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Which of the following is your favourite Beatles' song?
All My Loving
I Want To Hold Your Hand
All You Need Is Love
Across The Universe
I Am The Walrus
Let It Be
Hey Jude
Something
Strawberry Fields Forever
Other (please state in comments)
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Paul ~
"We didn't all get into music for a job! We got into music to avoid a job, in truth - and get lots of girls.â€
*****
"By the time we made "Abbey Road", John and I were openly critical of each other's music, and I felt John wasn't much interested in performing anything he hadn't written himselfâ€
*****
"It was Elvis who really got me hooked on beat music. When I heard "Heartbreak Hotel" I thought, this is itâ€
*****
"Specific memory of Ed Sullivan: FEAR, FEAR, FEAR! 'Cause you know, if somebody made the mistake of saying, 'Oh, you know how many people are watching this?' If someone had mentioned 73 million - Ohhhhhhh! So it was very very nerve racking. But you know, by then we had so much practice, that the nerves didn't show."
*******
"None of us wanted to be the bass player. In our minds he was the fat guy who always played at the back.â€
The Beatles
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John ~
Press: Can we look forward to any more Beatle movies? John: Well, there'll be many more but I don't know whether you can look forward to them or not.
******
Press: How did you find America? John: Turn left at Greenland.
*****
"I'm not going to change the way I look or the way I feel to conform to anything. I've always been a freak. So I've been a freak all my life and I have to live with that, you know. I'm one of those people.â€
*****
"Part of me suspects that I'm a loser, and the other part of me thinks I'm God Almightyâ€
*****
"Would those of you in the cheaper seats clap your hands? And the rest of you, if you'll just rattle your jewellery." (Performance at the Royal Variety Show)
*****
"I'm going to kick the darkness 'til it bleeds daylight." ~ (with thanks to GoldenSunshine for this quote) The Beatles at Shea Stadium
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George ~
"I wanted to be successful, not famous."
*****
Reporter: What do you call that hairstyle you're wearing? George: Arthur.
*****
"I'm a tidy sort of bloke. I don't like chaos. I kept records in the record rack, tea in the tea caddy, and pot in the pot box."
*****
"The Beatles saved the world from boredom."
*****
"I think the popular music has gone truly weird. It's either cutesy-wutesy or it's hard, nasty stuff. It's good that our music has life again with the youth."
*****
"The Beatles will exist without us."
*****
"The biggest break in my career was getting into the Beatles in 1962. The second biggest break since then is getting out of them."
While My Guitar Gently Weeps
Ringo ~ "Everything government touches turns to crap.â€
*****
"We had no idea what the 'Ed Sullivan Show' meant, we didn't know how huge it was. I don't think we were nervous because we were doing songs that we knew how to play, we'd done them before and we'd done plenty of TV. But the idea of just coming to America was the mind-blower -- no one can imagine these days what an incredible feat it was to conquer America. No British act had done it before. We were just coming over to do our stuff, hopefully get recognized and to sell some records. But it turned into something huge."
*******
"We will miss George for his sense of love, his sense of music and his sense of laughter.â€
*****
"I couldn't put my finger on one reason why we broke up. It was time, and we were spreading out. They were spreading out more than I was. I would've stayed with the band."
*****
"I wanted to be an engineer, but I banged me thumb on the first day. I became a drummer because it was the only thing I could do."
Paperback Writer / Rain Paperback Writer AND Rain -- Beatles
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*********************
Album trivia...
Please Please Me, 22nd March, 1963
At 10.00 a.m. on Monday, 11 February, at Abbey Road Studios, the Beatles and George Martin started recording what was essentially their live act in 1963, and finished 585 minutes later. In three sessions that day (each lasting three hours) they produced an authentic representation of the band's Cavern Club-era sound, as there were very few overdubs and edits. Martin said, "It was a straightforward performance of their stage repertoire - a broadcast, more or less." The day ended with a cover of "Twist and Shout", which had to be recorded last because John Lennon had a particularly bad cold and Martin feared the throat-shredding vocal would ruin Lennon's voice for the day. This performance, generally regarded as a classic, prompted Martin to say: "I don’t know how they do it. We've been recording all day but the longer we go on the better they get."
The whole day’s session cost around £400. Each Beatle was entitled to collect seven pounds and ten shillings (£7.50) as a session fee.
