Chapters (91)
- Cover
- Title Page
- Dedication
- Prologue
- Chapter 1
- Chapter 2
- Chapter 3
- Chapter 4
- Chapter 5
- —
- Chapter 6
- Chapter 7
- Chapter 8
- Chapter 9
- Chapter 10
- Chapter 11
- Chapter 12
- Chapter 13
- Chapter 14
- Chapter 15
- Chapter 16
- Chapter 17
- Chapter 18
- —
- Chapter 19
- Chapter 20
- Chapter 21
- Chapter 22
- Chapter 23
- Chapter 24
- Chapter 25
- Chapter 26
- Chapter 27
- Chapter 28
- —
- Chapter 29
- Chapter 30
- Chapter 31
- Chapter 32
- —
- Chapter 33
- Chapter 34
- Chapter 35
- —
- Chapter 36
- Chapter 37
- Chapter 38
- Chapter 39
- Chapter 40
- Chapter 41
- Chapter 42
- Chapter 43
- —
- Chapter 44
- —
- Chapter 45
- Chapter 46
- Chapter 47
- Chapter 48
- Chapter 49
- Chapter 50
- Chapter 51
- —
- Chapter 52
- Chapter 53
- Chapter 54
- Chapter 55
- Chapter 56
- Chapter 57
- Chapter 58
- Chapter 59
- —
- Chapter 60
- —
- Chapter 61
- —
- Chapter 62
- —
- Chapter 63
- Chapter 64
- Chapter 65
- Chapter 66
- Chapter 67
- —
- Chapter 68
- —
- Notes
- —
- ABOUT THE AUTHORS
- Photos
- Coming Soon
The Beatles travel to London to meet with George Martin—and are stunned when the producer tells them, “I’m thinking we should make an album.”
And not just any album. An album featuring their songs.
The concept of singer-songwriters is still almost unheard of among their contemporaries, but John and Paul grab the chance with both hands.
The question is, How will they determine credit? Anyone who gets credit will receive an additional—and with any luck, lucrative—future stream of income.
Paul asks, “Without wanting to be too mean to George, should three of us write or would it be better to keep it simple?”
John and Paul decide to keep it to the two of them and agree that they’ll be a songwriting duo called “Lennon and McCartney.” In a meeting with Brian, they lay out a plan. “Okay, what we’ll do is we’ll alternate it: Lennon and McCartney, McCartney and Lennon,” based on contribution. But it’s never put in writing, and the original credit order sticks. “I didn’t mind,” Paul claims. “It’s a good logo, like Rodgers and Hammerstein. Hammerstein and Rodgers doesn’t work.”
Soon thereafter, George notices a shift in the band. “An attitude came over John and Paul of ‘We’re the grooves and you two just watch it,’” he’ll say later.
On Monday, November 26, the Beatles head back into Studio Two to record “Please Please Me” and the B side, “Ask Me Why.”
This time, there’s no drama. Buoyed by the success of “Love Me Do,” John and the boys feel relaxed. They have fun, and the chemistry they have onstage is with them in the studio.
“The thing I like about the Beatles is their great sense of humor—and their talent, naturally,” George Martin tells journalist Alan Smith. “It’s a real pleasure to work with them because they don’t take themselves too seriously. They’ve got ability, but if they make mistakes they can joke about it. I think they’ll go a long way in show business.”
The Beatles record both singles in the allotted three-hour time frame, and the producer watches from the control room. As they wrap up, he presses the Talkback key, and his posh voice comes into the studio: “Gentlemen, you’ve just made your first number one record.”
Chapter 18
Chapter 18
I should have known better…
—“I Should Have Known Better”
The Beatles tour constantly throughout 1963. In January—as George Martin had rightly predicted—“Please Please Me” scores them the first of what will be twelve consecutive number-one songs.
On a single day in February, they record ten more songs to fill out their first studio LP, Please Please Me. The tunes are a mix of Lennon-McCartney originals and covers of their favorite American R&B songs, including “Twist and Shout,” a hit the previous year by the Isley Brothers (later inducted into the Rock ’n’ Roll Hall of Fame by Beatles admirer Little Richard).