#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

[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.

(Paul McCaertney in 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

[harrisonarchive]

George Harrison with fans at NEMS in Liverpool, and rehearsing at the Cavern on February 19, 1963; photos by Michael Ward/Getty Images.

“On the evening session [on February 23, 1962] at the Cavern, people were queuing just after midnight for the show the next day. George Harrison came in his Ford Anglia and asked them how long they had been waiting. He knew they would be out in the elements all night, and he went to the Pier Head and brought back twenty-five steak-and-kidney pies.” - Joey Shields, The Beatles in Liverpool (2012)

“George was one on his own though. I remember one night there were a couple of girls who wanted to come into the club but they didn’t have enough money.
They asked me but I told them I just couldn’t help — if I helped them out I’d have to do it for thousands of them. Just then George came up and asked what the problem was. When I told him he put a pound in my hand and asked me to give it to the girls without telling them where it had come from. They realized of course and started crying because they were so pleased.” - Pat Delaney (Cavern doorman), Yes magazine (Yeah! for this issue), November 1995

“I was there in those early Cavern days when you would talk to us at the lunch-hour sessions. You were a gentleman then and have remained one throughout your life. God Bless you George for the pleasure and happiness you brought to the lives of us 60's Liverpool kids.” - Sue Anderson, Your Tributes, BBC, November 30, 2001

“The world will not be the same without him in it. He was my special Beatle and I had the privilege of meeting them all several times in my teens. He was a lovely, gentle, unassuming man and if the world was full of people like him it would be a safe and peaceful place. God Bless until we meet in eternity. Love to his family.” - Pauleen F. (UK), Your Tributes, BBC, November 30, 2001 (x)

[dicllonius]

George Harrison during a rehearsal at the Cavern Club, Liverpool, 1st February 1963.

(Photo by Michael Ward)

[paulmccartneymybeloved]

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

[ludmilachaibemachado]

September 20th 1963 - Paul and Ringo on holiday in Greece with Jane and Maureen🌺🌺🌺

Via Beatles and Cavern Club Photos FB🌹🌹🌹

[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.

[keyofnow]

Meredith Willson

...is the name of a man, first of all. I don't know how he got the name "Meredith" but it stuck.

The way I know him by name — the way many people do, I think — is by the distinction of his song "Till There Was You" being a centrepiece of The Beatles' second album and their setlist the following year, includo at the Royal Command Performance and on their first Ed Sullivan Show appearance three months later.

The song first appeared in a 1957 Broadway musical The Music Man that Willson had written, although The Beatles (according to Beatle Paul) were only really aware of Peggy Lee's cover version from 1961, on which the Fab Four's Cavern Club/Hamburg renditions were based. In any event, The Beatles' 1963 recording earned Meredith more money than he'd made from its original release in The Music Man.

But there's quite a bit more to the dear boy: • Among other popular songs, Meredith is the songwriter behind "It's Beginning To Look A Lot Like Christmas", first recorded by Perry Como in 1951; • In WWII, Meredith acted as bandleader for George Burns and Gracie Allen during their time together in the Armed Forces Radio Service; • He scored the music for Charlie Chaplin's The Great Dictator (1940); • He was concert director for radio station KFRC in San Francisco, where he had all sorts of wacky low-key fun no doubt.

And now Beatle Paul owns the publishing rights to Meredith's catalog. Not bad for an Iowa boy.

Key of Yesterday...

[tavolgisvist]

In the words of another Liverpool playwright (and an early author of Z-Cars), John McGrath, ‘Alan Bleasdale’s writing comes out of that torrent of words that has been flowing out of Liverpool in so many ways since Tommy Handley and Arthur Askey joined forces with James Joyce to produce John Lennon, the Scaffold, Adrian Henri, Roger McGough and Brian Patten, way back in the 60s … He never lost the sharp comedy of the Liverpool street, second only to its close neighbour Dublin for Surreal wit and Byzantine inventiveness in sarcasm, pun and patter. And for its ability to express strong emotion.’

