#Cavern Club 1963

[savage-kult-of-gorthaur]

THE EARLY DAYS OF ROCK 'N' ROLL FANGIRLING -- THE EARLY LIVERPOOL YEARS.

PIC(S) INFO: Spotlight on a lunchtime audience of teenage girls at the Cavern Club in Liverpool, UK, c. December 1963, watching their favorite rock 'n' roll band, THE BEATLES.

"At The Cavern we were with the fans. They'd be at the door as we went in at lunchtime and they'd say, "Hey, John will you sing "Sweet Little Sixteen" for Margie and Pam?" on that level. That's the kind of thing I miss."

-- JOHN LENNON on the band's early days at the Cavern Club

"Girls kept their rollers in and jeans for the first groups. Then when it got near the time for the Beatles to come on, if there was a gang of four, say, they would go off in turns to the ladies with their little cases to get changed and made up. When THE BEATLES came on the look as if they’d just arrived."

-- MAUREEN COX (later Maureen Starkey) on THE BEATLES Cavern Club days

Sources: www.pinterest.com/pin/10696117839357174 & X (formerly Twitter).

[ludmilachaibemachado]

The Beatles' last concert at The Cavern. On August 3, 1963 they played at the legendary club for the last time. The popularity of the Beatles was far above the club🎍🪷🌵

That day, four boys performed for the last time at their house. They gave one last show in the legendary club where they were born in their city and where they performed almost 300 times since 1961🌺🌿🌸

George Harrison, the mystic… FB🍃🌷🌱

[gardenwalrus]

Paul McCartney and John Lennon at the Cavern Club, photographed by Michael Ward, 19 February 1963

[maximumwobblerbanditdonut]

“Snowhere men” ⛄️🎼⛄️🎼⛄️ Liverpool UK 🇬🇧

An iconic statue of the Fab Four, in their hometown. The Beatles Statue arrived on Liverpool's Waterfront in December 2015. Donated by the famous Cavern Club, the placement of the statue coincided with the 50th anniversary of the band's last gig played in Liverpool, at the Liverpool Empire Theatre. It's the city's most popular selfie spot! And is located on a UNESCO World Heritage Site.

The figures are larger than life size and weigh 1.2 tonnes in total. They were sculpted by Andrew Edwards who also created the All Together Now Christmas Truce WWI statue.

Take a walk through Liverpool ONE, and you might see where the inspiration for the statue came from.

Look out for the attention to detail, such as an 'L8' on the bottom of Ringo's shoe and the acorns in John's hand, cast from the ones that were picked up outside the Dakota building in New York.

Ringo's shoe

The number "L8" on the bottom of Ringo Starr's shoe is a reference to his childhood postcode in Liverpool's Welsh Streets area. To see the detail, you'll need to kneel down and flip your camera.

John's acorns

The acorns in John Lennon's right hand were cast from acorns collected outside the Dakota building in New York City. This is a reference to Lennon mailing acorns to world leaders as a peace message in the 1960s.

Placement

Ringo is set back from the other Beatles, representing the order they usually stood on stage.

Attire

The statues reflect the clothing the Beatles wore in a famous photo shoot on the Liverpool waterfront in 1963

Address

Liverpool Waterfront, Liverpool Pier Head, (Opposite the Mersey Ferries Building), Liverpool, Merseyside L3 1BY

@beatlesfansacrosstheunivers #thebeatles #liverpool #wintertime #statue #FabFour #band #sculptor #AndrewEdward #CavernClub #song #NowhereMan

Posted 10th January 2025

[keyofnow]

Who did The Beatles open for?

To the best of my knowledge, and according to my most reliable sources.

Painting testimonial picture...

In chronological order,

Tony Sheridan, Peppy and the New York Twisters, Bruce Channel (feat. Delbert McClinton), Gene Vincent, Johnny Kidd and the Pirates, Little Richard (feat. Billy Preston), Frank Ifield, Helen Shapiro, Chris Montez, Tommy Roe, and last but not least Roy Orbison.

The Beatles also shared top billing in Paris with Sylvie Vartan and Trini Lopez. (Not to mention a gig way back in Cheshire with Joe Brown and the Bruvvers.)

What's it all about?!

Tony Sheridan is the first “star” the savage young Beatles performed with. These shows took place exclusively in Hamburg as part of their extended performance residencies at the Top Ten Club throughout summer 1961. The gigs were long, and the sets tended to become rather freeform as the nights wore on, so it was not at all like the manicured package shows that The Beatles would later perform. This was pure rock'n'roll.

Peppy and the New York Twisters is an obscure act about whom very little is known, and who nonetheless turned The Beatles on firsthand to the Twist dance. They performed together once at the Cavern on 22 Mar 1962, and Peppy's dance instructions inspired John & Paul to write “The Pinwheel Twist” backstage during a break. The Beatles briefly added it to their setlist, before ultimately abandoning it in favour of the Isley Brothers’ “Twist and Shout”.

