No sooner had The Beatles recorded the Please Please Me single, than George Martin announced that he wanted to do an album. The Beatles were flabbergasted. They had really only started to hone the craft of writing pop hits, they didn’t have enough material to fill an album. It would have to be an album of songs taken from their stage show and whatever else they could write prior to the recording date.
George Martin had the idea of making a live album at the Cavern Club, 10
The original cover art photo taken by Angus Macbean
Mathew Street, Liverpool, England, where The Beatles had been a mainstay act for a few years. The club had opened in 1957 as a jazz club. The Beatles had been playing there regularly, for lunch and night spots, since 1960.
That concept was scuppered when George Martin went to Liverpool to check out the venue, to determine whether it was suitable for recording. It was not. The Cavern Club was a basement which had been used as a fruit and vegetable storage era – it was hot, humid and had curved vaulted ceilings. None of these attributes would suit the recording equipment or the acoustics needed to get a clean sound conducive to a good recording.
George opted for the next best thing, a recording made at EMI Studios – but miked so that the sound would replicate a live performance. The Beatles sound engineer for these sessions, Norman Smith (nicknamed “Normal” by John Lennon), positioned the microphones away from, instead of in front of, their amplifiers. Thus giving the semblance of a live performance. This recording technique gives this record a unique clean “live” sound. Coupled with the fact that there were few overdubs, this is about as good a replication of The Beatles live performance feel that was capable of being reproduced at this time, given the limitation in equipment. In fact, I think it is probably my most favourite Beatles recording – in terms of a clean unadulterated sound. The only overdubs are of piano on Misery, celesta on Baby It’s You and double tracked vocals on A Taste of Honey, handclaps on I Saw Her Standing There and harmonica on tracks such as Please Please Me and There’s A Place. The harmonica on Love Me Do was live.
Beatles Fact: You can still visit The Cavern Club, but it is not the original club, which was demolished to make way for a Mersey Rail loop. It is a pretty good replica in a building next door to the old venue – 7 Mathew Street. The fire exit is the old entrance to the original club. It uses many original bricks from the original club to form the vaulted roof.
The original black and gold Please Please Me mono vinyl disc is now a valuable collectors’ item. Whilst millions of them were sold there are very few mint collector copies available, especially those where the album cover is itself in mint condition. Bear in mind that this record is now nearly 60 years old.
Note that the English pound sign on the record label is not actually a pound sign – it is the letter “L” which represents the surname of the original German “Parlophon” owner – Carl Lindström. The “e” was added to the name in the 1920’s. Also note that all original compositions are still credited to McCartney-Lennon, not Lennon-McCartney. John would eventually win this argument, but not yet.
The Please Please Me Album Session – 11 February, 1963
It is difficult to find a more productive and creative day in recording history than this day. In just 585 minutes, starting at 10.am and finishing at 10.45 pm, The Beatles completed 10 songs to add to the four tracks they had already recorded, plus a further track which they would remake for the next album. In today’s modern world, with advanced technological wizardry, it takes months, sometimes years, to complete an album. The Beatles did it live in one day.
The weather on the day The Beatles met to record the album was miserable. London was in the midst of one of the coldest winters on record. John Lennon had a bad cold and sore throat and the others were physically drained after endless dates driving up and down the country. To ease his throat John drank from a bottle of milk, aided by Zubes throat lozenges. Apparently though, they didn’t think to stop smoking their endless supply of Peter Stuyvesant cigarettes.
Track One Side One – I Saw Her Standing There (McCartney-Lennon) – 2:52
Paul McCartney was given the honour of having the first song on The Beatles first album. It was a relatively new composition, mostly composed in July, 1962 by both John and Paul, at 20 Forthlin Road Allerton (as photographically documented by Mike McCartney). Paul recalls that his first draft originally had a lyric “just seventeen never been a beauty queen” – John fell about with laughter when he heard this. “You’re joking about that line aren’t you? What? Must change that”. They then came up with the line “you know what I mean”. By a simple lyric change the line became charged with sexual innuendo – not dissimilar to “please please me – like I please you”. They weren’t thinking of a game of drafts here.
Seventeen (the working title of “I Saw Her Standing There”) was the second song recorded by The Beatles this day. They were using the standard instruments that they had available, John on his 1958 Rickenbacker Capri 325, Paul on his Hofner bass, George and John both had Gibson J-160e acoustic-electric jumbo guitars. George was still using his 1957 Gretsch Duo Jet, which would be replaced soon by a Gretsch Country Gentlemen. I am lucky enough to have played the same models of the Gibson acoustic and Gretsch semi acoustic guitars used here. They are very easy guitars to play and give that twangy Beatles sound, especially when using light gauge electric guitar strings on the acoustic-electric jumbo.
