The Beatles Biography

So much has been said and written about the Beatles -- and their story is so mythic in its sweep -- that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and introduced more innovations into popular music than any other rock band of the 20th century. Moreover, they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed a hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity but never losing their ability to communicate their increasingly sophisticated ideas to a mass audience. Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970.

Even when couching praise in specific terms, it's hard to convey the scope of the Beatles' achievements in a mere paragraph or two. They synthesized all that was good about early rock & roll, and changed it into something original and even more exciting. They established the prototype for the self-contained rock group that wrote and performed its own material. As composers, their craft and melodic inventiveness were second to none, and key to the evolution of rock from its blues/R&B-based forms into a style that was far more eclectic, but equally visceral. As singers, both John Lennon and Paul McCartney were among the best and most expressive vocalists in rock; the group's harmonies were intricate and exhilarating. As performers, they were (at least until touring had ground them down) exciting and photogenic; when they retreated into the studio, they were instrumental in pioneering advanced techniques and multi-layered arrangements. They were also the first British rock group to achieve worldwide prominence, launching a British Invasion that made rock truly an international phenomenon.

More than any other top group, the Beatles' success was very much a case of the whole being greater than the sum of its parts. Their phenomenal cohesion was due in large degree to most of the group having known each other and played together in Liverpool for about five years before they began to have hit records. Guitarist and teenage rebel John Lennon got hooked on rock & roll in the mid-'50s, and formed a band, the Quarrymen, at his high school. Around mid-1957, the Quarrymen were joined by another guitarist, Paul McCartney, nearly two years Lennon's junior. A bit later they were joined by another guitarist, George Harrison, a friend of McCartney. The Quarrymen would change lineups constantly in the late '50s, eventually reducing to the core trio of guitarists, who'd proven themselves to be the best musicians and most personally compatible individuals within the band.

The Quarrymen changed their name to the Silver Beatles in 1960, quickly dropping the "Silver" to become just the Beatles. Lennon's art college friend Stuart Sutcliffe joined on bass, but finding a permanent drummer was a vexing problem until Pete Best joined in the summer of 1960. He successfully auditioned for the combo just before they left for a several-month stint in Hamburg, Germany.

Hamburg was the Beatles' baptism by fire. Playing grueling sessions for hours on end in one of the most notorious red-light districts in the world, the group was forced to expand its repertoire, tighten up its chops, and invest its show with enough manic energy to keep the rowdy crowds satisfied. When they returned to Liverpool at the end of 1960, the band -- formerly also-rans on the exploding Liverpudlian "beat" scene -- were suddenly the most exciting act on the local circuit. They consolidated their following in 1961 with constant gigging in the Merseyside area, most often at the legendary Cavern Club, the incubator of the Merseybeat sound.

They also returned for engagements in Hamburg during 1961, although Sutcliffe dropped out of the band that year to concentrate on his art school studies there. McCartney took over on bass, Harrison settled in as lead guitarist, and Lennon had rhythm guitar; everyone sang. In mid-1961, the Beatles (minus Sutcliffe) made their first recordings in Germany, as a backup group to a British rock guitarist/singer based in Hamburg, Tony Sheridan. The Beatles hadn't fully developed at this point, and these recordings -- many of which (including a couple of Sheridan-less tracks) were issued only after the band's rise to fame -- found their talents in a most embryonic state. The Hamburg stint was also notable for gaining the Beatles sophisticated, artistic fans such as Sutcliffe's girlfriend, Astrid Kirchherr, who influenced all of them (except Best) to restyle their quiffs in the moptops that gave the musicians their most distinctive visual trademark. (Sutcliffe, tragically, would die of a brain hemorrhage in April 1962).

Near the end of 1961, the Beatles' exploding local popularity caught the attention of local record store manager Brian Epstein, who was soon managing the band as well. He used his contacts to swiftly acquire a January 1, 1962, audition at Decca Records that has been heavily bootlegged (some tracks were officially released in 1995). After weeks of deliberation, Decca turned them down as did several other British labels. Epstein's perseverance was finally rewarded with an audition for producer George Martin at Parlophone, an EMI subsidiary; Martin signed the Beatles in mid-1962. By this time, Epstein was assiduously grooming his charges for national success by influencing them to smarten up their appearance, dispensing with their leather jackets and trousers in favor of tailored suits and ties.

One more major change was in the offing before the Beatles made their Parlophone debut. In August 1962, drummer Pete Best was kicked out of the group, a controversial decision that has been the cause of much speculation since. There is still no solid consensus as to whether it was because of his solitary, moody nature; the other Beatles' jealousy of his popularity with the fans; his musical shortcomings (George Martin had already told Epstein that Best wasn't good enough to drum on recordings); or his refusal to wear his hair in bangs. What seems most likely was that the Beatles simply found his personality incompatible, preferring to enlist Ringo Starr (born Richard Starkey), a drummer with another popular Merseyside outfit, Rory Storm & the Hurricanes. Starr had been in the Beatles for a few weeks when they recorded their first single, "Love Me Do"/"P.S. I Love You," in September 1962. Both sides of the 45 were Lennon-McCartney originals, and the songwriting team would be credited with most of the group's material throughout the Beatles' career.