Bruce Channel is the first American “star” The Beatles ever opened for, at a gig in Cheshire on 21 June 1962. Although not part of the first wave of rock stars, The Beatles dug his current hit “Hey Baby”, and especially his harmonica player Delbert McClinton, who John pestered backstage for some pointers on the instrument.

Gene Vincent was the first true “rock star” The Beatles opened for, at the Cavern Club on 1 July 1962. Though Vincent was not quite in the top tier of rock stardom, per se, he was an underground superstar internationally, and John particularly was a huge fan of his (as illustrated below).

Johnny Kidd and the Pirates were a proper English rock band, though a bit gimmicky, and a thoroughly appropriate choice to headline the Riverboat Shuffle on the River Mersey, 10 Aug 1962. The following year, as The Beatles were on trajectory to megastardom, they would feature Johnny Kidd & co. on their radio programme Pop Go The Beatles. (Kidd's 1960 hit “Shakin' All Over” would later see new life with The Who's Live at Leeds cover in 1970.)

Little Richard was among the toppermost of the poppermost. Now The Beatles had arrived to perform alongside the top tier of rock'n'roll stars, and just as they were releasing the first single “Love Me Do”. Besides a couple show in Liverpool on 12 Oct and 28 Oct 1962, they also shared the bill at the Star Club in Hamburg off and on from 30 Oct to 15 Nov. During this time they were able to truly befriend Richard, as well as his prodigy organist little Billy Preston, who seven years later would join The Beatles (unofficially at least) for their Get Back and Abbey Road sessions (includo the rooftop performance). But that's another story...

Frank Ifield was a sort of adult contemporary star, not particularly rock'n'roll at all, although The Beatles had worked with his producer Bert Kaempfert during the Tony Sheridan sessions in Hamburg, so they had something in common. Mainly it was an opportunity to play in a new market; unfortunately The Beatles were very poorly received that night. (As a consolation price, Ted Taylor taught them how to apply stage makeup.)

Helen Shapiro was still a young English pop starlet when she afforded The Beatles their first opening slot on a package tour from 2 Feb to 3 Mar 1963. In return John and Paul wrote “Misery” for her to sing, which she never did and The Beatles recorded instead during a break in the Shapiro tour. The tour was a vehicle for The Beatles to promote their new single “Please Please Me”, and halfway through the tour it peaked at the top of the singles charts. By the end of the Shapiro tour, The Beatles had been moved up to closing the first half of the show.

Chris Montez and Tommy Roe, two second-tier American rock stars, co-headlined a UK package tour that kicked off six days after the Shapiro tour ended, on 9 Mar 1963 and running through 31 Mar. Although The Beatles had been booked as an opener, their widespread fame eclipsed the pair of American one-hit-wonders, at least domestically, and on the second night The Beatles were promoted to closing act (to Montez and Roe's annoyance, though still technically considered headliners). About halfway through the tour the first Beatles LP dropped, and the mania only intensified from there.

Roy Orbison was another top-tier American rock star, and here The Beatles reached the pinnacle peak of achievement on his package tour from 18 May to 9 Jun 1963. As with the Montez/Roe package tour, The Beatles had originally been booked as an opener, but their new album just hit number #1, so on the fourth night they were promoted the closing spot, about which Roy was magnanimous (while The Beatles were terrified). John & Paul learned much from overhearing Roy writing his songs (includo his soon-to-be megahit “Oh! Pretty Woman”, from which they knicked a bit of his middle-eight to stick in the bridge of their own soon-to-be megahit “I Want To Hold Your Hand”). ((Who on Earth could possibly foresee that George would one day form a band with Roy??))

From that point on, and for the next (and final) three years of their performing career, The Beatles were always top billing.

Notwithstanding that they did still co-headline on occasion — includo the 18-day run in Jan 1964 at Theatre Olympia in Paris, which they shared top-billing with French chanteuse Sylvie Vartan and American Trini Lopez rotating from show to show, with The Beatles closing every performance.

The deeper you go...

A special case is to be made for Tony Sheridan as one of the most important musicians in history.

Sheridan was part of the 1960 UK package tour starring Gene Vincent and Eddie Cochran, and was in fact one of the last people to see Cochran the night of his fatal car accident (when Eddie denied Tony a lift back to London).

When The Beatles linked up with Tony in Hamburg the following year, even though he was a British rock'n'roll imitator, he was a respected imitator because he'd been “accepted” by the real deal. At least that was likely the perception, and for The Beatles it was like rubbing elbows with rock'n'roll nobility.

So when Sheridan invited The Beatles to be his backing band on some studio sessions for Polydor, it must have felt like a really cool moment for them, working with someone who had worked alongside two of the greats. He was even generous enough to let The Beatles record a couple tunes of their own. One of their selections? John leading a cover of Gene Vincent's “Ain't She Sweet”. Poetry in motion.

Of course it's a well-worn story how Tony Sheridan's recording of “My Bonnie” drew the attention of Brian Epstein — then managing his family's record store in Liverpool — which would lead to Epstein managing the band by the end of 1961.

Considering all this backstory, it's no small coincidence that The Beatles went on to open for Gene Vincent himself barely a year after having met Tony Sheridan. Be-bop-a-lu-la!