With The Beatles, 22nd November, 1963
The LP had advance orders of a half million and sold another half million by September 1965 — making it the second album to sell a million copies in the UK. It stayed at the top of the charts for 21 weeks.
In 2003, the album was ranked number 420 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Paul McCartney remembers about the photoshoot for the cover: “He arranged us in a hotel corridor: it was very un-studio-like. The corridor was very dark, and there was a window at the end, and by using this heavy source of natural light coming from the right, he got that very moody picture which most people think he must have worked at forever and ever. But it was only an hour. He sat down, took a couple of rolls, and that was it.â€
The photographer for the cover, Robert Freeman, recalls: “They had to fit in the square format of the cover, so rather than have them all in a line, I put Ringo in the bottom right corner, since he was the last to join the group. He was also the shortest.†He received £75 for the shoot, 3 times the usual fee.
Beatles For Sale, 4th December, 1964
When Beatles for Sale was being recorded, Beatlemania was just past its peak; in early 1964, the Beatles had made waves with their television appearances in the United States, sparking unprecedented demand for their records. Beatles for Sale was the Beatles' fourth album in 21 months; recording for the album began on August 11, just two months after the release of A Hard Day's Night, following on the heels of several tours. Much of the production on the album was done on "off days" from performances in the UK, and most of the songwriting was done in the studio itself. Most of the album's recording sessions were completed in a three-week period beginning on September 29. Beatles producer George Martin recalled: "They were rather war-weary during Beatles for Sale. One must remember that they'd been battered like mad throughout '64, and much of '63. Success is a wonderful thing, but it is very, very tiring."
In 1994, McCartney described the songwriting process he and Lennon went through: "We would normally be rung a couple of weeks before the recording session and they'd say, 'We're recording in a month's time and you've got a week off before the recordings to write some stuff.' ...so I'd go out to John's every day for the week, and the rest of the time was just time off. We always wrote a song a day, whatever happened we always wrote a song a day.... Mostly it was me getting out of London, to John's rather nice, comfortable Weybridge house near the golf course.... So John and I would sit down, and by then it might be one or two o'clock, and by four or five o'clock we'd be done."
George Harrison recalled that the band was becoming more sophisticated about recording techniques: "Our records were progressing. We'd started out like anyone spending their first time in a studio — nervous and naive and looking for success. By this time we'd had loads of hits and were becoming more relaxed with ourselves, and more comfortable in the studio...we were beginning to do a little overdubbing, too, probably to a four-track
On December 12, a week after it’s release, it began a 46-week-long run in the charts, and a week later knocked A Hard Day's Night off the top of the charts. On March 7, 1987, almost 23 years after its original release, Beatles for Sale re-entered the charts briefly for a period of two weeks.
Help! 6th August, 1965
Lennon said that the title track of this album was a sincere cry for help, as the pressures of the Beatles' fame and his own unhappiness (what he later called his fat Elvis stage) began to build, and that he regretted turning it from a downbeat Dylanesque song to an upbeat, poppy Beatles song because of commercial pressures.
Research has shown that the cover photo does not spell ‘Help’ in semaphore. The cover photographer, Robert Freeman wrote: "I had the idea of semaphore spelling out the letters HELP. But when we came to do the shot the arrangement of the arms with those letters didn't look good. So we decided to improvise and ended up with the best graphic positioning of the arms."
Rubber Soul, 3rd December, 1965
The album had a 42-week run in the British charts starting on December 11, 1965, and on Christmas Day took over from Help!, The Beatles' previous album, at the top position in the charts, a position the album would hold for eight weeks. The album became a classic and on May 9, 1987, it returned to the album charts for three weeks, and ten years later made another comeback to the charts.
The photo of the Beatles on the Rubber Soul cover appears stretched. Photographer Bob Freeman had taken some pictures of the Beatles at Lennon's house and showed the photos to the Beatles by projecting them onto an album-sized piece of cardboard to simulate how they would appear on an album cover. The unusual Rubber Soul album cover came to be when the slide card fell slightly backwards, elongating the projected image of the photograph and stretching it. Excited by the effect, they shouted, "Ah! Can we have that? Can you do it like that?"