Paul’s bass line in ISHST is exactly the same bass line as used in Chuck Berry’s “I’m Talking About You”, a fact that he admitted later to Mark Lewisohn.
The Beatles recorded 9 takes of the song. Takes one and two were complete, however there is a fluffed line in take 2 which is a shame because the solo is great. Take 6 broke down because of a vocal mistake. Take 7 is incomplete – stopped by Paul because he didn’t like the tempo. The same with Take 8. Take 9 is complete – it has a lacklustre solo – but is the version with the aggressive “1,2,3,4” count in. This count in was edited from take 9 and tacked on to the start of take one to give it the forceful impact of the first rocker put on disc by The Beatles. Interestingly, when the record was released in the USA, the US record company thought that Parlophone had made a mistake and they tried to edit out the count in. They did a lousy job, so the song starts with “4”. This must have been most bemusing to Beatles USA fans.
When you hear the original tapes of these versions, without the overdubs, it is like having them in your living room. Take 9 was eventually released as part of the Free As A Bird EP. This is worth tracking down if you can.
At George Martin’s suggestion all of The Beatles added hand clap overdubs to this song. The tapes of this occurring are quite amusing, with funny ad libs made when they make errors in the co-ordination of their hand claps. They were enjoying the process.
There are also some interesting recordings of The Beatles practising this song at The Cavern Club. On these recordings John plays harmonica, unfortunately in the wrong key. They may well have been thinking of adding harmonica to it, as a result of the success of the harmonica on Love Me Do and Please Please Me.
On this day, and on nearly every live recording I have heard, George Harrison seems to play a slightly difference lead solo. In some cases, wildly different. The best version is on this album, though the live version on the Beatles first Ed Sullivan show is pretty good.
John eventually re-recorded this track with Elton John for a live performance at Madison Square Garden in 1974, though a very good studio version is also available, with horns (still unreleased I think).
Track Two – Side One – Misery (McCartney-Lennon) 1:47
This track was composed back stage at Kings Hall, Stoke-On-Trent, where The Beatles were on the bill with the young 16 year old recording artist – Helen Shapiro. Helen had already had 2 #1 hits with “You Don’t Know” and “Walking Back to Happiness”. They offered the song to her manager, Norrie Paramor, who rejected their offer for Helen to sing it, without ever telling her. So, Helen missed the opportunity of being the first person to record a Beatles composition other than The Beatles. That honour eventually went to Kenny Lynch, a talented artist, who rearranged it to a notable lack of success. Kenny was one of the few black artists performing in England at the time.
Kenny Lynch’s version of Misery was released on 15 March, 1963. Many years later Kenny said that when he played it to John Lennon said that he was unimpressed with the lead guitar work, even asking why Kenny didn’t ask him to play on it. The lead guitarist was none other than the legendary Bert Weedon who had played as the back up guitarist to Django Reinhardt and Stephane Grappelli.
Kenny Lynch remained in contact with Paul McCartney and even appears on the cover of “Band On The Run”.
Track Three – Side One – Anna (Go To Him) (Arthur Alexander) 2:54
Arthur Alexander was an Alabama born African-American musician who had some rhythm and blues hits in the USA in the early 60’s, before establishing himself as a country and western artist. His most famous hit, “You Better Move On” was released in 1961 – and later recorded by The Rolling Stones. In September 1962 Alexander released Anna. It was faster in tempo than the cover made by John Lennon, with added orchestration. The Beatles version was a pared down, slower and more emotional rendition, using John’s voice to maximum advantage. It is similar in pace, and vocal treatment, to “This Boy”, recorded some 8 months later.
The Beatles also played other Alexander songs in their stage act, including “Soldier of Love (Lay Down Your Arms)” and “A Shot of Rhythm and Blues”. These songs can be heard on the CD – Live at the BBC Vol 1. Both of these songs were obscure B sides, from an American artist who had not featured prominently in England. Radio in England at this time was basically just the BBC Light Programme, which did not universally feature artists such as Arthur Alexander, and certainly not their B sides. You should search these songs out, they are great examples of early 60’s R & B.
So, how did The Beatles become aware of these obscure recordings. The answer is in two parts – 1) Liverpool and 2) Brian Epstein.
Liverpool was a major merchant port for England and a principal conduit for products arriving from the US. There was an influx of sailors and travellers arriving from the USA on a regular basis, bringing with them musical tastes acquired from overseas. But how did you get to hear these records and buy them? Well, you went to NEMS at Walton Road, where Brian Epstein managed the record department. Brian had a reputation of being able to obtain any obscure disc. At NEMS you could go into a sound booth and listen to a record of your choice before buying or rejecting it. In this way The Beatles could listen to a variety of obscure records with a view to copying the B sides, so as to get new material for their stage act. They were after songs which no one else knew. The Beatles specialised in black artists and girl groups in the Tamla Motown sound style – converting them from pop to rock.
