McCartney – ‘The Lyrics’ Book

Does this 78 year-old ever stop?

The latest content announced from the ever-prolific Paul McCartney is to be a comprehensive, two-volume book examining the lyrics to 154 of his songs dating back to 1956 and progressing to the present day. And it really looks like is going to be something special.

Simply called The Lyrics, the 960 pages will feature never-before seen photographs, letters, drafts, and more.

The Lyrics is edited by the Irish Pulitzer Prize–winning author and poet Paul Muldoon, who also penned the introduction. It is based on conversations with McCartney about his songs and his songwriting craft, conducted over a five year period.

“These commentaries are as close to an autobiography as we may ever come,” Muldoon said in press materials. “His insights into his own artistic process confirm a notion at which we had but guessed—that Paul McCartney is a major literary figure who draws upon, and extends, the long tradition of poetry in English.”

Rather than a traditional autobiography, the book will cover the inspiration behind the lyrics and McCartney’s reflections on them. It won’t be in chronological order, but alphabetical.

The book itself is two hardcover volumes that slide into an outer slipcase. The volumes will not be available separately and each one is 480 pages in length. The outer slipcase of the UK edition features the same photograph, taken by Paul’s brother Mike, that was used as the cover to McCartney’s 2005 album Chaos and Creation in the Backyard.The US edition appears to have a different, plain green outer slipcase, and a different spine:

The Lyrics will be published on November 2.

See also The Lyrics: Special Edition; Paul McCartney reading from The Lyrics; and The Lyrics: How Many Translations?

Harrison on Harrison – A New Book

George Harrison on George Harrison: Interviews and Encounters is a new anthology of the words of George Harrison by Grammy Award winning author Ashley Kahn.

Being a Beatle (and an ex-Beatle) meant that Harrison was interviewed literally thousands of times over the course of his life. This carefully curated and chronologically arranged anthology pulls together some of his most revealing and illuminating interviews, personal correspondences and writings. It spans the years 1962 to 2001 and provides a remarkable insight into the man he really was. You come away from this book with evidence that George Harrison was way more than just “the quiet Beatle“. He was an articulate, funny, candid and deeply spiritual human being.

In many cases Kahn has uncovered interview tapes that have never been shared publicly in full before, and he includes them here unfiltered, without bias or interpretation.

Some of the stand-outs for us are the interviews by David Wigg, Anthony DeCurtis and Maureen Cleave. Cleave wrote a fascinating piece on Harrison for the London Evening Standard in 1966 entitled “How a Beatle Lives. Part 3: George Harrison—Avocado with Everything . . . ”.  Now, remember, he’s just 23 years old at this point in time but in the second paragraph of Cleave’s article she states that Harrison is: “…a strong-willed and uncompromising character with a strict regard for what he considers to be the truth, and an even stricter regard for his own rights.” This is a trait that stayed with him throughout his life.

Three years later, David Wigg asks Harrison how he comes to terms with fame and being a Beatle:

George Harrison: All I’m doing, I’m acting out the part of Beatle George, and, you know, we’re all acting out our own parts. The world is a stage and the people are the players. Shakespeare said that. And he’s right, you know.

David Wigg: Do you expect another part, later?

Harrison: Oh, many parts. Yes.

Wigg: Is that why you’ve come to terms with it?

Harrison: Yes, because you just do whatever you can do. I mean, even if it’s being a Beatle for the rest of my life, it’s still only a temporary thing. And, I mean really, all we did was get born and live so many years and this is what happened. I got born seemingly to become Beatle George. But it doesn’t really matter who you are or what you are, because that’s only a temporary sort of tag for a limited sort of period of years.

That approach to life (in this temporal world and beyond) were to remain a constant.

Nearly twenty years later, in an interview with Anthony DeCurtis for Rolling Stone magazine around the time of the release of the album Cloud Nine, Harrison was still looking to keep the same even keel to his life, to keep things in perspective:

DeCurtis: One of the things about it, in mentioning that, you’ve always been a person who’s taken such care to keep a private life, to maintain that kind of thing. Does it feel sort of strange to be back in the record company office, sitting down, interviews, tapings? All this business?