Revolver, 5th August,1966
Q magazine readers placed it at number 1 in its list of the 100 Greatest British Albums Ever. In 2001 the TV network VH1 named it the number 1 greatest album of all time, a position it also achieved in the Virgin All Time Top 1,000 Albums. In 2002, the readers of Rolling Stone ranked the album the greatest of all time
The title Revolver is a pun, referring to a kind of handgun as well as the "revolving" motion of the record as it is played on a turntable.
Sgt Pepper’s Lonely Hearts Club Band, 1st June, 1967
Sgt. Pepper's Lonely Hearts Club Band was recorded when The Beatles had tired of touring and had quit the road in late 1966. Retirement from touring gave them, for the first time in their careers, more than ample time in which to prepare their next record. All four band members had already developed a preference for long, late-night sessions although they were still extremely efficient and highly disciplined in their studio habits.
With Sgt. Pepper, the Beatles wanted to create a record that could, in effect, tour for them — an idea they had already explored with the promotional film-clips made over the previous years, intended to promote them in the United States when they were not touring there.
McCartney decided that they should create fictitious characters for each band member and record an album that would be a performance by that fictitious band. The idea of disguise or change of identity was one in which the Beatles, naturally enough, had an avid interest — they were four of the most recognisable and widely known individuals of the 20th century.
The Beatles' recognisability was the motivation for their growing moustaches and beards and even longer hair, and was an inspiration for the disguise of their flamboyant Sgt. Pepper costumes. McCartney was well known for going out in public in disguise and all four had used aliases for travel bookings and hotel reservations.
Thus, the album starts with the title song, which introduces Sgt. Pepper's band itself; this song segues seamlessly into a sung introduction for bandleader "Billy Shears" (Starr), who performs "With a Little Help from My Friends". A reprise version of the title song was also recorded, and appears on side 2 of the original album (just prior to the climactic "A Day in the Life"), creating a "bookending" effect.
However, the Beatles essentially abandoned the concept after recording the first two songs and the reprise. Lennon was unequivocal in stating that the songs he wrote for the album had nothing to do with the Sgt. Pepper concept. Since the other songs on the album are actually unrelated, one might be tempted to conclude that the album does not express an overarching theme. However, the cohesive structure and careful sequencing of and transitioning between songs on the album, as well as the use of the Sgt. Pepper framing device, have led the album to be widely acknowledged as an early and ground-breaking example of the concept album.
The collage for the album cover depicted more than 70 famous people, including writers, musicians, film stars and (at Harrison's request) a number of Indian gurus. The final bill for the cover was £2,868 5s/3d, a staggering sum for the time — it has been estimated that this was 100 times the average cost for an album cover in those days.
The album won 4 Grammy awards in 1967, ‘Album of the Year’, ‘Best Contemporary Album’, ‘Best Engineered Recording’ and ‘Best Album Cover’.
Is the 9th best selling album of all time, with over 32 million copies sold!
The White Album, 22nd Nov, 1968
Paul McCartney: "The White Album. That was the tension album. We were all in the midst of the psychedelic thing, or just coming out of it. In any case, it was weird. Never before had we recorded with beds in the studio and people writing for hours on end; business meetings and all that. There was a lot of friction during that album...we were about to break up. And that was just tense in itself."
Advance orders of the White Album numbered 1.9 million copies. The album would eventually go on to be the best selling double-album of all time.
The album's cover design was thought up by Richard Hamilton with the name The Beatles embossed on the original releases. Later editions of the White Album saw the groups name appearing in light grey.
Paul McCartney states in The Beatles Anthology book that the idea of having each album individually numbered was Richard Hamilton's idea. "...he had the idea to number each album, which I thought was brilliant for collectors. You'd have 000001, 000002, 000003, and so on. If you got, for example, 000200 then that would be an early copy -- it was a great idea for sales." The Beatles Anthology reports that Ringo Star owns the first copy of the White Album.
Abbey Road, 26th Septhember, 1969
After the near-disastrous sessions for the proposed Let It Be release, Paul McCartney suggested to producer George Martin that the Beatles get together and make an album "just like the old days... just like we used to", free of the conflict that began with the sessions for The White Album. Martin agreed to this if the band would be "the way they used to be".
The two album sides are quite different in character, designed to accommodate the differing wishes of McCartney and John Lennon.Side one (to please Lennon) is a collection of single tracks, while side two (to please McCartney) consists of a long suite of compositions, many of them being relatively short and segued together.
