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August 31, 1961: Bob Wooler predicts the Beatlesā future in Mersey Beat
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A PHENOMENON CALLED THE BEATLES!
by Bob Wooler [x]
Why do you think The Beatles are so popular? Many people many times have asked me this question since that fantastic night (Tuesday, December 27th, 1960) at Litherland Town Hall, when the impact of the act was first felt on this side of the River. I consider myself privileged to have been associated with the launching of the group on that exciting occasion, and grateful for the opportunities of presenting them to fever-pitch audiences at practically all of the groupās subsequent appearances prior to their last Hamburg trip.
Perhaps my close association with the groupās activities, both earlier this year and since their recent reappearance on the Merseyside scene, persuades people to think that I can produce a blueprint of The Beatles Success Story. It figures, I suppose, and if, in attempting to explain the popularity of their act, the following analysis is at variance with other peopleās views, well thatās just one of those things. The question is nevertheless thought-provoking.
Well then, how to answer it? First some obvious observations. The Beatles are the biggest thing to have hit the Liverpool rock ānā roll setup in years. They were, and still are, the hottest local property any Rock promoter is likely to encounter. To many of these gentlemenās ears, Beatle-brand noises are cacophonous on stage, but who can ignore the fact that the same sounds translate into the sweetest music this side of heaven at the box office!
I think The Beatles are No. 1 because they resurrected original style rock ānā roll music, the origins of which are to be found in American negro singers. They hit the scene when it had been emasculated by figures like Cliff Richard and sounds like those electronic wonders The Shadows and their many imitators. Gone was the drive that inflamed the emotions. This was studio set jungle music purveyed skillfully in a chartwise direction by arrangement with the A & R men.
The Beatles, therefore, exploded on a jaded scene. And to those people on the verge of quitting teendomāthose who had experienced during their most impressionable years the impact of rhythm ānā blues music (raw rock ānā roll)āthis was an experience, a process of regaining and reliving a style of sounds and associated feelings identifiable with their era.
Here again, in The Beatles, was the stuff that screams are made of. Here was the excitementāboth physical and auralāthat symbolized the rebellion of youth in the ennuied mid-1950ās. This was the real thing. Here they were, first five and then four human dynamos generating a beat which was irresistible. Turning back the Rock clock. Pounding out items from Chuck Berry, Little Richard, Carl Perkins, The Coasters and the other great etceteras of the era. Here they were, unmindful of uniformity of dress. Unkempt-like long hair. Rugged yet romantic, appealing to both sexes. With calculated naivete and an ingenious, throw-away approach to their music. Affecting indifference to audience response and yet always saying āThank-you.ā Reviving interest in and commanding enthusiasm for numbers which descended the Charts way back. Popularizing (more than any other group) flipside itemsāexample, āBoys.ā Compelling attention and influencing, wittingly or unwittingly, other groups in the style, choice and presentation of songs.
Essentially a vocal act, hardly ever instrumental (at least not in this country), here they were, independently minded, playing what they liked for kicks, kudos and cash. Privileged in having gained prestige and experience from a residency at the Hamburg Top Ten Club during the autumn and winter of last year. Musically authoritative and physically magnetic, example the mean, moody magnificence of drummer Pete Bestāa sort of teenage Jeff Chandler. A remarkable variety of talented voices which song-wise sound distinctive, but when speaking, possess the same naivete of tone. Rhythmic revolutionaries. An act which from beginning to end is a succession of climaxes. A personality cult. Seemingly unambitious, yet fluctuating between the self-assured and the vulnerable. Truly a phenomenonāand also a predicament to promoters! Such are the fantastic Beatles. I donāt think anything like them will happen again.
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Retrospective from Bill Harry, Editor of Mersey Beat [x]
Editorās note: Cavern disc jockey Bob Wooler, a Mersey Beat columnist, penned this piece in the August 31 1961 issue of Mersey Beat. How prophetic his last sentence proved to be! In recent years I told Bob I intended to revive Mersey Beat and I wanted him back in the fold as a columnist. Sadly, he died early in 2002 while I was still panning the website.