Harrison: Not really, not really. I feel it’s like, sort of, say, somebody who is a fireman, or something, and he doesn’t sit around in his fireman suit all of his life. But when he goes to work he puts it on and he goes and gets on his fire engine. It’s sort of like that. Once I’ve done all this bit, I’ll walk away and I’m still . . . I mean it’s only the moment I’m in Warner Brothers office, or, somebody comes up to me and says, “Hey, will you sign this record,” or something, that I’m conscious of being an ex-Beatle and being George Harrison. I don’t live my life thinking that I’m this sort of . . . pop person. And so I think, now even more so, it’s just much easier for me to talk to people. I just talk to them like one human to another. And although that’s all superimposed on top of my being, all this past and present, but I just walk away from these interviews and just carry on as if nothing happened.

Of course being based in Australia we were pleased to see included a 1988 interview by the respected Australian journalist, Ray Martin, who got another perspective on how Harrison counteracted that “Beatle George Harrison” expectation that accompanied him wherever he went:

Martin: There is a quote….of you saying that “I have to be more ordinary than ordinary people are.” Why do you have to be more ordinary?

Harrison: [Chuckles.] Well, because, um, people have—we all have concepts of each other, you know? And the concept is, somebody see[s] me on a plane or in the streets or something, and they immediately remember all this Beatle stuff, and they have this concept of me as that person. But in reality, I don’t go around thinking of myself as “George Harrison the Beatle,” or whatever. I do now because I’m on the television, but normally I’m just like you, you know, just like everybody else; I’m just a human, and sometimes you have to, rather than just be ordinary, you have to make an effort to be more ordinary, in as much as that they will calm down and try to see that there’s actually a person in here [gestures toward himself]—other than this big myth about the Beatles. That’s all.

This is just one of many themes running through the content painstakingly gathered together for this book. George’s words reveal the complexity of his character: wise but at times naïve, sensitive but also self-deprecating, and always refreshingly, unabashedly human. As editor Ashley Kahn writes in his preface: “Read his words and know the man. Read, and know a life well-lived.

George Harrison on George Harrison: Interviews and Encounters is published by Chicago Review Press.

As a side note, Chicago Review Press has an extensive number of titles done in the same style as this book. They are part of a ‘Musicians In Their Own Words’ series, and the list of artists is lengthy including Dylan, Coltrane, Joni Mitchell, Bowie and Miles Davis – to name but a few. One you might also want to seek out is Lennon on Lennon: Conversations with John Lennon.

McCartney – Ten Years of Archive Reissues

Perhaps surprisingly, it’s now been a decade since Paul McCartney started his Archive Collection reissue campaign. There have been 12 albums given the Archive treatment so far, and they are about to added to in July with the release of Flaming Pie.

To mark the tenth anniversary, Paul Sinclair at the Super Deluxe Edition site has put together a special 52-page keepsake booklet featuring reviews of all the reissues to date and some additional analysis and features. The booklet is the same size and format as the books that come in the Archive Collection box sets, so it can be easily stored alongside them.

McCartney: 10 Years of Archive Reissues will feature in-depth illustrated reviews of the McCartney reissues via a combination of archive content from the SuperDeluxeEdition.com website (some of it updated), alongside new reviews and fresh insight.

Sinclair has a bit of a track record already with these booklets. You might recall the one he issued for the Flowers In The Dirt Archive Collection releases. If that was anything to go by, this new one will be well worth getting hold of too.

There will be only 1000 numbered copies of McCartney: 10 Years of Archive Reissues produced, and it’s only available via the SDE shop.

If you want to find out a little more on the details you can read about it here.

New Book: The Beatles Recording Reference Manual – Volume 4

How did The Beatles get the particular and unique sounds they achieved on their records?

If that’s a question you’ve been asking, then you’ll find a lot of the answers in a series of books written by Canadian musician, producer and recording engineer Jerry Hammack.