The famous photograph - "At some point, the album was going to be titled Everest, after the brand of cigarettes I used to smoke," recalls Geoff Emerick. The idea included a cover photo of the Beatles in the Himalaya, but by the time the group was to take the photo, they decided to call it Abbey Road and take the photo outside the studio, on August 8, 1969. The cover designer was Apple Records creative Director Kosh. The cover photograph was taken by photographer Iain MacMillan. MacMillan was given only ten minutes around 10 that morning to take the photo. That cover photograph has since become one of the most famous and most imitated album covers in recording history, quite possibly only eclipsed by the likes of another Beatles album cover, Sgt. Pepper's.
The cover also supposedly contains clues adding to the "Paul Is Dead" phenomenon some people think: Paul is barefoot, with eyes closed, out of step with the others, and holds a cigarette in his right hand, though he is left handed (although this "fact" is inaccurate; Paul is in fact right-handed, but prefers to play bass and guitar left-handed), and the car number plate "LMW 281F" supposedly referred to the fact that McCartney would be 28 years old if he was still alive. "LMW" is said to stand for "Linda McCartney Weeps." The four Beatles on the album cover, according to the "Paul is Dead" myth, represent the priest (John, dressed in white), the undertaker (or perhaps mourner) (Ringo in a black suit), the corpse (Paul, in a suit but barefoot—like a body in a casket), and the gravedigger (George, in jeans and a denim work shirt). The man standing on the pavement in the background is Paul Cole, an American tourist who was unaware that he was being photographed until he saw the album cover months later.
The Volkswagen Beetle parked next to the intersection belonged to one of the people living in the apartment across from the recording studio. After the album came out, the licence plate was stolen repeatedly from the car. In 1986, the car was sold at an auction for $23,000 and is currently on display at the Volkswagen museum in Wolfsburg, Germany. Originally, the Beatles wanted to move the Beetle, but as the owner was away on holiday, they were unable to do so.
"Her Majesty" is regarded as the first ever hidden track.
Let It Be, 8th May, 1970
Most of Let It Be was recorded in January 1969, before the recording and release of the album Abbey Road. The Beatles were unhappy with the album and it was temporarily shelved. Let It Be was later 're-produced' by Phil Spector in 1970, and it was the Beatles' final release.
The album and the film with the same name were released on May 8, 1970; the Beatles had already broken up by that time. The movie captured on film the critical tensions within the band, and also included footage from the rooftop concert. The rooftop performance closed with the song "Get Back", and afterwards Lennon remarked, "I'd like to say 'thank you' on behalf of the group and ourselves, and I hope we passed the audition." The joke was added to the studio version of the song that appeared on the album.
While it remains true in the film that Paul McCartney seemed to have gotten to George Harrison over a dispute in how to play chords on a number ("I'll play what you want me to play. Whatever it is that will please you, I'll do it," said Harrison) the real reason why George left (according to an October 2000 edition of Mojo magazine) was because of "John's obsession with Yoko deeply insulted Harrison. Lennon repeatedly refused to participate in group planning; on January 10, Harrison told Lennon he was leaving the band immediately." George would reconcile their differences a week later on the condition that they don't do a live concert abroad and to stop filming at the dreary Twickenham studios.
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Beatles - You're Gonna Lose That Girl - 1965
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In 1995, 'Free As A Bird' is released...
"Free as a Bird" was originally a piece of music that John Lennon composed, but never completed. The original Lennon recording was made circa 1977 in New York City. Yoko Ono gave a basic recording of the unfinished music to the remaining Beatles (Paul McCartney, George Harrison and Ringo Starr) who reunited to finalise and record the completed song.
Paul McCartney: "At first a couple of pundits were kind of saying "They shouldn't attempt this", so it was really nice when we got the idea to try and take a 'John track' because it was much more satisfying. It was like, "Oh, John's goanna be there! Oh, thank God for that! It's goanna be all right now...we're all together again." Once we got that part of the equation, it was actually very easy and joyous. It was really a good laugh. We had a laugh with each other, and it was really good to reunite and to see your old mates again and to be making music together."
Rumours of a "Beatle Tour?"
Paul responds: "I don't think so. You know, we've had like a major humongous offer from America to do ten dates across the country and the money is just ridiculous - you know, it's like scandalous! But to me with the three of us on our own isn't as exciting as the four of us and seeing that the Beatles were always four and people will say: "Why wouldn't you get Julian or Sean to sort of help or something" it's still not the same. The Beatles was the Beatles. The minute you got two of them or three of them, it's not the Beatles."