Opening for Vincent may have set their sights sky high, and so again it's no surprise that within a few months Epstein would arrange for them multiple slots opening for the king of them all — Little Richard. Whooooo! Shut up.

Within two years of those Tony Sheridan sessions, The Beatles would be closing for Roy Orbison on tour — at which point, The Beatles themselves were becoming regarded as top tier rock'n'roll royalty in their own write. Dream, baby.

And in the end...

So...who opened for The Beatles?

Among others (in no particular order probably),

Not only The Hollies, Cilla Black, The Rolling Stones, PJ Proby (feat. Jimmy Page), The Kinks, The Who, The Yardbirds (both Eric Clapton and Jeff Beck iterations), The Moody Blues, Cliff Bennett and The Rebel Rousers, The Rattles, and Peter and Gordon,

But also The Ronettes, King Curtis, The Righteous Brothers, Clarence “Frogman” Henry, Mary Wells, Bill Black, Jackie DeShannon, The Exciters, The Young Rascals, The Cyrkle, The Remains, and probably several others I haven't gotten round to discovering yet.

But that's also another story...

#Facts

🍏

[bayareabadboy]

February 20, 1963

London, England

The Beatles made their first radio appearance, performing "Love Me Do" and "Please Please Me" on the BBC show "Parade of the Pops" at the Playhouse Theatre.

To make the lunchtime appearance, the lads drove nearly 200 miles from Liverpool following a nighttime gig at the Cavern Club needing to arrive in time for a 11:15 am rehearsal. After the show, they drove another 200 miles to Yorkshire for a night gig.

[tavolgisvist]

‘Good place to wash your hair, Liverpool. Nice soft water.’ (George Harrison) In 1977 there was an almighty row in Liverpool when councillors turned down a Beatle statue. They aren’t worthy of a place in our history,’ said one. The Beatles couldn’t sing for toffee,’ chimed another. Their behaviour brought tremendous discredit to the city.’ <…> Paul’s brother, Mike McCartney, offered a visionary solution: ‘Erect two separate statues. Rotten tomatoes could be thrown at one, and bunches of roses at the other.’ <…> The biographical facts of the Beatles’ link to Liverpool are well documented. What’s more interesting to disentangle is the relationship of their art. The danger is that you’re always trying to stuff the butterfly back into the chrysalis: to believe that everything the Beatles became was already there at the start, just waiting to be made manifest. That would be wrong. They became what they did because they were so open to the world around them, and to the experiences that came their way. And, ultimately, we should not try to explain away the magic. John met Paul, a chain of events followed, and unforeseeable splendours resulted. <…> The club [Cavern] was open at lunchtimes as well as evenings, but jazz was soon relegated to the weekends (and disappeared altogether in 1963). Of the Beatles’ shows, 150 took place during the day. One eye witness from 1961 is Geoff Davies, later the owner of Probe Records:

‘I saw the Beatles there about 78 times, and it was one of the most exciting things I’ve seen in my life. The first time I came across them was at an all-night jazz session, and we were horrified to find what we considered a pop band getting in on it. So we got a pass-out at the door to go down the pie stall at the Pier Head. I remember them starting up as we went out and I thought, What a fucking racket. ‘But the following week I went to a lunchtime session and there were the Beatles again. And that was it, everything changed for me. They used to do “Money” and extend the intro, really bloody heavy, and then Lennon comes in: “The best things in life are free,” in the dirtiest, foulest voice I’d heard in my life, full of hate and sneering and cynicism. I couldn’t believe the anarchy. The cheek of them. Everything I’d seen before had been like the Shadows, but the Beatles came on and they didn’t give a fuck: backs to the audience, the lot. In between the numbers they’d do TV jingles or any old nonsense, talking like the Goons. And the volume! It was still mostly trad ]azz at the time at the Cavern. But the Beatles had amps. ‘The concerts they did in Liverpool were completely different to what they did afterwards.’ It was never a luxury joint, more of a disinfected dungeon. The walls ran wet with perspiration. The toilets were squalid, obviously. But no one objected. It’s often forgotten how young the crowd could be at those clubs: like the old Marquee in London, the Cavern wasn’t licensed (hence the musicians’ need to get tanked up at the Grapes beforehand); the raw, pubescent energy of British beat was fuelled on orangeade. <…> Bob Wooler (who deplored the arrival ol liquor in later years) was the Cavern’s resident DJ, and a gifted quip-meister in the best tradition of Merseyside Surrealism. Already pushing 30, he was the scene’s hip uncle: his musical influence is incalculable. From 1960, when jazz gave way to rock’n’roll and Liverpool rock began to call itself beat music, Wooler ruled the roost, coming phrases like ‘Remember all you cave dwellers, the Cavern is the best of cellars.’ He could be a melancholy man sometimes: ‘Don’t spell my name “Wooller,” ’ he used to say. ‘There’s enough “1” in my life already.’ He came to call the Cavern’s location ‘Mythew Street’ on account of the miscQnceptions which grew up around it. (He denies, for example, that he announced Brian Epstein’s arrival at the club on the fateful day.) <…> There was intense interest in their hair. <…> Grown-ups were at first suspicious of long hair. To mothers in Liverpool it carried ancient connotations of poverty and neglect; to fathers it signified an effeminate rejection of man’s warrior nature. But the Beatles overcame all that. They were likely lads - no more and no less - and what’s more, their hair was cleaner than anybody’s.

