#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).

[jpgr-1964]

Cavern Club

[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

[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)

[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.

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 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.

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.

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).

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.

🍏

[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.

[moonsdrs]

﹙🪜﹚ : TIANA'S PLACE . . . what is your big dream? the goal you've spent all your life working towards? why is it your biggest desire? who inspired it?

﹙💋﹚ : FROGGY KISSES . . . how has your relationship with your s/o developed? were you reluctant to your feelings at first? did you go from bickering to locking eyes for a little too long? did every one else know expect you two?

hiii, thank you for the ask! i answered 🪜 on this post just before, aswell.

💋 — how has your relationship with your s/o developed? were you reluctant to your feelings at first? did you go from bickering to locking eyes for a little too long? did everyone else know except you two?

definition of falling hard and fast. we met at a cavern club where the band performed and that was the first time rich drummed after joining. he locked eyes on me as i enjoyed the music and says he knew instantly he needed to be mine. not that he needed me to be his. he says it's a big difference.

the relationship itself progressed quickly. as the boys rose to more fame in the uk/europe, we had eloped in 1963, roughly about 9-10 months into the relationship. it was private then until it wasn't in 1964 when i joined the band and cyn to america. i was an accomplished journalist so we managed to devise that i was only going for to write a future article, but it was suspicious when rich and i didn't come back from america (first wedding with my family present) with the others but together again shortly after. it's like- everyone knew then what was going on and newspapers started to write about me..or at least try to. in february 1965, our status was confirmed when reporters came after it got out about our second wedding (rich's family and friends present) in liverpool.

even if our marriage was quick, we didn't even have children until roughly 1969-1970 just because we both had been busy with our respective careers and with rich gone often, i didn't want to raise a child practically alone. rich has also stated plenty of times he wanted to be home throughout the pregnancy and raising of the child when the time came even if he had to hiatus from the group to do so.

[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

[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🌱🥀

[paulmccartneymybeloved]

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

[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

[makkinmusic]

An Artist Profile: The Beatles

How Four Musicians from Liverpool Changed Music – The Beatles

In the world of music, some are icons, and then some are quite literally legends. The Beatles — John Lennon, Paul McCartney, George Harrison, and Ringo Starr— are the legends I am referencing, by the way. These four men from Liverpool, were able to transform rock music, break several records, and capture the hearts of millions and billions. Their story is more than just one that seems to be extremely successful, it’s about a cultural revolution that began with catchy pop songs here and there, and ended with innovative albums that changed the course of popular music of that era (and even now, to be honest). Let us all dive into the amazing story of The Beatles, and how they very much shook the world as they stepped forward.  

From Liverpool to Legends: The Backstory

This story starts in the 1950s, in the city of Liverpool. John Lennon, a “Cheeky and rebellious teenager,” was leading in a skiffle band that was called “The Quarrymen.” Lennon soon met Paul McCartney, who was a talented musician with a knack for music and melody. Soon after, the two of them formed an instant bone through their shared love for American rock and roll. Not much long after, Paul introduced George Harrsion, who was a gifted guitarist and had a very quiet demeanor that kind of masked his amazing talent.

However, it wasn’t until Ringo Starr joined the band as their drummer in 1962 that the classic lineup for The Beatles was complete. Ringo’s unique drumming style added a new kind of energy to the group, which solidified their sound and vibe. After playing in countless gigs in Liverpool’s Cavern Club and grinding through several (grueling) performances, The Beatles developed an electrifying live show that was unlike anything anyone had heard before. 

Their manager, Brain Epstein, saw the band’s potential and helped polish their rough edges. Epstein’s business acumen and George Martin’s visionary production abilities helped The Beatles land a record deal with EMI’s Parlophone label. Their first single was “Love Me Do,” which was a modest hit, but it was just a taste of what was in store for them. 

The Birth of Beatlemania

By 1963, The Beatles exploded onto the UK music scene with songs like “Please Please Me” and “She Loves You.” These catchy beats, hooks, and harmonies, and boy-next-door charm drove the people wild and that’s how the phenomenon “Beatlemania” took over. Screaming fans packed venues and mobbed that band wherever they went.