There are one or two things I would like to point out. The main advertisement on this page was for NEMS record store. Apart from the fact that I regularly discussed the Beatles and the Mersey scene with Brian Epstein each time I dropped copies to him, in addition to the fact that he began to review records for me from Issue No. 3, it is obvious from the sort of coverage, such as this article, which the Beatles were receiving every issue, that Epstein was aware of the Beatles from Mersey Beat and not some youngsters asking for a record in his store some months later. Bob also mentions the impact the group made at Litherland Town Hall. It was Bob who persuaded promoter Brian Kelly to book them for their debut appearance there on that date. It's also interesting to note that the only member of the Beatles mentioned by name is drummer Pete Best. Bob nicked the 'mean, moody, magnificent' tag from Howard Hughes' description of Jane Russell in the movie 'The Outlaw.' As this article was published in 1961, Bob did get something wrong: he mentions a residency at the "Hamburg Top Ten Club during the autumn and winter of last year." They only had residencies at the Indra and Kaiserkeller in 1960, although they made a few appearances at the Top Ten (Their Top Ten residency didn't actually commence until 1961).
#the beatles#bob wooler#1961#mersey beat#august 1961#newspaper clippings#beatles and the press#the humble beginnings#as transcribed in tune in#havent seen this one anywhere on here#been looking for the clipping but havent found it#if youve seen it give a shout#oh found the copy on the mersey beat archives#have to get bill harrys note bc its a great example of how a good story works#not a clipping tho so an august beatles cover is the closest i can get#litherland#december 1961#hamburg era#brian epstein#bill harry#ran into crit bill harry got from other liverpool bands during the early merseybeat days bc he would write so much about the beatles#so its impossible the beatles had missed brians radar before the my bonnie record request#ābeatles sign recording contractā aww they mean the german label printed my bonnie how cute
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A damp day in the Valley #saverimrosevalleycountrypark #rimrosevalleyfriends #countryparks #urbanspace #seaforth #litherland #waterloo #liverpool #secretliverpool #openeyegallery #liverpoolwalks #liverpoolphotography #liverpoolphotographer #wellness #wellbeing #trees #treestagram (at Rimrose Valley) https://www.instagram.com/p/CouS974s8Ah/?igshid=NGJjMDIxMWI=
#saverimrosevalleycountrypark#rimrosevalleyfriends#countryparks#urbanspace#seaforth#litherland#waterloo#liverpool#secretliverpool#openeyegallery#liverpoolwalks#liverpoolphotography#liverpoolphotographer#wellness#wellbeing#trees#treestagram
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Professional note regarding the narrator in Putting Down Roots saying he will go to the pharmacy: if you come into a pharmacy with plants or frankly anything growing out of you we will tell you to go to a hospital immediately. If you refuse to do this whoever is serving you will give you the dead eyed stare of a minimum wage worker (and one who has to deal with someone who is actively having the symptoms of a heart attack and refuses to go and seek help around once every six months), then will attempt to sell you some chlorphenamine for the allergy symptoms and spend the rest of the day screaming at their colleagues about how stupid they think you are.
#the magnus protocol#newall you fuck i have spent TWO HOURS walking the mersey to FORGET i have to deal with people like that again on tuesday#I'm gonna have to walk as far as cunting litherland at this rate
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Coming Back by James Blake (featuring SZA) from the album Friends That Break Your Heart - Samples Lake Shore Drive by Aliotta Haynes Jeremiah
#music#james blake#sza#solƔna imani rowe#james blake litherland#starrah#brittany talia hazzard#dominic maker#solƔna rowe#jamil kalim patel#khushi#kalim patel#samples#aliotta haynes jeremiah#skip haynes#scott gibbs#sample
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Cigarette Mom
Paul Litherland
1993
Colour Photograph
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100 Things a Wandering Monster is Doing, 100 Encounters for a Dark Fey Forest (3Deep) and 100 Books To Find In The Miskatonic Library (That AREN'T In The Restricted Section) Now Available
100 Things a Wandering Monster is Doing, 100 Encounters for a Dark Fey Forest (3Deep) and 100 Books To Find In The Miskatonic Library (That ARENāT In The Restricted Section) are now available to buy from DriveThruRPG. Wandering monsters can be found in dungeons and other places, but they may be doing something when they wander and 100 Things a Wandering Monster is Doing has various activities,ā¦
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#Š ŠŠµŠ½Ń Š·ŠøŠ¼Š½ŠµŠ³Š¾ ŃŠ¾Š»Š½ŃŠµŃŃŠ¾ŃŠ½ŠøŃ.Š”Š¾Š²ŃŠµŠ¼ŠµŠ½Š½Š°Ń Š°Š¼ŠµŃŠøŠŗŠ°Š½ŃŠŗŠ°Ń Ń
ŃŠ“Š¾Š¶Š½ŠøŃŠ° ŠŠ¶ŠøŠ½Š° ŠŠøŃŠµŃŠ»ŠµŠ½Š“ (Gina Litherland;b.1955)#āŠŠøŠ¼Š½ŠµŠµ ŃŠ¾Š»Š½ŃŠµŃŃŠ¾ŃŠ½ŠøŠµā#2017Š³.