Brian was put to work in the family’s Walton street store when he was sixteen. It is said that he wanted to be a dress designer, but his father wouldn’t countenance it. He later went into National Service. Whilst in service he was apprehended impersonating an officer, dressed in a tailor made uniform, whilst cruising bars in London. The army psychiatrist “diagnosed” him as being homosexual. He was discharged as “emotionally unfit”. This would seem to have been a euphemistic term to describe his homosexual tendencies.
His family eventually relented and he studied drama at RADA. (Royal Academy of Dramatic Arts), leaving in term 3 to return to the family business. His classmates included Susannah York and Albert Finney.
In August 1961, Brian Epstein started a regular music column in the Mersey Beat called “Stop the World—And Listen To Everything in It: Brian Epstein of NEMS”.
Paul McCartney once said “if there was anyone who was a fifth Beatles it was Brian”.
Brian Epstein – He died aged 32 in 1967 from an accidental sedative overdose.
Anna was a favourite stage song for Lennon, as it suited his vocal range perfectly. So when it came to recording it in the evening of the session, it only took 3 takes. It is a magical performance, completely live with no overdubs. One can only imagine how spectacular it would have been to have heard it live.
Track Four – Side One – Chains (Goffin-King) 2:53
When asked by the press what he and John would do when The Beatles were washed up (it being assumed that their success would be over by 1964) he often said that they would become songwriters in the style of Gerry Goffin and Carole King. Gerry and Carole were a husband and wife team, working from the Brill building in New York. They wrote numerous hits including “Will You Still Love Me Tomorrow” by The Shirelles and “Take Good Care of My Baby” by Bobby Vee. Carol co-wrote “You Make Me Feel Like) A Natural Woman” for Aretha Franklin. They produced and arranged “The Locomotion” recorded and written by Little Eva (Carole King’s babysitter). (The Beatles actually played “The Locomotion” in their stage act! How good would that have been!) After their marriage break up Carole King went solo and wrote and recorded the world famous Tapestry album – with some help from James Taylor.
Chains was first recorded by The Cookies in 1962, with Little Eva on back up vocals. The Cookies members came from the backup girl singers The Raelettes, who sang back up vocals for Ray Charles.
This is the second song recorded by George Harrison at these sessions, the first being “Do You Want To Know A Secret”. George usually had an equal number of songs to sing on stage with John and Paul, so it was important that he also have songs sung by him on the album. But at this point in time George had not developed as a composer – that was to come later, so he relied on covers.
John provided the haunting harmonica intro using a chromatic harmonica in the key of C. Only four takes were needed to get the song down. Take one was declared best and was used on the album, fading out the ending. A complete ending can be found on the version on the CD – On Air – The Beatles Live at the BBC Volume Two.
Track Five – Side One – Boys (Luther Dixon – Wes Farrell) 2:24
Boys was a recording made by The Shirelles which was the B side of their hit “Will You Still Love Me tomorrow ( #1 on the US charts (30 January, 1961).
The version arranged by The Beatles is pure up tempo rock and roll with a blistering lead break and a sensational rhythm section. The Shirelles version is considerably more sedate and has a typical early motown style feel, with a piano and sax solo – it is still a great song. The Beatles version is more Chuck Berry than Berry Gordy.
When The Beatles played this song live it was usually sung by Pete Best, when Ringo joined it was serendipitous that he was also used to the song, having sung it whilst he was the drummer for Rory Storm and the Hurricanes.
Ringo recorded this song at the same time as he was playing drums, causing some headaches for the EMI sound engineer Norman Smith, whose job it was to separate Ringo’s vocal from the drum sound. No easy task.
As it turns out Ringo gave a faultless performance considering it was his first recording rendered to disc. The rest of The Beatles rounded out the sound with the fabulous Bop Shoo Wop backing vocals. Paul uses a similar backing vocal on Revolution in the Twickenham live clip many years later.
This was a one take recording by Ringo. No further versions were needed. The Beatles were clearly enjoying themselves and were happy to throw themselves full tilt behind Ringo in his performance. You can hear the enthusiasm in Ringo’s voice when he yells “All Right George”, just before the solo, amidst the trade mark yells and enthusiastic woops of Paul McCartney.