To date Jerry has produced an impressive body of work across three previous volumes in what he calls The Beatles Recording Reference Manuals (check out our reviews of Volume 1, Volume 2 and Volume 3). In these books you’ll discover in intricate detail how The Beatles went about the recording process: the studios and equipment they used, their instruments, personnel, processes and recording dates and times. In short, just how they created their masterpieces.

Well, released today is the latest instalment in the series, The Beatles Recording Reference Manual – Volume 4: The Beatles through Yellow Submarine (1968-early 1969).

This new book picks up where the third left off, covering the period 1968 and early 1969. The songs recorded for the double LP, The Beatles (a.k.a. The White Album) are dealt with in great detail. By comparison Yellow Submarine, which is included due to it’s release in the time span covered, isn’t. That’s because most of the Beatle songs used for that project (except for ‘Hey Bulldog’) were recorded earlier and are covered off in previous volumes. Also included here are the singles ‘Lady Madonna’/’The Inner Light’ and ‘Hey Jude’/’Revolution’.

This series is a labour of love that has taken Jerry Hammack more than ten years to complete, and this latest volume serves as a fantastic companion to last year’s remixed and remastered 50th anniversary edition of The Beatles double LP.

You can follow the journey of each song, from first take to final mix. There are text explanations and simple diagrams detailing what occurred in the studio as each track became the songs that we know and love today.

As Hammack says: “We are aware of most of the “when” and “where”, but the “what was done?” isn’t always clear. We rarely know what guitars or amplifiers were used on a song-by-song basis. There is even less knowledge about the format of the recordings or the studio equipment used on a specific song or session. It takes a lot of detective work to figure these facts out, and a number of popular sources for the information are in conflict, out of date, or just plain wrong. A picture of the work that comprised the creation of each song must be assembled like a jigsaw puzzle. Thus began my quest to research, gather and organize both the narrative and core technical details of each of the classic Beatles recording sessions.”

The background introductions to each song often contain some pertinent observations. Take this one for ‘Ob-La-Di, Ob-La-Da’:

“The fact that McCartney would insist on beating the song to death over eight recording sessions, and three different versions, would only add fuel to the fire of frustration. While songs like Penny Lane or Strawberry Fields Forever had taken more sessions to record, they were perfected in a spirit of cooperation, where everyone was on-board regarding the value of the work being done. Times had changed. No doubt the extent of the animosity surrounding The Beatles sessions was somewhat exaggerated (though Starr did walk out, Martin deliberately absented himself, and business affairs under Apple were another matter). However, the seeds of the band’s ultimate unravelling through a single member’s insistence on his own particular vision were undoubtedly planted here. Bra.”

As in previous volumes there are numerous appendices at the back of the book covering the different release versions, gear and instruments used, and more.

Bring on the fifth and final volume that will cover the period 1969 to early 1970 (Let It Be and Abbey Road) where maybe, finally, the lengthy and sometimes tedious debate on Beatle chat rooms at the moment about who played drums on ‘Old Brown Shoe’ might finally be put to rest! (If you’re interested in this discussion it’s on this particular thread beginning about here. It continues for about fifty pages…..)

In the meantime, try and get yourself a copy of Jerry Hammack’s The Beatles Recording Reference Manual – Volume 4. Check it out here on Amazon.

Two Beatle-related Book Finds

Around this time last year we came across a library having a bit of a clean out of duplicated titles. They’d set up a small tresle table outside and had a pile of books for sale at bargain prices (i.e. for free!).

Our policy is that it is always worth a look. If you don’t look, you don’t find. And sure enough there were a couple of titles of interest.

Well, it happened again – this time at a different library. Picking through about a hundred or so books we discovered a vintage paperback edition of John Lennon’s A Spaniard in the Works:

Initially released in 1965, this was a 1980 UK paperback re-press. The pages are a little browned with age, but otherwise this is in near mint condition:The $1.50 sticker on the front appears to be the original price here in Australia!

The other was the Paul McCartney children’s book High in the Clouds:

Written by McCartney and Philip Ardagh, and with delightful illustrations by Geoff Dunbar, this hardback edition was released in 2005 and is in excellent condition. This is a US first edition. The dust jacket is a little scuffed, but otherwise the book looks unused:(As usual click on images to see larger versions)

The Complete Beatles Songs – The Stories Behind Every Track Written by The Fab Four

Here’s a nice little Christmas stocking-filler for you.