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35 jaar geleden: "Valentyne Suite" van Colosseum
Valentyne SuiteĀ is het tweedeĀ studioalbumĀ vanĀ Colosseum. De groep ging daarmee verder op de ingeslagen weg. Ze bouwden hun basis opgedaan in deĀ Graham Bond OrganisationĀ verder uit tot een combinatie vanĀ psychedelische rock,Ā progressieve rock,Ā bluesĀ enĀ jazzrockĀ was het resultaat.Ā Continue reading 35 jaar geleden: āValentyne Suiteā vanĀ Colosseum
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Bob Theil - So Far, 1982. š“ó §ó ¢ó ³ó £ó “ó æ
#bob theil#jim covington#james litherland#jed marchant#bill power#mark brzezcki#steve hall#1982#not on a label#guerssen records#vibratorysounds#eclecticmud
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Gina Litherland, Tea Leaf Reading, 2014, oil on wood.
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Samantha Brown Photography - Commercial photographer Liverpool | wedding photography Great Crosby
Samantha Brown Photography is a full-service commercial photography studio located in Waterloo, Liverpool, and has a proven 25+ year history of successfully capturing innovative photography for Property, Food, Branding, Fashion, commercials, Headshots, Pets, Interior, Exterior, products, Editorial, Documentaries, and Corporate photography. Samantha is an experienced Liverpool photographer who provides natural, relaxed, and candid photography for Weddings(Licensed by The SWPP Society of Wedding and Portrait Photographers), Pre-Wedding, Children, Family groups, and Portraits. We also produce beautiful albums and handmade books and have a stunning array of frames and wall art.
Our Services: Property photography, Headshots, property photography, Personal Branding, Company Branding, Corporate portraits, Family Portraits, wedding photography, Pet Photography Our Servicing Areas: Liverpool, Southport, Formby, Crosby, Ormskirk, Wirral, Cheshire
For more information visit our website: https://samanthabrownphotography.co.uk
Business Name: Samantha Brown Photography - Commercial Photographer Liverpool Address:7 Queens Rd, Crosby, Liverpool L23 5TP, United Kingdom Phone No:+44 7807 248710
#wedding photography Great Crosby#real estate photographers great crosby#pet photography Litherland liverpool
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Go listen to this thing my friend made!
Goddamn, that sure does capture a mood. He did it for his Changeling game, and I canāt commit to attending but I can sure enjoy the little extras.
#changeling: the lost#neal litherland#emotional weather report#he just captures the sound of the late night Chicagoland radio host#with some Weird(wyrd?) flavor on the edge
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The greatest crime in the entire Beatles story .. is that there is no recorded version of Paul doing What Iād Say with the Beatles.
Oh Iād like to go back in time to this evening please:
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#thanks for this and tracking down the source#what Iād say#what Iād give to hear this one time#stepping out of the Time Machine at litherland hall#I have seen the version w Billy Joel and co at the rock n roll hall of fame but you know not the same#wait Iām googling#was there a version on the nagras??