(Liverpool - Wondrous Place by Paul Du Noyer, 2002)

Part (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV), (XV), (XVI), (XVII), (XVIII), (XIX), (XX), (XXI), (XXII)

[ultra-francesca-mercury]

august 3

1963

The Beatles play The Cavern Club in Liverpool for the last time. They played the first of their 292 shows there in 1961 when they made their debut performance.

[dreaminginthedeepsouth]

Cilla Black - Anyone Who Had A Heart

Song of the Day - “Anyone Who Had A Heart”

60 Years Ago Today, Cilla Black, the coatroom attendant at Liverpool’s now-famous Cavern Club, had her single, “Anyone Who Had A Heart” hit #1 on the British charts. This was Cilla Black’s first hit, and at 60 years and counting, this track is still the biggest selling single by a British female singer. Cilla Black was truly the girl next-door and was beloved by everybody who crossed her path. A protege of the Beatles, who were the regular band at the Cavern Club, Cilla worked her way out of the coatroom and got signed by Brian Epstein. George Martin produced her. This song was written by Burt Bacharach and Hal David for Dionne Warwick, and her version had already been released when Cilla made hers. Shirley Bassey had been the chosen one for the British version, but Bacharach wanted Cilla. He really felt her voice was right, and he felt that her being a Liverpool girl in that moment was a thing, saying, “It was late in 1963 and Liverpool was taking over popular music with some great songs and great people. There was an awareness that things would never be quite the same again��and Cilla Black was part of that." While Dionne’s version was a US hit, Black’s rendition found greater success in the UK, where it remained at the top of the chart for three weeks. This was and remains a sore subject for Dionne. Cilla would go on to have a long career and to capture the hearts of the British people. She was truly a favorite daughter. And maybe Britain’s best local-girl-makes-it-big story

[bonithica]

“It was very warm in the Cavern that night, though outside a wild December gale was blowing over the Mersey, and we left our coats with a chirpy cloakroom attendant with bright orange hair. George [Martin], who responds quickly to a feminine smile, was impressed enough to murmur to me: 'Pretty girl, Brian,' and I agreed. Her name was Priscilla and given second sight, we would all have been interested to know that eighteen months later that lively cloakroom girl was to emerge as Britain's leading girl singer with a season at the London Palladium and two magnificent discs far and away at the head of the record charts - 'Anyone Who Had a Heart' and You're My World'.

The girl, of course, was Cilla Black, then named Priscilla White. My lovely Cilla - one of the very great stars of the future - the most photographed girl in England, the singer everyone loves and admires but whom no one envies because of her utter simplicity.

Cilla was one of the girls who was always around the Cavern. She was a singer, I knew, but I had no idea that she took music seriously - practically everyone in and around the Cavern was some sort of singer or guitarist - and though I liked Cilla I had no ideas of management until midway through 1963.

I first heard her sing with the Beatles in Birkenhead but had not been greatly impressed because the acoustics had been wrong for her voice, but the next occasion was early one morning in the Blue Angel Club in Liverpool.

She looked, as always, magnificent - a slender graceful creature with the ability to shed her mood of dignified repose if she were singing a fast number. I watched her move and I watched her stand and I half closed my eyes and imagined her on a vast stage with the right lighting.

I was convinced she could become a wonderful artiste.”

- Brian Epstein, A Cellarful Of Noise

[iamautisticaboutmusic]

physically, I'm in bed. mentally, I'm at the cavern club on the 3rd of August 1963

[ludmilachaibemachado]

February 19th 1963 - Cavern Club, Liverpool🎸🎸🎸🥁

Final location of a photoshoot with London photographer Michael Ward, the photographer driving from London that February morning to shadow the band around their native city streets, wasn't to know it at the time, but by nightfall he would be watching history being made. Before that, though, there was an assignment to be completed. Britain was at the time two months into the harshest winter the country had seen since 1740, and the frozen Fab Four were reluctant subjects for Ward's lens🌻🍀

The Cavern crowd was informed that the Beatles' second single, Please Please Me, was No. 1 in the coming Friday's NME chart. Under the arcane chart procedures used at the time, the band found themselves sharing the top slot with a Frank Ifield song that gloried in the evocative and petomaniacal name A Wayward Wind🌵🌷

From then on, the Beatles were on their own. They had woken that morning as aspiring pop idols. They went to bed that night as stars🌹🍁

Via Beatles and Cavern Club Photos FB🌱🥀

[allthemusic]

Week ending: 13th February

We're here, and what can I say? There's just not much that feels comparable, at least not to me. Perhaps our first Elvis number? But even then, Elvis' music feels distinctly old-fashioned, to me. When it's good, it's great, but it's rock and roll music, it's 1950s and 1960s music, it's something from a bygone era. I don't generally listen to Elvis and hear popular music as it is today, 2025. Today's band? They're pop musicians, here to pull popular music kicking and screaming into the future. Move over Cliff, move over Frank, move over Del, there's a new group in town. They're a right scruffy bunch of oiks. But I think they've got potential, I really do!