Finally, in February of 1964, The Beatles arrived in the United States for the first time everrrr. Their appearance on the Ed Sullivan Show was one of their most defining moments and also one of the most defining moments in music history. Over 73 million viewers tuned in and America fell in love with The Beatles. The “British Invasion” officially began and suddenly, it was cool to be a mop-topped musician from England. 

The Beatles’s Sound: Constantly Evolving

If you only know The Beatles from their early hits, like “I Want to Hold Your Hand” and “Twist and Shout,” you might think of them as just another 1960s pop band. But as their fame grew, so did their ambition. By 1965, albums like “Help!” and “Rubber Soul” showed a different side of The Beatles. They began experimenting with new sounds, lyrical themes, and instruments.

Take “Norwegian Wood,” for example. It was one of the first mainstream songs to feature a sitar, which is an Indian instrument that George Harrision had become fascinated with. This was just the beginning of their creative journey. With “Revolver” (1966), the band dived even more into uncharted territory by blending rock, psychedelia, and avant-garde elements. 

Songs like “Tomorrow Never Knows” uses groundbreaking studio effects and “Elanor Rigby” told an almost haunting story backed up by a classical string quartet. The Beatles were no longer just a band–they were becoming musical pioneers.

Sgt. Pepper and the Summer of Love

In 1967, The Beatles released “Sgt. Pepper’s Lonely Hearts Club Band,” an album that’s often recognized as one of the greatests of all time. It was a bold experiment and a concept album that took listeners on a psychedelic journey through different musical styles and themes. From the whimsical sounding “Lucy in the Sky with Diamonds” to the epic “A Day in the Life,” the album pushed the boundaries of what rock music could be.

“Sgt. Pepper’s” wasn’t just an album, it was a cultural landmark. It became the soundtrack to the “Summer of Love,” a moment when young people across the world embraced peace, love, and countercultural ideals and The Beatles were at the center of it all. They were seen as spokespeople for a generation that was looking for a change. 

The Breakup: All Things Must Pass

As The 1960s came to a close, cracks began to appear in the band's perfect image. The pressures of fame, creative differences, and personal conflicts started to strain their relationships. By 1969, the writing was on the wall. Their final albums, “The White Album,” “Abbey Road,” and “Let it Be,” are masterpieces that capture the band's raw talent and complex dynamics, but they also hinted at the end.

Their unfortunate split was official in 1970, shattering the hearts of fans around the world. But even though The Beatles were no longer together, their music continued to live on. 

Why the Beatles Still Matter Today

So, why do The Beatles still matter, even today? It’s not just because they wrote catchy songs (maybe it is a little bit), but it’s because they transformed what it meant to be a band. They set the standard for creativity in the studio, introduced new sounds and ideas into mainstream music, and influenced countless artists who followed. 

Their lyrics touched on everything from love and heartbreak to social issues and self-reflection. The Beatles weren’t afraid of evolving and that’s what makes their music timeless. Whether it’s the joyful innocence of “Here Comes the Sun” or the introspective melancholy of “Let It Be,” their songs have a way of connecting with all kinds of people. 

The Legacy of The Fab Four

More than five decades after their breakup, The Beatles remain one of the most beloved bands in the world. They’ve sold over 600 million albus, won several awards, and hold a place in the Rock and Roll Hall of Fame. Their music continues to be discovered by new generations, showing us that their appeal is truly never ending.

What’s amazing about The Beatles is that they still feel fresh and relevant. Whether you’re dancing to “Twist and Shout” at a wedding, singing along to “Hey Jude” at a concert, or analyzing the layers of  “A Day in the Life,” their music is a part of our shared cultural fabric. 

In a way, The Beatles are more than just a band. They’re a phenomenon and a symbol of a time when music had the power to change the world. And as long as there are people who love music and love infinite versatility, The Beatles will continue to inspire, captivate, and bring joy.

Soooo… if you haven’t taken a deep dive into their music yet, what are you waiting for?