.
The Video
The video won the Grammy Award for Best Short Form Music Video. It was produced by Vincent Joliet and directed by Joe Pytka (Space Jam) and depicts, from the point of view of a bird in flight, many references to other Beatles songs and events. Also The Beatles themselves appear several times along the clip.
It begins with the bird flying through a room (the sound of a bird's wings can be heard on "Across the Universe"). The bird is "flying", a "blue jay way", a "blackbird", a bird that "has flown" or a bird that "can sing". It flies over to several old framed photographs of John, Paul, George and Ringo "in their lives" and we also see on the mantelpiece "fly and butterfly" and an "old brown shoe" in front of a picture of George. On the sofa is a cat who is "only sleeping" and perhaps having "golden slumbers" and the bird flies outside and over Liverpool's River Mersey which is a "place they will remember".
John, Paul, George, and Ringo are then seen in the "rain" outside the Liverpool docks with people (possibly Quarrymen) coming from a "hard day's night" of work, and people waiting to see The Beatles play "Some Other Guy" in the Cavern Club, which is guarded by a man in "old flat top". It is followed by a shot of "Strawberry Field" with a "Nowhere Man" wandering around, or perhaps "mother nature's son". Then an empty tree is shown ("No-one I think is in my tree"). There is a very quick shot of a "silver hammer" hardware store and then an 'Egg & Co' van, whom the owner of was (presumably) known as "the egg man".
On the left of the next shot you can see a "barrow in the marketplace", and, on the right, a barber’s shop, which is in "Penny Lane". Children run past "holding hands" and we "see how they run", and the moptop Beatles cross the road, walking past "Mr. Wilson and Mr. Heath". There is also a nurse "selling poppies from a tray" and looking straight ahead as if "she's in a play". There is a sign in a shop window that says, "Help", and the barber who may be "shaving another customer". The window also displays a photo of the Beatles. We also see someone about to "have another cigarette" and woman who may be "Prudence" or "Polythene Pam". Ringo stands in the doorway of a bakery. The camera then pans across a car showing two people making love "in the road", so obviously "she loves him" and he wants her to "love me do". and the later Beatles chatting together, followed by a shop window showing all three of the anthology covers, and then a cake shop window which has a "birthday" cake behind it. The numbers on the cake are "64" ("When I'm 64").
As George walks up to the door of the Apple office the brass sign was changed — on the left — to read "Dr. Robert". The next shot shows a police van and the reflection on its window shows four faces in shadows, from the album With the Beatles.
The shot pans past Ringo with his camera to show someone "in a car crash" that a crowd, including John, is looking at, which was obviously just part of "a day in the life" of the firemen who have a "very clean machine". The policemen standing nearby are all "standing in a row" and a woman "gently weeps". The camera moves from a "slide" to a view of a kite, which was for "the benefit of Mr. Kite".
In the back alley, we can see a step ladder leading up to a bathroom window, probably because "she came in through the bathroom window", whilst in the back garden/yard some sunflowers are growing "so incredibly high". A group of small children run down the alley wearing masks that make them look like little "piggies" and we "see how they run like pigs from a gun". As the camera pans up and into a room, on the windowpane you can glimpse the sight of a "lizard on a window pane". Inside the room a "paperback writer" is typing near a clock which reads 10:10, which is, logically, "one after 9:09". John is seen in a chair next to a television showing the Beatles appearance on the Ed Sullivan Show. On the table is a bowl of Granny Smith apples, a box of "savoy truffles" and the "Daily Mail" with the front page headline "4,000 Holes Found In Blackburn, Lancashire". On the floor is "a portrait of the Queen", otherwise known as "Her Majesty", and on the window is a "picture of Chairman Mao".
Outside, a "blue meanie" pops up from "a hole" in the roof, which a man is "fixing". Then, down in the street, a "bulldog" is being walked and a "newspaper taxi" pulls up as a girl walks out of a door. Maybe she is "leaving home" or "for no one". Two people are carrying a large portrait of "Chairman Mao" in the background, which is obviously part of the "revolution". The Blue Meanie is seen again, and apparently he "sleeps in a hole in the road"". In the foreground, John Lennon is "happy just to dance" with Yoko, and far away, you can see a coach passing that is possibly going on a "magical mystery tour"...