Please Please Me - The Beatles (peaked at Number 2)

Because yes, it's the Beatles. They're a group I've loved for quite a long time, and, I mean, they're the Beatles, they're the definition of iconic. Ask anybody on the street, even with the slightest notion of popular music history, and they'd probably be able to tell you something about the Beatles' innovations in the realm of pop music, their success in the US, the absolute madness that was Beatlemania. We'll eventually see them become stars at a scale never before seen, and rarely since.

And yet, we meet them here before a lot of that. They'd formed in 1956 as the Quarrymen, a high school skiffle band from Liverpool, and saw a few personnel changes before finally settling into their final form, as "the Beatles", a name chosen as a pun and a riff on Buddy Holly's Crickets. They fairly famously then end up getting a residency in Hamburg, honing their craft in the rowdy clubs of the Reeperbahn red light district, before returning to Liverpool and gaining in popularity there, most famously at the Cavern Club. So they were known, and fairly experienced. But it was only in 1962 that Brian Epstein picked them up, and only in 1963 that they got signed. Famously - it's almost mythological at this point - they auditioned for Decca first, and were rejected, on the grounds that "guitar groups are on the way out". Fortunately, EMI with George Martin saw sense. Swap the drummer out for Ringo Starr, and you've got the iconic lineup, just in time for them to start releasing new singles, first Love Me Do, which saw moderate success, but not too much. Still, it was enough for George Martin to give them another shot. And the result is this, Please Please Me.

Immediately, you notice that it's a just an exciting track. It's fast, with a full, driving sound, lots of fashionably twangy guitar, Frank Ifield-style harmonica, and some absolutely beautiful harmonies. None of these are completely new, but the combination, and the sheer fullness of the sound, something about the rhythm of it, the pace, does feel very fresh. It's a sound that was linked particularly to Liverpool, hence the name for the genre, Merseybeat. And this, in and of itself, a distinct shift in the geography of the UK music scene. Until now, it's been folks like Cliff - from London, and recording soft rock and roll ballads in London. The Beatles, with their Northern accents, their catchy melodies and their simple but slightly raw edge, are a complete shock to the system, and even recording in London, as they are now, at this point, their music just sounds different, in a very refreshing way.

I will also say that I already like Lennon-McCartney's songwriting. The first listen-through I really didn't focus on it, fixated as I was on the sound. I zoomed in on the guitars, the drums, the prettiness of the harmonies, and I didn't really think too hard about the lyrics, beyond the please please me hook. I assumed it was just a song about the Beatles asking a girl to show an interest in them. But actually, it's more about being with somebody who's not giving as much as you are, in a relationship. Hence the opening set up, last night I said these words to my girl. It's a lover's spat, a disagreement. I know you never even try, girl, they sing, asking why they always have to be the one encouraging their girl. I don't want to sound complaining, they complain, but you know there's always rain in my heart / I do all the pleasing with you / It's so hard to reason with you. They're actually kind of harsh lines, very guilt-trippy, but in a realistic way. And yeah, it doesn't sound like the girl's entirely innocent here, either. And, at the end of the day, it's just really catchy stuff. You've got lots of nice little touches like the double meaning of "please", the fun mid-line half-rhyme with "pleasing" and "reason", the almost-ironic way that the Beatles continue to refer to their girl as "love" even as they complain about her not making enough of an effort. And it's all wrapped up in beautiful harmonies, a convincingly desperate-sounding slightly snarly delivery on the come on bits, and more whoahs as you can shake a stick at.

If Love Me Do was good enough for them to make another record, this is the record that made the Beatles. It debuted in January 1963 and on one of the worst winters in living memory, a large part of the UK population apparently ended up snowed-in watching them on a popular music show, Thank Your Lucky Stars, for lack of much else to do. Please Please Me caught the national imagination, as did the Beatles themselves, with their distinctive mop-top hairstyles and general charm. They were quickly booked for various tours and performances nationwide, and got bumped up the bill on tours they were already booked for - including Roy Orbison, who this song was initially meant to emulate.

Island of Dreams - The Springfields (5)

I always feel sorry for songs like this, up against some giant like the Beatles. That said, this one does fairly well for itself. We start with yet more harmonica - at which point I wonder if we're maybe having a bit of a harmonica moment, right now? Between Frank, the Beatles and this, we're getting a lot of them. One instrument aside, though, this is pretty different to Please Please Me. Where Please Please me was an intense, forward-facing Merseybeat rocker, grounded in a very straightforwardly-described romantic dilemma, Island of Dreams feels a lot more traditional, a folksy country number, and a lot flowerier and more poetic with its lyrics.