If you’re on the lookout for a decent Beatle book this holiday season, you should consider The Complete Beatles Songs – The Stories Behind Every Track Written by The Fab Four. It is written by the respected music writer, Steve Turner, and has just been re-published in a paperback format:

This book has actually been around in a couple of different forms and editions dating back as far as 1994.

You might know it as A Hard Day’s Write: The Stories Behind Every Beatles Song, and over the years more than 440,000 copies have been sold. That’s because when it was first released the book was a first of its kind, a definitive examination of Beatle lyrics all gathered together in one complete package.

And this is why it has stayed in print, and why it is regularly updated and re-issued with new information as it comes to hand, and as new titles in the Beatles discography are added. It has been expanded considerably over the years with new findings added, and it has jettisoned some false information along the way too.

The book’s purpose is the definitive analysis of the words of the songs. It includes the full lyrics to each, and details why, how and where the recordings were created. The meaning behind each song is explored, as are the characters, places and themes. It is richly illustrated throughout too.

Steve Turner is a journalist, biographer and poet who writes about music, and has done so for a wide range of publications over many years. He’s the author of a number of books, and in 2016 wrote the critically acclaimed Beatles ’66: The Revolutionary Year.

As he writes in the Introduction to The Complete Beatles Songs, “More than forty years since the band stopped playing, those songs still mean something to us. They are like old friends who we met when we were young and who made life a little more exciting and easier to cope with. Because of what they did for us, we heave great affection for them. It is because we hold such affection for them that it makes sense to find out where they came from”.

So, maybe your old copy of Steve Turner’s original is getting a bit dog-eared and beaten-up, or you just want to get this latest, updated edition, or maybe this will be your very first copy of this essential book. Either way, The Complete Beatles Songs should find it’s place in every serious Beatle collector’s library.

The edition shown here was re-issued in paperback by Carlton Books in October this year.(As usual, click on the images for larger versions)

New Book: The Beatles Recording Reference Manual – Volume 3

If you’ve got the first two volumes in this impressive (and growing) body of work, then you’ll definitely want to have Jerry Hammack’s latest installment, The Beatles Recording Reference Manual – Volume 3: Sgt. Pepper’s Lonely Hearts Club Band through Magical Mystery Tour (late 1966-1967) as part of your collection:

Hammack is a Canadian-American musician, producer and recording engineer known for his in-depth knowledge of vintage recording techniques. You can learn more about Jerry at his website jerryhammack.com

Like previous volumes, this book contains song-by-song reconstructions of the session work (for both performance and technical) that went into each of The Beatles’ singles, EPs and albums – from the start of the Sgt. Pepper’s Lonely Hearts Club Band era to the release Magical Mystery Tour.

Hammack’s reconstructions of what went down come from his painstaking examination of the most reliable and authoritative resources, including original EMI studios documentation; recollections and interviews with the original engineers who worked on the sessions; photographic and film evidence of the band at work; and of course analysis of the actual recordings themselves, including the many out-takes, session recordings and remixes available. Where there’s doubt or conflicting information, Hammack tries to document and reconcile discrepancies and offers well-considered justifications for the views he is putting forward.

The particular period covered in this volume offers rich pickings because The Beatles had recently given up touring in preference to immersing themselves entirely in the recording process and learning to make the studio itself another one of their instruments. As Hammack writes: “Spanning 189 days between November 24th, 1966 and June 1st, 1967 the Sgt. Pepper’s Lonely Hearts Club Band era forever set The Beatles apart from any other band in the history of popular music. If Revolver had freed the band from the four-piece format that best suited live performance, Pepper shattered those shackles entirely.”

A good example comes from the first song to be recorded in the Pepper sessions, ‘Strawberry Fields Forever’. This required work, on and off, over a 35 day period with 12 different recording sessions before it was completed.

