrument retailer and designer Ivor Arbiter, also made its debut in 1963. The logo was first used on the front of Starr's bass drum, which Epstein and Starr purchased from Arbiter's London shop. The band toured the UK three times in the first half of the year: a four-week tour that began in February preceded three-week tours in March and May–June. As their popularity spread, a frenzied adulation of the group took hold, dubbed "Beatlemania". Although not billed as tour leaders, they overshadowed other acts including Tommy Roe, Chris Montez and Roy Orbison, US artists who had established great popularity in the UK. Performances everywhere, both on tour and at many one-off shows across the UK, were greeted with riotous enthusiasm by screaming fans. Police found it necessary to use high-pressure water hoses to control the crowds, and there were debates in Parliament concerning the thousands of police officers putting themselves at risk to protect the group. In late October, a five-day tour of Sweden saw the band venture abroad for the first time since the Hamburg chapter. Returning to the UK, they were greeted at Heathrow Airport in heavy rain by thousands of fans in "a scene similar to a shark-feeding frenzy", attended by fifty journalists and photographers and a BBC Television camera crew. The next day, The Beatles began yet another UK tour, scheduled for six weeks. By now, they were indisputably the headliners.

Please Please Me was still topping the album chart. It maintained the position for thirty weeks, only to be displaced by With The Beatles which itself held the top spot for twenty-one weeks. Making much greater use of studio production techniques than its "live" predecessor, the album was recorded between July and October. With The Beatles is described by Allmusic as "a sequel of the highest order—one that betters the original by developing its own tone and adding depth." In a reversal of what had until then been standard practice, the album was released in late November ahead of the impending single "I Want To Hold Your Hand", with the song excluded in order to maximize the single's sales. With The Beatles caught the attention of Times music critic William Mann, who went as far as to suggest that Lennon and McCartney were "the outstanding English composers of 1963". The newspaper published a series of articles in which Mann offered detailed analyses of The Beatles' music, lending it respectability. With The Beatles became the second album in UK chart history to sell a million copies, a figure previously reached only by the 1958 South Pacific soundtrack.

From wikipedia.org

Number One On The British Chart

2010-01-22T00:46:00.000-08:00

In the wake of the moderate success of "Love Me Do", "Please Please Me" met with a more emphatic reception, reaching number two in the UK singles chart after its January 1963 release. Martin originally intended to record the band's debut LP live at The Cavern Club. Finding it had "the acoustic ambience of an oil tank", he elected to create a "live" album in one session at Abbey Road Studios. Ten songs were recorded for Please Please Me, accompanied on the album by the four tracks already released on the two singles. Recalling how the band "rushed to deliver a debut album, bashing out Please Please Me in a day", an Allmusic reviewer comments, "Decades after its release, the album still sounds fresh, precisely because of its intense origins." Lennon said little thought went into composition at the time; he and McCartney were "just writing songs à la Everly Brothers, à la Buddy Holly, pop songs with no more thought of them than that—to create a sound. And the words were almost irrelevant."

Released in March 1963, the album reached number one on the British chart. This began a run during which eleven of The Beatles' twelve studio albums released in the United Kingdom through 1970 hit number one. The band's third single, "From Me to You", came out in April and was also a chart-topping hit. It began an almost unbroken run of seventeen British number one singles for the band, including all but one of those released over the next six years. On its release in August, the band's fourth single, "She Loves You", achieved the fastest sales of any record in the UK up to that time, selling three-quarters of a million copies in under four weeks. It became their first single to sell a million copies, and remained the biggest-selling record in the UK until 1978 when it was topped by "Mull of Kintyre", performed by McCartney and his post-Beatles band Wings. The popularity of the Beatles' music brought with it increasing press attention. They responded with a cheeky, irreverent attitude that defied what was expected of pop musicians and inspired even more interest.

First Recording Session

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The band had its first recording session under Martin's direction at Abbey Road Studios in London in June 1962. Martin complained to Epstein about Best's drumming and suggested the band use a session drummer in the studio. Instead, Best was replaced by Ringo Starr. Starr, who left Rory Storm and the Hurricane to join The Beatles, had already performed with them occasionally when Best was ill. Martin still hired session drummer Andy White for one session, and White played on "Love Me Do" and "P.S. I Love You". Released in October, "Love Me Do" was a top twenty UK hit, peaking at number seventeen on the chart. After a November studio session that yielded what would be their second single, "Please Please Me", they made their TV debut with a live performance on the regional news programme People And Places.

The band concluded their last Hamburg stint in December 1962. By now it had become the pattern that all four members contributed vocals, although Starr's restricted range meant he sang lead only rarely. Lennon and McCartney had established a songwriting partnership; as the band's success grew, their celebrated collaboration limited Harrison's opportunities as lead vocalist. Epstein, sensing The Beatles' commercial potential, encouraged the group to adopt a professional attitude to performing. Lennon recalled the manager saying, "Look, if you really want to get in these bigger places, you're going to have to change—stop eating on stage, stop swearing, stop smoking." Lennon said, "We used to dress how we liked, on and off stage. He'd tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn't want us suddenly looking square. He'd let us have our own sense of individuality ... it was a choice of making it or still eating chicken on stage."