Not that the Springfields are much happier in love than the Beatles were. I wander the streets, they sing, and the gay crowded places / Trying to forget you. Unfortunately, whatever they do, their memories haunt them, their mind straying back to our last sweet embraces / Over the sea on the island of dreams. They're lost in memories, it seems. And interestingly, the take-away from this doesn't seem to be "please take me back" or "please let us be reunited" or even just a basic "wahhhhh, look at me, I'm so sad". Instead, the song veers to a bird, flying high in the sky. Please carry me with you, the Springfields entreat it / Far far away from the mad rushing crowd. They're broken-hearted, and they just want to get away from the streets they're currently stuck wandering, just want to be brough somewhere where they're left in peace to wallow in happier memories.

In all this, I could have sworn that the Springfields were an American band, just based on the accents. But no, they were Brits, a vocal trio from London, including none other than Dusty Springfield, as well as her brother, Tom, and a friend of theirs, Tim Feild. I quite like Dusty, and knowing it's her voice, I can absolutely hear it. She's a fantastic singer, and in general, the harmonies and vocals here are pretty tight. I think I'd be giving them a lot more praise here if I hadn't just heard the Beatles with some even tighter, prettier harmonies. Still, let it be noted that this song does sound nice. It almost makes me think of bands like the Teddy Bears, with To Know Him Is to Love Him - a song with some similarly squishy harmonies and dramatic tendencies. Which might be another reason I assumed this was American?

Irrelevant, but I also will note that the version of this I'm listening to has a fabulous picture on the album sleeve of the two men, both in some hilariously ugly beige suits and light green stripy ties (!) flanking Dusty, who had a very 1960s hairstyle, a massive poofy skirt and a purple blouse that doesn't match the men's look at all, plus she's is leaning on an absolutely huge conga drum. It's such an amusingly awkward promo picture, and I love it dearly.

I will say, if you'd asked me what the first Beatles track we'd cover was, I don't think I'd have said Please Please Me. They're the Beatles, so even their "lesser-known" hits are pretty big. Ask a random person on the street, and I think there's a reasonable chance of them knowing Please Please Me, or at least being able to name it as a Beatles song. But still, in the grand scale of things, Please Please Me feels like quite a rogue song - less recognisable than Love Me Do, despite officially being the more successful of the two, and less Beatles-y than, say, I Wanna Hold Your Hand, the song that would eventually bring them to widespread success in the US, kicking off the British Invasion proper. Still, it's a good track, and has all the elements in it that made the early-days Beatles good - we've got a driving beat, a simple but catchy melody, harmonious vocals, some solid but straightforward songwriting, and, of course, a distinctive, eye-catching stage presence. The scene's set. And it won't be long at all until we see them again.

Favourite song of the bunch: Please Please Me

[juliopison]

CONCIERTOS (World) Paul McCartney & David Gilmour Live At The Cavern Club Liverpool, Reino Unido, 1999

Atención: Solo para ver en PC o Notebook Para ver el Concierto pulsa o copia y pega el Link: https://memoriasdelcafe.blogspot.com/2025/02/paul-mccartney-david-gilmour.html

RESEÑA EN EL CAFÉ

Un encuentro histórico entre dos gigantes del rock en un escenario legendario: Paul McCartney (The Beatles) y David Gilmour (Pink Floyd) se unieron el 26 de julio de 1999 en el icónico Cavern Club de Liverpool, lugar donde The Beatles dieron sus primeros pasos hacia la fama. Este concierto íntimo y cargado de simbolismo fue parte de la gira Working Classical de McCartney, que fusionaba clásicos de su carrera con arreglos acústicos y orquestales. La participación sorpresa de Gilmour convirtió la noche en un evento memorable para los fanáticos del rock progresivo y la música clásica.

Contexto y Significado

El Cavern Club es un símbolo del legado de The Beatles, y McCartney no había tocado allí desde 1963. Regresar en 1999, con un formato acústico y acompañado de un músico de la talla de Gilmour, fue un homenaje a sus raíces y una declaración de la evolución artística de ambos. Gilmour, conocido por su trabajo en Pink Floyd, aportó su distintivo estilo guitarrístico y su voz melancólica, creando un diálogo musical entre dos generaciones y estilos diferentes.

Legado y Recepción

El concierto fue elogiado por su atmósfera íntima y la camaradería entre dos figuras que rara vez colaboran en vivo. Para muchos, fue un recordatorio de cómo la música puede trascender épocas y estilos. Aunque no hubo una grabación oficial completa, fragmentos circulan en plataformas como y en bootlegs de coleccionistas. La prensa musical destacó la capacidad de McCartney para reinventar sus clásicos y la humildad de Gilmour al compartir escenario con un ídolo.

Calificación: ⭐⭐⭐⭐✨ (9/10) Un momento efímero de magia musical, donde el pasado y el presente se fundieron en un tributo a la creatividad y la amistad artística.

Café Mientras Tanto jcp

[keyofnow]

A Cellarful Of Noise

The third instalment of The Beatles mythology — and the first biographical publication about them — was cast through the eyes of their manager, Brian Epstein.