What we find for each song is when and where each recording session took place; which instruments were played; what type of microphones were used; what signal processing was in place; what effects units were used; even details on the types of speakers in the studios and control rooms used to listen back to and mix the recordings. The detail here for those who are into the minutiae of this sort of stuff is extraordinary. Added to the detail are informative, song-by-song visual representations of how each song came together:Looking ahead, Hammack has only Volume 4 to go. It will be the final book in the series and covers off the LPs The Beatles (a.k.a. The White Album) through to Abbey Road (1968-1970). The plan is to release that volume in about 6 months time.

See also our review of Volume 1 and Volume 2 in the series, plus Jerry Hammack’s official Beatles Recording Reference Manuals website for the book, and Amazon’s Look Inside if you’d like to get a better idea of the format and what each book contains.

George Martin Biography – Part Two: Sound Pictures

The second installment in an exceptional two-part biography of Beatle producer, the late Sir George Martin, has just hit bookstores in the US and the UK.

We reviewed Part 1, Maximum Volume: The Life of Beatles Producer George Martin (The Early Years: 1926-1966), back in January and have been hanging out to get our hands on Part 2 ever since.

Now, Sound Pictures: The Life of Beatles Producer George Martin (The Later Years: 1966-2016) is finally here.

Like the first book in the series, there are different covers for each market. Here is the US jacket:

And here is the cover for the UK:

Author Kenneth Womack really has created the definitive biography of the man widely regarded as The Fifth Beatle. In this second volume he takes up the story from 1966, when the Beatles have just released their Rubber Soul album to huge audience and critical acclaim: “At this point, the Beatles were in the midst of riding a winning streak in the UK, with eleven consecutive number-one singles – the latest being the double A-sided “Day Tripper” backed with “We Can Work It Out”, which was released in December 1965 and had rung in 1966 atop the UK charts. The pressure was definitely on to maintain the Beatles’ commercial dominion in their home country, and the group’s principal songwriters took the competition very seriously indeed, with John and Paul regularly vying to see who could land the next A-side.”

In those sentences Womack sums up the huge weight of expectation that was on the band, not only to keep on coming up with the goods in the form of hit records, and to maintain their hectic performance and appearance schedule, but also internally to keep moving forward creatively, to stretch themselves, try out new sounds and new ways of doing things.

In Sound Pictures we get a birds-eye view of the Beatles at their most creative. With the decision in late 1966 not to tour anymore but instead to use their albums to talk to their fans, they set a course that led to the release of four consecutive LPs that always make it into any ‘Best Albums of All Time’ lists: Revolver 1966, Sgt Pepper’s Lonely Hearts Club Band 1967, The Beatles (The White Album) 1968, and Abbey Road 1969. When the Beatles decided to use the studio as their instrument it was Sir George who was there to guide them – and we’re all the luckier for it.

Add to that amazing list of LPs a string of Number 1 singles (like ‘All You Need Is Love’/’Baby, You’re A Rich Man’, ‘Hello, Goodbye’/’I Am the Walrus’, ‘Penny Lane’/’Strawberry Fields’, ‘Lady Madonna’/’The Inner Light’, ‘Hey Jude’/’Revolution’ and ‘Something’/Come Together’ to name but a few) and you start to get an idea of the wave of creativity being unleashed between 1966-1969. George Martin was central and influential in each and every recording.

Sure, as the Beatles became more confident in the studio the dynamic between the band and their production team changed throughout this period – especially around the time of The White Album (and Womack goes into this in some detail) – but they usually found their way back to George Martin for guidance in some form or other. It’s a trend that continued right through the eighties with the release of the Beatle catalogue on CD for the first time; the huge Anthology project; and right up to more recent releases like the Beatles Love, where many of their songs were remastered and radically remixed. As well as having helped create it, Martin was closely involved in caretaking the legacy too.