The single, a promising but fairly rudimentary effort, hovered around the lower reaches of the British Top 20. The Beatles phenomenon didn't truly kick in until "Please Please Me," which topped the British charts in early 1963. This was the prototype British Invasion single: an infectious melody, charging guitars, and positively exuberant harmonies. The same traits were evident on their third 45, "From Me to You" (a British number one), and their debut LP, Please Please Me. Although it was mostly recorded in a single day, Please Please Me topped the British charts for an astonishing 30 weeks, establishing the group as the most popular rock & roll act ever seen in the U.K.

What the Beatles had done was take the best elements of the rock and pop they loved and make them their own. Since the Quarrymen days, they had been steeped in the classic early rock of Elvis, Buddy Holly, Chuck Berry, Little Richard, Carl Perkins, and the Everly Brothers; they'd also kept an ear open to the early '60s sounds of Motown, Phil Spector, and the girl groups. What they added was an unmatched songwriting savvy (inspired by Brill Building teams such as Gerry Goffin and Carole King), a brash guitar-oriented attack, wildly enthusiastic vocals, and the embodiment of the youthful flair of their generation, ready to dispense with postwar austerity and claim a culture of their own. They were also unsurpassed in their eclecticism, willing to borrow from blues, popular standards, gospel, folk, or whatever seemed suitable for their musical vision. Producer George Martin was the perfect foil for the group, refining their ideas without tinkering with their cores; during the last half of their career, he was indispensable for his ability to translate their concepts into arrangements that required complex orchestration, innovative applications of recording technology, and an ever-widening array of instruments.

Just as crucially, the Beatles were never ones to stand still and milk formulas. All of their subsequent albums and singles would show remarkable artistic progression (though never at the expense of a damn catchy tune). Even on their second LP, With the Beatles (1963), it was evident that their talents as composers and instrumentalists were expanding furiously, as they devised ever more inventive melodies and harmonies, and boosted the fullness of their arrangements. "She Loves You" and "I Want to Hold Your Hand" established the group not just as a popular music act, but as a phenomenon never before seen in the British entertainment business, as each single sold over a million copies in the U.K. After some celebrated national TV appearances, Beatlemania broke out across the British Isles in late 1963, and the group generating screams and hysteria at all of their public appearances, musical or otherwise.

Capitol, which had first refusal of the Beatles' recordings in the United States, had declined to issue the group's first few singles, which ended up appearing on relatively small American independents. Capitol took up its option on "I Want to Hold Your Hand," which stormed to the top of the U.S. charts within weeks of its release on December 26, 1963. The Beatles' television appearances on The Ed Sullivan Show in February of 1964 launched Beatlemania (and the entire British Invasion) on an even bigger scale than it had reached in Britain. In the first week of April 1964, the Beatles had the Top Five best-selling singles in the U.S.; they also had the first two slots on the album charts, as well as other entries throughout the Billboard Top 100. No one had ever dominated the market for popular music so heavily; it's doubtful that anyone ever will again. The Beatles themselves would continue to reach number one with most of their singles and albums until their 1970 breakup.

Hard as it may be to believe today, the Beatles were often dismissed by cultural commentators of the time as nothing more than a fad that would vanish within months as the novelty wore off. The group ensured this wouldn't happen by making A Hard Day's Night in early 1964, a cinéma vérité-style motion picture comedy/musical that cemented their image as "the Fab Four": happy-go-lucky, individualistic, cheeky, funny lads with nonstop energy. The soundtrack was also a triumph, consisting entirely of Lennon-McCartney tunes, including such standards as the title tune, "And I Love Her," "If I Fell," "Can't Buy Me Love," and "Things We Said Today." George Harrison's resonant 12-string electric guitar leads were hugely influential; the movie helped persuade the Byrds, then folksingers, to plunge all out into rock & roll, and the Beatles (along with Bob Dylan) would be hugely influential on the folk-rock explosion of 1965. The Beatles' success, too, had begun to open the U.S. market for fellow Brits like the Rolling Stones, the Animals, and the Kinks, and inspired young American groups like the Beau Brummels, Lovin' Spoonful, and others to mount a challenge of their own with self-penned material that owed a great debt to Lennon-McCartney.

Between riotous international tours in 1964 and 1965, the Beatles continued to squeeze out more chart-topping albums and singles. (Until 1967, the group's British albums were often truncated for release in the States; when their catalog was transferred to CD, the albums were released worldwide in their British configurations.) In retrospect, critics have judged Beatles for Sale (late 1964) and Help! (mid-1965) as the band's least impressive efforts. To some degree, that's true. Touring and an insatiable market placed heavy demands upon their songwriting, and some of the originals and covers on these records, while brilliant by many group's standards, were filler in the context of the Beatles' best work.

But when at the top of their game, the group was continuing to push forward. "I Feel Fine" had feedback and brilliant guitar leads; "Ticket to Ride" showed the band beginning to inco