Painting testimonial pictures...

The autobiography was ghost-written by NEMS publicist Derek Taylor and published in October 1964, hot on the heels of The Beatles' first World Tour and return to England, at a time when they were busy recording their next album and preparing for an upcoming UK tour.

What's it all about?!

Although by 1964 international news media was already printing an astonishing amount about The Beatles (includo on their hitherto dubious origins), Brian Epstein's A Cellarful Of Noise was the first attempt at setting the record straight (probably in response to the flood of interview requests with dull reporters asking the same daft questions, just like that scene in A Hard Day's Night).

The story starts near the end, during the height of Beatlemania and The Beatles first U.S. visit, before elaborating on the band's origins. Epstein paints them as working class kids from Liverpool who formed the band from scratch, hustled gigs around Merseyside until a lucky break sent them to Hamburg, where they honed their craft playing extended sets and made a record with an English rocker called Tony Sheridan. The disc caught Epstein's attention when a Liverpool youth requested it at his NEMS record store one day in late 1961, so he ordered several copies, which sold out, and he ordered several more, which also sold out. Sensing an opportunity, and learning it was a local group, he arranged to see the band in person during their regular lunchtime show at the nearby Cavern Club. Taken by the group's charisma, style, and undeniable sound, Epstein offered to manage them.

The deeper you go...

His first act as manager was securing them a recording audition at Decca in London for New Year's Day 1962. The group didn't pass the audition, but Epstein persevered and took the tapes around from label to label, until a chance referral brought him to the office of George Martin, head of A&R at the specialty label Parlophone. Martin took an interest and offered the band a studio test at EMI, but after the session he insisted the group should have a different drummer. John, Paul and George had already been thinking as much, so Pete Best was sacked and replaced by Ringo Starr. And then The Beatles were whole.

After that, the band's ascent was rapid: “Love Me Do” broke the top 20, then “Please Please Me” topped the charts in early 1963, followed by an unbroken string of #1 hits through “Can't Buy Me Love” in mid-1964. Meanwhile the group toured vigorously across the UK, embarked on a brief tour of Sweden, and finally had top billing on their own UK tour; they landed coveted slots on the televised London Palladium programme and at the Royal Command Performance variety show; and Capitol finally agreed to issue their records in the US market as news of Beatlemania reached America. Then came the series of Christmas shows in London, the three-week residency in Paris, and at last their first U.S. visit (including The Ed Sullivan Show with its 80,000,000 viewers that night, and the Washington Coliseum concert). They returned home to film the movie, and John even published a best-selling book.

Epstein's Beatle narrative concludes with various anecdotes from the 1964 World Tour (though curiously he makes scarcely a mention of A Hard Day's Night, and then not even by name), plus short character sketches to demonstrate that they're still human despite their fame, and also that they can sometimes be brats (except George apparently).

And in the end...

With one final glance towards the future, Epstein leaves the impression that he considers The Beatles an unfinished work-in-progress, and hence one can reasonably expect the mythology to expand further, so stay tuned. Given the scope of success already behind them, and peering from the height of Beatlemania, Epstein would've had ample reason to foresee many bright horizons ahead, and he would be proven correct.

🍏

[asestimationsconsultants]

The Cavern Club: The Birthplace of The Beatles and Icon of Liverpool’s Music Scene

Located in the heart of Liverpool, The Cavern Club is one of the most iconic music venues in the world. Known primarily as the place where The Beatles first gained their fame, the club holds a special place in music history. Since its opening in 1957, the Cavern Club has been a launchpad for countless musicians, cementing its legacy as the heart and soul of Liverpool’s vibrant music scene.

A Brief History of The Cavern Club

The Cavern Club first opened its doors on January 16, 1957, as a jazz club, under the ownership of local entrepreneur Alan Sytner. It was originally located in a basement of a building on Mathew Street in Liverpool, a location that would become famous worldwide. While the club initially focused on jazz, it eventually evolved into a key venue for the emerging Liverpool beat music scene, which would later be famously personified by The Beatles.

In 1961, The Beatles—then a relatively unknown band—played their first gig at the Cavern. Over the next few years, the club became a regular venue for the band, and it was here that they honed their sound and developed their fan base before gaining international fame. The Beatles played a total of 292 gigs at the Cavern Club, with their last performance there in 1963, just before they shot to stardom.

Following the success of The Beatles, the Cavern Club attracted many other notable artists, including The Rolling Stones, The Searchers, Gerry and the Pacemakers, and The Hollies. Unfortunately, due to its increasing popularity and structural concerns, the original Cavern Club was closed in 1973.

However, in 1984, the club was reborn when the Cavern was rebuilt and reopened near its original site. The new venue maintains the same character and atmosphere as the original, with its iconic brick archways, intimate vibe, and continued focus on live music.

What to Expect at The Cavern Club

1. Live Music Every Day

One of the biggest draws of the Cavern Club is its live music. The venue hosts performances every single day, showcasing a range of musical genres including rock, pop, indie, and, of course, Beatles-inspired tunes. The intimate setting allows you to get up close to the performers, and the acoustics make it an ideal place to experience live music. Whether it’s a tribute band or an emerging artist, there’s always something to enjoy at the Cavern.

