Beatles Essay, Research Paper

When people hear the name & # 8220 ; The Beatles & # 8221 ; most people think of lead vocalist, John Lennon. However, the function of Paul McCartney is frequently overlooked. Itwas McCartney, non Lennon who was the drive force behind the Beatles. John Lennon and Paul McCartney were in many sets together before the forming of the Beatles. In 1962, along with Ringo Starr andGeorge Harrison, they formed the stone group known as & # 8220 ; The Beatles & # 8221 ; . Thegroup featured a modern stone that was new and popular during the periodwith John and Paul composition and making the leads on most of the songs.They were backed by George on beat and bass guitar and Ringo on drums.George and Ringo besides assisted on backup vocals. When they foremost began playing, the chief influence inside the set wasJohn Lennon, who had an eldritch ability to compose vocals at a momentsnotice with an inspiration that others missed. He pushed the members ofthe set during their touring old ages and was able to accomplish the bestpossible consequences from the group. The set began playing in a Music Hall manner that is really effectual for the audiences but was missing on their albums. Togetherwith Paul, John began to germinate the set. As the old ages began to go through, theband was evidently get downing to turn musically. They had moved fromsimple wordss like & # 8220 ; Love me Do & # 8221 ; to harshly cognizant contemplations of life intheir place state in & # 8220 ; Eleanor Rigby & # 8221 ; . There were efforts, some moresuccessful than others, to integrate the other Beatles into the ideastage. George Harrison made this leap successfully with such paths as & # 8220 ; Iwant to state you & # 8221 ; , & # 8220 ; TAXMAN & # 8221 ; , and the psychedelic & # 8220 ; Love you to & # 8221 ; . Ringo wasfeatured in the humourous & # 8220 ; Yellow Submarine & # 8221 ; As the group matured, theircreativity began to trust more on the effects and uses that theywere able to bring forth in the studio. The Beatles agreed to stop theirtouring calling after an American circuit of big halls that they failed tofill. It was around this clip, that John Lennon began to seek forhimself. He began utilizing any agencies that he thought might assist him connect.This epoch was marked by the Beatles visits to the Maharashi Mahesh Yogi, and the beginning of heavy drug usage. As Lennon began to utilize LSD ingreater and greater measures, the other Beatles began to hold moreand more influence in the production of the albums. Lennon began tobecome about recluse, and frequently delayed entering Sessionss. By the timethat they were entering Sgt. Pepper & # 8217 ; s Lonely Hearts Club Band in 1967, Lennon would merely suggest vocals and subjects, and McCartney was left toexecute the programs and bind together caprices. They began to do demands ofthe crew: Beatles vocals were rather simple in the early yearss, you couldn & # 8217 ; tplay around with them excessively much. But by 1967 we were constructing soundpictures and my [ George Martin ] function had changed-it was to construe thepictures and find how best to acquire them down on tape. Paul wasfine-he could show what he wanted, the sounds he wanted nted to hold. ButJohn & # 8230 ; would do wooshing sounds and seek to depict what merely he couldonly hear in his caput, stating he wanted a vocal to & # 8217 ; sound like anorange & # 8217 ; . Equally shortly as the Sgt. Pepper album was underway, Paul McCartneycame up with the thought of really making a set and executing thesongs as that set. They took the Idea from there and Sgt. Pepper & # 8217 ; sLonely Heart & # 8217 ; s Club Band came into being, ne’er to see the outside ofstudio 2 at Abbey Road. They spent about a twelvemonth entering assorted tracksfor the album and John & # 8217 ; s province of head was steadily worsening. In 1969when they issued Abbey Road it was no longer hard to distinguishbetween the Hagiographas of Paul and John. John was bring forthing plants like & # 8220 ; Iwant you ( she & # 8217 ; s so heavy ) & # 8221 ; which had the wordss:

I want you so bad it & # 8217 ; s driving me huffy She & # 8217 ; s so hea

vy6 And the more musical and thoughtful work of McCartney, such as “GoldenSlumbers” which was almost a lullaby: Once there was a way to get back homeward Once there was a way to get back home Sleep pretty darling do not cry And I will sing a lullaby Golden slumbers fill your eyes Smiles awake you when you rise Sleep pretty darling do not cry And I willsing a lullaby7 The writing of the material on The Beatles8 seemed more balanced asLennon began writing more cogent songs, and collaborating on asong-by-song basis with McCartney. Their songs varied from a slow balladin McCartney’s “Blackbird” to the bizarre and intriguing “Revolution #9)by Lennon. Yet McCartney was needed to control Lennon when he recordedthe original version of “Sexie Sadie” with the verse: You little twat Who the fuck do you think you are Who the fuck do you think you are Oh, you cunt.9 Fortunately McCartney prevented the track from proceeding any fartherthan rehearsal. He ended up suggesting that the song take a moresympathetic note and, eventually, Lennon agreed. During this time, onealmost constant presence in the recording studio was Yoko Ono, John’swife. This was against an unspoken code amongst the Beatles not to allowwives and girlfriends into the studio. Yoko had a large affect on John,almost completely altering his style, and inspiring such songs as “I wanther (she’s so heavy)” and “Revelation #9?. Many of the other songs thatYoko and John created were rejected by the group, but her presencechanged John’s behavior and performance. The Beatles final album togetherwas Let It Be released in 1970. The album was not in any way spectacularand exhibited many of the traits that are associated with the Beatleswriting. The title track, “Let It Be” is one of the most famous tracksrecorded by the group. The music on the album was a last chance effort tokeep the group together, and although the album was well received, it wasnot what the group had in mind. The Beatles did not make anotherrecording after that date, though there were rumors of the groupreforming until the shooting of Lennon in 1980. One of the most obvious indicators of the heavy hand that was often kept on Lennon is the progress of his band which he formedafter the breakup of the Beatles. The Plastic Ono Band was an onlymoderately successful group that took the popular psycedalia a few stepsto far and lost most of its popularity. Lennon attempted to entertheater, but it was quickly obvious that he was no actor. He lived abizarre and drug ridden life secluded in his apartment with his wife YokoOno and his son. Both he and his wife were reported to have seriousheroin addictions and were often said to be high in the presence ofvisitors. After the breakup, McCartney launched a moderately success-ful solocareer. He has released many recordings both in the United States andabroad. His most recent accomplishment was the “Liverpool Oratorio” whichis no small feat considering that McCartney never learned to read music.The songwriting styles, the studio records, and the individual careersall show that there was a very large influence in the group, and in themusic, by Paul McCartney. Equal to Lennon in the beginning, butsurpassing him at the conclusion of the relationship. Two key factorsthat probably caused this are his affection and infatuation with YokoOno, and the heavy use of hallucinogenic drugs. On some occasions, bothof those factors may have given Lennon inspiration for his music, butthey greatly reduced his control and influence in the band. Bibliography Bates, Norman “The Beatles Recording Sessions” Harmony Publishers Londonc. EMI Records Ltd. 1988 The Beatles Abbey Road EMI Records Ltd. 1969 _____ ____ The Beatles Let it Be Capitol Records 1970 ___ __ __ The Beatles Revolver EMI Records Ltd. 1966