The scene changes, and we see a figure dressed in Marsellaise attire (perhaps "all he needs is love?") at the front of a building, which we enter. We see "Bungalow Bill" with "his elephant and gun", and, "in case of accidents, he always took his Mum", who is behind him, as are some Indian servants who "carrying their weight", perhaps suffering because they are "so heavy". The camera moves through the crowd — past Ringo and past an Indian playing a sitar — and we see Brian Epstein putting his scarf on to leave because he "doesn't want to spoil the party". The camera pans over to a bass drum with "Sgt. Peppers Lonely Hearts Club Band" painted on it. Behind it is a cardboard cutout of James Dean with Stuart Sutcliffe's face on it, which is next to what seems to be the Guru Maharishi Mahesh Yogi. The bird flies up into the sunshine, so that "here comes the sun".
The graveyard: "Mother Mary" or "Lady Madonna" — a statue — turns her head to face the camera. "Eleanor Rigby's" gravestone is in full shot, and then "Martha" the dog runs across the graveyard, with "Father McKenzie" in the background. Paul is seen dancing like "the fool on the hill", with a girl who is "leaving home", on the road. A "long and winding road" can be seen in the distance.
The shot before last is the "Abbey Road" zebra crossing. A woman, presumably "Lovely Rita, meter maid", is giving a Volkswagen a parking ticket — the same car seen on the cover of "Abbey Road" which fueled the "Paul Is Dead" rumor.
We then see the Beatles from A Hard Day's Night rushing through the corridor to see an actor, playing George Formby, finishing a song on the ukulele on a stage in front of an audience, and Lennon (played backwards) says, "It's turned out nice again", which was Formby's catch-phrase. The curtain falls to signify "the end".
On the Beatles Anthology DVD set extra material, Pytka relates how George Harrison, who played the ukelele on the song, asked to be allowed to play the ukelele player — who is seen only from behind — but the director refused, as he felt it would be wrong for any "new" Beatles to appear in the video. Pytka explained that after Harrison's death in 2001, and on discovering that it was he who played the instrument rather than it having been a sample of an old song, he regretted not having allowed Harrison to play the role.
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Free as a bird - THE BEATLES
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The Beatles comment on how the band had broken up:
John Lennon: "The Beatles were disintegrating slowly after Brian Epstein died - and it was a slow death. It was happening: it was evident on "Let It Be"...it was evident in India when George and I stayed there and Paul and Ringo left. And it was evident on the "White Album, you know..."
Paul McCartney: "About a year before the Beatles broke up, I suppose...friction came in, business things came in, relationships between each other. We were all looking for like...people in our lives, like, John had found Yoko. It made it very difficult. He wanted a very strong intimate life with her, at the same time, we always reserve the intimacy for the group. So we're starting to find those things flashing at you - with Yoko. You had to understand, he had to have time with her. But, does he have to have that much time with her was the sort of feeling in the group. And, uhm, so these things started to create in movable objects and pressures that was just too big."
Ringo Starr: "You know, a lot of days even with all the craziness it really works still. Instead of working every day, it worked like two days a month, you know, and then there were still good days, we were still really close friends, then it would split up again into some madness."
George Harrison: "I just like spent like the last six months producing an album of the fellow Jackie Lomax and hanging out with Bob Dylan and The Band in Woodstock and having a great time and for me to come into the Winter of discontent with the Beatles in Twickenham was very unhealthy and very unhappy....I thought I'm quite capable of being relatively happy on my own and if I'm not able to be happy in this situation, you know, I'm getting out of here."
Sir George Martin: "John got very heavily into drugs and his relationship with Yoko was very disruptive with everybody because...I mean, at one point she was always at the sessions -- her very presence was disturbing. She wasn't even introduced to me until four weeks into this, you know. At one point she was ill and John insisted on bringing her bed into the studio so she could lie there ill and watch us make records, and that isn't the best atmosphere to make a record." And, "What upset me most of all, wasn't the fact that I was losing control, which I was, but the fact that they were fighting so much amongst each other. I mean, at one point, John and George actually hit each other - they had a fist fight. And it was very sad because they were such mates. And John was acting very strange at that time...the Let It Be thing..."
Rooftop Concert 1-3
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