Throughout the timeframe of Sound Pictures, Sir George was working as an independent producer, arranger and composer. He started up his own company called AIR, and established his own recording studio facilities as well, so in the book we get to learn about the huge catalogue of artists he collaborated with alongside some of the significant musical productions he was associated with. George Martin has worked with performers as diverse as Cilla Black, Elton John, Cheap Trick, Jeff Beck, Kenny Rogers, Ringo Starr and Paul McCartney as solo artists, America, Celine Dion, Jimmy Webb and John McLaughlin. It extends right up to his passing in 2016, and goes well beyond his work with the Beatles.

This is an excellent book, a great read, and Kenneth Womack should be congratulated for the depth of his research and the engaging way he tells the story of one of the greats of the music business. Highly recommended.

If you are looking for a soundtrack to accompany these two volumes as you read you could do worse than getting hold of the six CD set, Produced By George Martin – 50 Years In Recording. It was released in 2001:

John Lennon ‘Imagine’ – Film, Audio and DVD/BluRay On The Way?

Speculation and rumours that there would be a number of additional elements accompanying the forthcoming Imagine John Yoko book (due on October 9) has had an on again/off again nature over the last few days.

The story so far…..

Officially, all we know is that the book is happening, as is a cinema release of the John Lennon and Yoko Ono film Imagine, announced this week: This is the 1972 film with each of the songs from Imagine portrayed (plus four songs from the Ono LP FLY, recorded at the same time) in between glimpses into the lives of John and Yoko, plus some fun sequences featuring the pair and a host of celebrity mates. It looks like it’s the original 70 minute cut of the film, plus an additional 15 minutes or so of bonus material.

If you’d like to go along and see the movie on the big screen there’s a special site set up find out where it is on near you and you can book tickets. Screenings start from September 17.

We also now know that there will be definitely be a DVD and Blu-ray release of the 1972 Imagine film, coupled on the one disc with Gimme Some Truth – The Making of John Lennon’s ‘Imagine’ Album which dates from 2000 and is directed by Andrew Solt:Gimme Some Truth is a surprisingly good examination of the recording process, a fly-on-the-wall window on Lennon in the studio creating the Imagine album that stands the test of time. The DVD and Blu-ray will be available from October 5, and Amazon is taking pre-orders now. There will be bonus material included, but it has not yet been revealed just what this will be. These two films will be great to have in remixed sound, 5.1 mixes (if that is your thing), and fully restored visual content.

And that leads us to what hasn’t been announced yet regarding the last piece in the puzzle: the audio from the Imagine sessions.

There’s been lots of talk about a super deluxe box set; a single CD; a double CD; and a double LP (with a limited edition in clear vinyl for collectors too). Depending on who you believe this is about to be officially announced (like in the next few days, with an October 9 release date), or this part of the Imagine re-issue project has been delayed and we won’t see it until at least February, 2019. (This courtesy of Lennon producer, Jack Douglas, who apparently stated at the Chicago Fest for Beatles last weekend that the project had been shelved to February next year).

Until something official comes out it all remains speculation, but the big box set (which will be audio only) will likely contain four CDs, plus two Blu-rays of material. On these will be some 140 tracks – which is HUGE!

In the box we’ll get the remixed stereo Imagine album, plus singles and extras; outtakes from the album, singles and extras; the Quadraphonic album remastered; raw studio mixes; plus a host of other audio content. For example, someone well-connected to the project has posted this as the content on CD2:

CD 2 – ELEMENTS & OUTTAKES
Elements Mixes and Album & Single Outtakes
ELEMENTS MIXES
Imagine (Strings only) 
Jealous Guy (Piano, bass & drums)
Oh My Love (Vocals only) 
How? (Strings only) 
ALBUM OUTTAKES
Imagine (Original demo recorded at Ascot) 
Imagine (Take 1) 
Crippled Inside (Take 3) 
Crippled Inside (Take 6 alternate guitar solo)
Jealous Guy (Take 9) 
It’s So Hard (Take 6) 
I Don’t Wanna Be A Soldier (Take 25) 
Gimme Some Truth (Take 4)
Oh My Love (Take 6) 
How Do You Sleep? (Takes 1 & 2) 
How? (Take 31)

That’s just for one CD. Those two Blu-rays alone will contain a massive amount of additional audio and this release (if it comes about) will set a precedent for the Apple/Universal box set re-issue approach so far. There will be raw studio mixes; “elements” mixes with instruments and voices separated out; documentary content about the evolution of the songs; plus interview material from the time of Imagine with John and Yoko included. To date the breadth of material planned for release is unprecedented.