2. The Beatles Legacy

No visit to the Cavern Club would be complete without exploring its undeniable connection to The Beatles. The club is often described as the “birthplace of The Beatles” because it was where they played their formative gigs and built the energy that would eventually propel them to global superstardom. The Cavern Club is filled with memorabilia, photos, and displays celebrating the band’s early days in Liverpool.

You can also enjoy live performances from The Cavern's Beatles tribute bands, which play renditions of the band's most famous songs. The club is steeped in Beatles history, making it a must-visit for anyone interested in the legendary band.

3. The Beatles Story Museum

Located nearby on Albert Dock, the Beatles Story Museum complements the Cavern Club experience with an immersive look at the lives of John, Paul, George, and Ringo. The museum takes you through the band’s journey from their humble beginnings in Liverpool to their rise as global superstars. The museum’s collection of memorabilia, including instruments, rare photos, and audio clips, provides a deeper understanding of The Beatles’ journey. A visit to the Cavern Club paired with the Beatles Story offers a comprehensive Beatles experience in Liverpool.

4. Atmosphere and Historic Charm

The Cavern Club is known for its vibrant atmosphere and intimate charm. The venue is underground, which gives it a cozy, historic feel, with brick arches and dim lighting that transport you back in time. The walls are adorned with memorabilia from the Beatles era, paying tribute to the venue’s importance in music history. While the venue has been modernized since it reopened, it still maintains the essence of the original club that drew so many legendary musicians to its stage.

Whether you’re attending a Beatles tribute night or simply soaking in the live performances, the atmosphere at the Cavern is like no other. It’s an iconic location where history, music, and nostalgia all come together to create a truly unforgettable experience.

5. Special Events and Festivals

The Cavern Club is not only a regular venue for live music but also hosts special events and festivals throughout the year. From Beatles-themed events to international music festivals, the Cavern frequently becomes a center for music lovers of all kinds. The club often hosts tribute bands, album anniversaries, and themed parties celebrating various eras of music history. These events draw people from around the world and offer unique ways to experience the Cavern.

In addition to events, the club also hosts special themed nights dedicated to specific artists or musical genres, giving visitors the opportunity to enjoy live music from different eras and styles.

6. A Cultural Landmark

The Cavern Club is more than just a venue for music—it’s a cultural landmark in Liverpool. As part of the city’s musical heritage, the club represents Liverpool's role in the global music scene. Liverpool, once named a UNESCO City of Music, is home to a rich cultural landscape, and the Cavern Club is at the heart of it. Whether you are a Beatles fan or a lover of live music, visiting the Cavern Club is a chance to experience a piece of music history and appreciate the cultural significance of the city.

Why Visit the Cavern Club?

1. Historical Significance

As the birthplace of The Beatles, the Cavern Club is a must-visit for Beatles fans and anyone interested in the history of rock and roll. The club is steeped in decades of musical history and has seen some of the most significant moments in music history unfold. From the early days of The Beatles to their global domination, the Cavern Club played an integral role in the story of modern music.

2. Live Music in an Iconic Venue

If you’re a fan of live music, there’s no better place to experience it than the Cavern Club. The club hosts performances every day, making it an ideal venue to enjoy live music while soaking up the legendary atmosphere. Whether you’re into the Beatles’ sound or other genres, the Cavern has something for everyone.

3. The Beatles Experience

For those who are passionate about The Beatles, visiting the Cavern Club is a must. You can relive the band’s early days by exploring memorabilia, enjoying tribute performances, and diving deeper into the band’s history. It’s a place where Beatles fans can connect with the music that changed the world.

4. Iconic Location

Located in the heart of Liverpool, the Cavern Club is not only a musical venue but a cultural landmark. It is surrounded by other historical sites in the city, including the Beatles Story Museum, Mathew Street, and various museums that celebrate Liverpool’s musical heritage. The Cavern Club is a perfect starting point for anyone exploring the rich musical history of the city.

5. Vibrant Atmosphere

The vibrant, intimate atmosphere of the Cavern Club makes it a one-of-a-kind music venue. With its underground setting, the club offers an experience that is both nostalgic and electric. It’s a place where you can feel the energy of the past while enjoying contemporary performances, creating a timeless experience.

Plan Your Visit

The Cavern Club is located at 10 Mathew Street, Liverpool, and it’s open daily for live music performances. Tickets for performances and events can be purchased at the door or in advance via the Cavern Club's website. It’s recommended to check the schedule for live performances and events to plan your visit accordingly.

Conclusion

The Cavern Club is more than just a venue—it’s a cultural institution that has played a vital role in shaping modern music. Whether you’re a fan of The Beatles, an aficionado of live music, or someone who simply wants to experience a piece of musical history, the Cavern Club is an essential stop on any visit to Liverpool. Its historical significance, intimate atmosphere, and legendary status make it one of the most iconic music venues in the world.