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Paul and drums
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Our kid was first in a group with John called Quarrymen, and apparently, Iād forgotten the set of drums fell off the back of a lorry, as we say in Liverpool, and landed up in our house. So I was learning drums, and one of the Quarrymen came back and said, āI remember youāre coming down the house, and it was great when you played drums for us.ā I said, āDid I?āĀ Iād totally forgotten. But then I realized why I forgot. Itās because I broke my arm in a scout camp, and this hand dropped. It was dead, paralyzed. So it took several years to get it back, and at that time, those drums that I was learning on, first of all, my brother, no wonder the drums on the band on the road are good. Thatās where he learned it from my drums. But I couldnāt play anything then. So Iād forgotten that I was even the drummer, andĀ Ringo got the job.
(Mike McCartney)
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Mersey Beat Founder and Editor, Bill Harry wrote a guest column for Beatle Fan Magazine in 2019. He stated āFor their August 7, 1961 gig, the Litherland Town Hall classified advertisement in the Liverpool Echo carried the message: āHear Pete Best Sing Tonight.ā Best had been talked into performing the song āPinwheel Twist,ā which Paul had written for him to sing. Pete recalled in a conversation with Spencer Leigh: āPaul wrote the song and asked me to do it. He coupled it with Joey Deeās hit āThe Peppermint Twist.ā I used to get up and do the twist onstage and Paul played my drums. It was a little novelty act and it went down well with the fans. When The Beatles performed it, Paul took over on drums, George played Paulās left-handed bass right-handed and Pete sang.ā
(Source)
I used to get on Peteās case a bit. Heād often stay out all night. He got to know a stripper and they were boyfriend and girlfriend. She didnāt finish work until four in the morning, so heād stay up with her and roll back at about ten in the morning and be going to bed when we were starting workā¦
(Paul McCartney, Anthology, 2001)
In Hamburg, one week Tony Sheridanās drummer got sick, and I drummed for him, for the extra cash, for a week . . . I can hold quite a good beat.
(The McCartney Legacy Volume 1. 1969-73 by Allan Kozinn and Adrian Sinclair)
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Q:Ā When did you first play drums? A:Ā My first recollection is in Hamburg. Youād get behind the kit to try and show the drummer what you wanted. That gradually grew to messing around on other peopleās kits, which were lying around because there were a lot of groups playing in the places we played. You picked up the simplest beats very naturally. I remember one evening when Tony Sheridanās drummer didnāt show up, so Tony said, āCome on, man, sit in!ā I said, āNo way! I canāt do this.ā And he said, āYeah, you can.ā So I did it and then I was thinking, āWell! Iāve actually done a professional drumming gig!ā Later, with The Beatles, there was a period where John, George, and I operated as a trio and picked up little bits of work. I remember playing in an illegal club in somebodyās basement on Upper Parliament Street in Liverpoolās Caribbean Quarter. One day this guy called Lord Woodbine, who ran the club, asked if weād come in and accompany this stripper called Janine. We said, āWow! Yeah, man! Thereās a job.ā He even paid us money. Q:Ā It sounds like you would have paid him for that gig. A:Ā Exactly [laughs]. So she came in and said, āOkay, I need you to play Ravelās Bolero.ā We said, āOh, gee. Sorry, luv. We donāt read music. But weāve got āRaunchy.ā That might do.ā I had somebodyās old drum kit, and I sat there with a broomstick between my legs, with a microphone tied to it so I could do a bit of vocals and drum at the same time. It was hilarious.
(Paul McCartney, interview with Robert L. Doerschuk for Drum!Magazine, 2005)
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Q:Ā When Ringo joined the band, that must have interrupted your emerging career on drums. A:Ā Yeah, I was completely redundant. We loved Ringo so much. He was our favorite drummer in Liverpool, and when he joined the band, it was an explosion: Every song sounded new and fresh. He could pass what we felt was the true test for drummers, which was to be able to play āWhatād I Sayā ā the cymbal work and the toms.