The promotional music site Ultimate Classic Rock jumped the gun today and published an article called “John Lennon’s Imagine Album Explored in a Six-Disc Box Set“. As you can see if you click through, they’ve subsequently taken that story down, possibly with a big rap across the knuckles form Apple/Universal….

We reckon this big release program WILL happen. It’s just a matter of when.

UPDATE: The official Lennon site has now uploaded a teaser Imagine the Music page and a video (a beautiful short extract of just the isolated vocals from ‘Oh My Love’). Looks like we’ll know exactly what is on offer on August 23, when The Ultimate Deep Listening Experience will be officially announced.

Dreaming The Beatles – Book Review

We’ve been reading a terrific Beatle book called Dreaming The Beatles – The Love Story of One Band and the Whole World by Rob Sheffield. It’s not new. The hardcover first edition was released last year – and won great accolades then. It has though just been re-issued as a  paperback, and it’s recommended that you go get yourself a copy:

Rob Sheffield is a columnist for Rolling Stone magazine and has been writing about music, TV and popular culture since 1997. He’s written a number of other books on music including works on David Bowie and Duran Duran.

Sheffield has a delightful and refreshing writing style and delivers some truly unique insights and observations into The Beatles: as a band, as individuals, as musicians, and as a world-wide pop phenomenon involved in a love affair that persists up to today (and will do well in the future).

The big difference here is that Sheffield’s take on it all is a decidedly fresh one. Given the huge number of words written about this band over many, many years, that is really saying something.

The basic premise of Dreaming The Beatles is to examine why they have remained so loved and so central – not only in the Sixties, but right up to the present day. Sheffield writes: “The Beatles didn’t plan it this way – they couldn’t have. In 1964, their publicist Derek Taylor wrote liner notes for one of their albums predicting it would still sound fine to “the kids of AD 2000”, a bold claim that looks hilariously small potatoes now…..Taylor upped the ante with his 1995 liner notes for Anthology, calling the Beatles’ story “the twentieth century’s greatest romance.” How was he supposed to know that the romance was just beginning?”

The world, it seems, just keeps on falling in love with The Beatles. Sheffield again: “They tried to break the spell they’d cast and were genuinely surprised when they failed. When John Lennon sang “The dream is over” in 1970, he wanted to free his listeners and himself from the dream. But it didn’t work, because the group didn’t belong to these four men anymore. The dream wasn’t theirs to break.” As four individuals they each tried to end it, pursue new paths, and get on with the rest of their lives. Sheffield observes that the world just smiled politely and said, “I think I disagree.”

Through a series of short vignettes and essays Sheffield examines how this came to be and (with lots of detours along the way) picks apart various significant albums, songs and transitional moments and connections in their career to gradually build up a picture of why it all mattered – and why it continues to matter.

Dreaming the Beatles is often funny too, and is always an engrossing read frequently offering up interesting and entertaining opinions. Take for instance the chapter ‘Beatles or Stones?’ where the traditional rivalry between the two bands is delightfully unpacked. “The Stones flourished during the all-to-brief phase when Mick Jagger thought he was Paul McCartney.”, writes Sheffield. “‘Dandelion’ is easily the best faux-McCartney song of the Sixties. Alas, this phase has been underrated through the years, for the admittedly excellent reason that as soon as Mick gave up trying to be Paul he got ten times better at being Mick, which is when the Stones hit their prime.”

If you feel jaded about reading yet another Beatle book, pluck up the courage and seek this one out. You’ll be pleasantly surprised by an author who knows his stuff, can look at the time-worn tale in new ways, understands why the story continues on, and in the end just loves the music. Like he says: “Being born on the same planet as the Beatles is one of the 10 best things that’s ever happened to me.”

Dreaming The Beatles – The Love Story of One Band and the Whole World is published by Dey Street Books (Harper Collins)