Taken from http://en.wikipedia.org/wiki/The_Beatles

Hamburg, Beatles First Destination

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Before the end of August in 1961 they auditioned and hired drummer Pete Best and the five-piece band left for Hamburg four days later, contracted to fairground showman Bruno Koschmider for a 48-night residency. "Hamburg in those days did not have rock'n'roll music clubs. It had strip clubs", says biographer Philip Norman.

Bruno had the idea of bringing in rock groups to play in various clubs. They had this formula. It was a huge nonstop show, hour after hour, with a lot of people lurching in and the other lot lurching out. And the bands would play all the time to catch the passing traffic. In an American red-light district, they would call it nonstop striptease.

Many of the bands that played in Hamburg were from Liverpool...It was an accident. Bruno went to London to look for bands. But he happened to meet a Liverpool entrepreneur in Soho, who was down in London by pure chance. And he arranged to send some bands over.

Harrison, only seventeen in August 1960, obtained permission to stay in Hamburg by lying to the German authorities about his age. Initially placing The Beatles at the Indra Club, Koschmider moved them to the Kaiserkeller in October after the Indra was closed down due to noise complaints. When they violated their contract by performing at the rival Top Ten Club, Koschmider reported the underage Harrison to the authorities, leading to his deportation in November. McCartney and Best were arrested for arson a week later when they set fire to a condom hung on a nail in their room; they too were deported. Lennon returned to Liverpool in mid-December, while Sutcliffe remained in Hamburg with his new German fiancée, Astrid Kirchherr, for another month. Kirchherr took the first professional photos of the group and cut Sutcliffe's hair in the German "exi" (existentialist) style of the time, a look later adopted by the other Beatles.

During the next two years, the group were resident for further periods in Hamburg. They used Preludin both recreationally and to maintain their energy through all-night performances. Sutcliffe decided to leave the band in early 1961 and resume his art studies in Germany, so McCartney took up bass. German producer Bert Kaempfert contracted what was now a four-piece to act as Tony Sheridan's backing band on a series of recordings. Credited to "Tony Sheridan and The Beat Brothers", the single "My Bonnie", recorded in June and released four months later, reached number 32 in the Musicmarkt chart. The Beatles were also becoming more popular back home in Liverpool. During one of the band's frequent appearances there at The Cavern Club, they encountered Brian Epstein, a local record store owner and music columnist. When the band appointed Epstein manager in January 1962, Kaempfert agreed to release them from the German record contract. After Decca Records rejected the band with the comment "Guitar groups are on the way out, Mr. Epstein", producer George Martin signed the group to EMI's Parlophone label. News of a tragedy greeted them on their return to Hamburg in April. Meeting them at the airport, a stricken Kirchherr told them of Sutcliffe's death from a brain haemorrhage

Their First Step

2010-01-09T20:04:00.000-08:00

It began when a 16 years old boy who could sing and play guitar formed the skiffle group with some liverpool schoolfriends in March 1957. The boy is John Lennon and he named that group The Quarrymen. Another 15 years old boy joined the team as a guitarist in July. We recognized this boy as Paul McCartney. In February 1958 a 14 years old boy named George Harrison also joined the group as lead guitarist. By 1960, Lennon's schoolfriends had left the group.

Lennon's fellow student name Stuart Sutcliffe joining on bass in January and he suggested changing the band name to 'The Beetles' as a tribute to Buddy Holly and The Crickets. The band became 'The Beatals' for the first few months of the year. After trying several names like 'Johnny and The Moondogs', Long John and The Beetles' and also 'The Silver Beatles', the band finally became 'The Beatles' in August.

The Quarrymen, Origin of The Beatles

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The Quarrymen are an English skiffle band, initially formed in Liverpool in 1957, some of whose early members founded The Beatles, the most commercially successful critically acclaimed rock band in world history. Originally consisting and of John Lennon and several schoolfriends, The Quarrymen took their name from Quarry Bank High School which Lennon and other band members attended. Lennon's mother, Julia Lennon, taught Lennon and Eric Griffiths how to tune their guitars the same way as a banjo, and taught them simple chords and songs.

After starting a band called The Blackjacks, and then finding out that another group had the same name, Pete Shotton suggested naming themselves The Quarrymen, after a line in the Quarry Bank school's song. The Quarrymen played at parties, school dances, a cinema, and amateur skiffle contests before Paul McCartney joined the band. George Harrison only joined the band at McCartney's insistence, as Lennon thought Harrison to be far too young.

Their first recording on disc was "That'll Be The Day" (by Buddy Holly) and "In Spite Of All The Danger" (by McCartney and Harrison). After Stuart Sutcliffe joined, he suggested renaming them The Beetles, but they changed the name to The Silver Beetles, before finally changing it to The Beatles in 1960.

based from http://en.wikipedia.org/wiki/The_Quarrymen