(Paul McCartney, interview with Robert L. Doerschuk for Drum!Magazine, 2005)
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We did do a few little bits and pieces together before we all went our separate ways. John and I and Yoko did āThe Ballad of John and Yokoā. He enlisted me for that because he knew it was a great way to make a record. āWeāll go round to Abbey Road Studios. Who lives near there? Paul. Whoās going to drum on this record? Paul. Who can play bass? Paul. And whoāll do it if I ask him nicely? Paul.ā He wasnāt at all sheepish about asking. He probably said something like, āOh, Iāve got this song I want to record. Would you come round?ā And I probably said, āYeah, why not?ā
(Paul McCartney, The Lyrics, 2021, about Dear Friend)
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Steve Miller happened to be there recording, late at night, and he just breezed in. āHey, whatās happening, man? Can I use the studio?ā āYeah!ā I said. āCan I drum for you? I just had a fucking unholy argument with the guys there.ā I explained it to him, took ten minutes to get it off my chest. So I did a track, he and I stayed that night and did a track of his called My Dark Hour. I thrashed everything out on the drums. Thereās a surfeit of aggressive drum fills, thatās all I can say about that. We stayed up until late. I played bass, guitar and drums and sang backing vocals. Itās actually a pretty good track. It was a very strange time in my life and I swear I got my first grey hairs that month. I saw them appearing. I looked in the mirror, I thought, I can see you. Youāre all coming now. Welcome.
(Paul McCartney in Many Years From Now by Barry Miles, 1997)
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I really had to ask myself, āDo I want to give up music, or keep going?ā I got a four-track Studer recording machine, like the Beatles used for Sgt. Pepper, put it in the corner of the living-room at my house in London and tried a very simple technique of just plugging directly into the back, not going through a mixing desk. Itās a cool way to record because itās pure. If, say, I was doing a drum track, Iād play the drums, record it with one microphone, listen to it back, move the mike a little if there wasnāt enough hi-hat or cymbal, and then re-record. Then Iād add bass by plugging the mike into track two and overdubbing while listening to track one through headphones. Iād do that with all with four tracks. It was very hands-on, primitive way of working. <ā¦> It was funky, and still sounds good to me.
(Paul McCartney, āWingspanā documentary, 2001)
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We did not see Ringo until the next night when he arrived at the session. He walked in and went straight to his drumsā¦fiddled with them, then fiddled with them some more. āSomebody did something to my snare drum,ā he said irritably. āPaul was here last night. He played them,ā explained John. āHeās always fucking around with me things!ā It sounded as though Ringo were back in Liverpool and all of them were still teenagers and nothing in their lives had changed. I realized then, that no matter what might happen among them, this was the way they would always relate to each other.
(May Pang, Loving John, 1983)
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(Krla Beat, pic by lisamarie-vee)
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So, I got into my studio in Scotland and started working, doing the drum track. I normally start with the drums. I sometimes use drum machines, but I like to redo it with real drums. I enjoy drumming. Then I put some bass on it. I was just doing an experimental thing. I was messing around and experimenting. Slowing down tapes, or speeding them up.
(Paul McCartney, The Lyrics, 2021, about Coming Up)
Paul and I were in England, having dinner together [along with our wives]. I told him I was making an EP, and I said, āWhy donāt you write me a song?ā He wrote the song [Feeling the Sunlight] and put bass on it, he put piano, he put the drums on ā and I had to take the drums off. [Laughs.]
(Ringo Starr, interview with Rob Tannenbaum for AARP, Nov 2023)
George was the first one to make a solo album [Wonderwall Music], and I was the drummer. John started the Plastic Ono Band, and I was the drummer. Paul likes to play drums himself, or I wouldāve been on his albums too.
(Ringo Starr, interview with Rob Tannenbaum for AARP, Nov 2023)
youtube
Q:Ā As strong as you are on bass, keyboards, guitar, and as a singer and writer, is it frustrating to play your drum parts at a more limited level? A:Ā That never intimidates me, though it probably should. I just have so much enthusiasm when I do things that I donāt even consider it. Iām lucky, because some people would wrack themselves with doubt, but when I came to this project I was like, āMan, letās just have a bit of fun!ā It didnāt occur to me that I was some idiot jumping on the kit. I know that a lot of drummers can play rings around me, but as long as I keep it simple and donāt get too flash, I can play with a steady, swampy feel, and thatāll do the job.
(Paul McCartney, interview with Robert L. Doerschuk for Drum!Magazine, 2005)
@i-am-the-oyster, I hope you will enjoy :)
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#paul mccartney#ringo starr#mike mccartney#drums#the beatles#john lennon#john and paul#May Pang#Steve Miller#Allen Klein#krla beat#wings#pete best#Bill Harry#paul and drums#Allan Kozinn#Adrian Sinclair
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