Track Six – Side One – Ask Me Why (McCartney-Lennon) 2:24
This song is clearly a John Lennon song, though Paul McCartney says he contributed to it. It has a distinctly jazzy feel, the chords used include C#m / F#m / G#m and G#7. These chords appear in a number of Beatles songs, including Do You Want to Know a Secret and The Sun King.
Ask Me Why was recorded on 26 November, 1962, but was included on the album with the other earlier single sides, Please Please Me, Love Me Do and PS I Love You. Only 6 takes were needed to nail it. Remember that you couldn’t drop in phrases or digitally edit in these days. You had to basically get it right first go or do it again. Basic tape splicing was possible, so as to join two different takes, but it was extraordinarily difficult to achieve to perfection. A bad example is on This Boy when they edited out the solo.
John Lennon was a great fan of Smokey Robinson and the Miracles (later recording a version of “You Really Got A Hold On Me”), this song’s opening guitar intro is slightly reminiscent of the Miracles’ “What’s So Good About Goodbye” (1961).
I have always thought that this song could have been written by John Lennon for his mother, who tragically was killed when he was 16, by a drunk off duty policeman in a car accident.
Track Seven – Side One – Please Please Me (McCartney-Lennon) 2:00
This recording was made on 26 November, 1962. The Beatles recorded 18 Takes. The mono single version and the stereo version for the album are different. The stereo version of the original mono single release was lost when it came to making the stereo mix for the album. To do the album stereo mix George Martin had to make a new version using the sixteenth, seventeenth and eighteenth takes edited and joined together on tape. There are notable differences to the mono single and stereo versions. In particular John and Paul sing a different lyric at 1.27 of the stereo version.
The Beatles recording engineer, Norman Smith, was so pleased with the recording that he sent Dick Rowe of Decca (who had passed on The Beatles after their Decca audition on 1 January, 1962), a copy of the proposed release in a plain wrapper as a demo record for Rowe to review. Unfortunately, he doesn’t recall whether Rowe replied.
For this release, George Martin and Brian Epstein decided not to renew the publishing agreement with Ardmore and Beechwood, being unfairly dissatisfied with them in relation to the plugging of Love Me Do. George recommended Dick James Music. Dick was a friend of George’s who had been a music plugger and had only recently (1961) gone into music publishing. Things were not going that well for Dick when he was introduced to Brian Epstein. Importantly, Dick James (whose main claim to fame was as the vocalist of the theme song for the Robin Hood television series) was also Jewish, so there was an affinity there for Brian Epstein. Indeed, Dick often invited Brian to attend his Friday night Shabbat meal. Dick later went on to sign a number of other prominent artists, including Elton John (whom he persuaded to change his name from Reggie Dwight to Elton John). Dick died suddenly at age 65 years of a heart attack.
In the midst of The Beatles break up in 1969 Dick James and his partner sold their shares in the Lennon and McCartney publishing company, Northern Songs, to Britain’s Associated Television (ATV), without warning either of Lennon or McCartney. This caused them to lose control of their publishing rights, which much later ended up with Michael Jackson.
The one thing that persuaded Brian Epstein to engage Dick James for the Beatles was when Brian complained to him that The Beatles had not received adequate radio and television exposure for their initial single “Love Me Do” – Dick immediately picked up the phone and called Philip Jones, producer of the TV show Thank Your Lucky Stars. Dick had a record player in his office which he used to play acetates. He used this record player to play the acetate of Please Please Me, which Brian had brought with him, to Jones. This secured The Beatles a major nationwide television appearance. Brian was very impressed. That performance was broadcast on 19 January, 1963. The single had only been released on 11 January, 1963. It could be considered that this performance helped to propel the single to #1.
This ATV performance was a revelation to the viewing public. The Beatles looked and sounded completely different to any other musical act in Britain. They had adopted the Exi hairstyle favoured by Astrid Kirchher’s friends Jurgen Vollmer and Klaus Voorman, in Hamburg, and wore stylish suits and ties. They wore Spanish style Beatle boots, made by Anello and Davide. Looking at their hairstyles now, on the TV performance, they look very conservative, but at the time the combed forward look was very controversial.
Beatles Fact: The Beatles first TV appearance was on People and Places with Granada TV on October 17, 1962. They played Love Me Do as well as a cover of Richie Barrett’s Some Other Guy. The programme was live, so no recording was made. What a loss. A studio version of Some Other Guy would be a real find. There is a live version at the Cavern recorded by Granada, greatly improved in quality now with digital technology.
Beatles Fact: To promote the new single Brian Epstein engaged Tony Calder who later set up the music PR business “IMAGE” with Andrew Loog Oldham (they later managed the Rolling Stones and the PR for the Beach Boys). Calder also signed the Bay City Rollers and later Black Sabbath.