The most successful of them all, however, is Bleasdale’s friend Willy Russell. They all look alike, these bearded 'Scouse left-wing ex-teacher playwrights (McGovern is another one). Bleasdale told me that Russell used to get drinks bought for him in pubs for writing Black Stuff, while he himself was thanked in the streets for Educating Rita. I once went to visit Willy Russell in his office next to the Everyman Theatre, and asked him why Liverpool was so prolific in drama. There are probably more practising artists concentrated in Liverpool than in any other area of the country,’ he said. ‘You only have to put a sign up saying Scripts Wanted and everyone in the city is bloody writing one. ‘I’ve pondered why it is, and I don’t really know why it should be Liverpool and not Blackburn. I suppose the Irish influence must be important, and the fact that Liverpool has got its own identifiable language, which has got no root with the rest of Lancashire. The Lancashire accents overlap and are related, but you’ve suddenly got this cut-off line, round to the Bay, and it’s a language all of its own. ‘The Liverpool dialect is a terrific medium to work in, very fast and exclusive. I suppose it’s like painters who painted in certain areas because of the sunlight or sculptors who worked where the clay was good. It would be stupid to ignore this language. The only time I object to a Liverpool tag being put on me is when it suggests a parochial quality, which I refute completely. I always quote Isaac Bashevik Singer who says, If you write about any place well, you write about everywhere. <…> Russell is yet another product of the Liverpool music scene: ‘My first-ever group was an attempt to be like the Shadows, before we got to know about the Cavern and the Beatles.’ Seeing the Beatles, he once said, changed his life. ‘When I was fourteen I walked into the Cavern and saw the bloody Beatles.' It gave me something, it gave me identity. I’d be on the school bus the next day and all those pricks who were having a go at me, well, they didn’t know about the Beatles. It was so intoxicating.’ He played in a band with Tommy Evans, later of Badhnger. ‘He was a really good guitarist so I picked up things from him. Then about 1963 the Dylan thing happened, so I started to play contemporary folk music as it was called. Later I got into traditional music, a lot of fiddle and tenor banjo, then I was doing folk clubs as a singer-songwriter. You had that great platform in those days, it was a great place to learn how to hold a house. I always knew my limitations, and after Fd been at it for fifteen years Fd really seriously started to write plays, so I let it lapse.’ Fie drew on his stock of self-written songs for Blood Brothers, a long-running West End hit about a Liverpool housewife and her twin sons, raised apart. There was a comic play, John, Paul, George, Ringo . . . and Bert, that spliced the Beatle saga with fantasy.

<…>

One project that never came off, however, was the screenplay that he wrote for Paul McCartney, Band on the Run. ‘Good script as well. When 1 first heard that song I thought there was a great idea for a him in there. And when he asked me to write a movie for him, 1 threw this back at him. Fie was quite surprised because he’d never seen it in him terms. ‘The plot was just about a guy who’d become a very jaded but highly successful cabaret act, filling concert halls, who’s well pissed off with it. And there is a band who just cannot get their act together, playing in a pub four streets down from this concert. They end up in a huge hght and have to get out of town, cross-cutting with him, who actually walks off stage in the middle of a number and never comes back. Fie just pisses off. The two of them meet up and he disguises himself and joins that band. I suppose the him very m uch picks up on what McCartney did when he hrst took Wings out on the road, just turning up and playing. And by the end of it he realises that he’ll have to leave this band anyway, because he’d destroy them if he stayed, and he has to go back and face things. You can’t walk away, you have to go through whatever’s happening to you in life. ‘There was always a dispute about the end of the him because it didn’t end happily. Paul wanted it to end happily and I didn’t!’ The idea finally ran out of steam when Paul left for a tour and found himself locked up in a Japanese prison on drug charges.

(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.