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The Beatles

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The Beatles
Company typePrivate
IndustryMusic
Founded1 January 1960; 66 years ago (1960-01-01) in Liverpool, England
FounderJohn Lennon, Paul McCartney, George Harrison, Ringo Starr
Headquarters
Liverpool
,
England
Area served
Worldwide
ProductsMusic albums, singles, films
Number of employees
4 (band members)
Websitewww.thebeatles.com

The Beatles originated as a rock ensemble from Liverpool in 1960, featuring members John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Recognized globally as the most impactful group in popular music history, they significantly influenced the 1960s countercultural movement and transformed popular music into a respected art form. Their musical style incorporated elements of skiffle, beat, rock 'n' roll, classical, and traditional pop, while also integrating folk, Indian sounds, psychedelic rock, and hard rock influences. As innovators in recording techniques, songwriting craftsmanship, and visual presentation, the Beatles reshaped the music industry and became iconic figures representing the youth and social changes of their time.

The band’s core songwriting duo, Lennon and McCartney, evolved from Lennon’s earlier ensemble known as the Quarrymen. They honed their craft through performances in Liverpool and Hamburg before finalizing their lineup with Starr joining in 1962. Under the guidance of manager Brian Epstein, their public image was refined, and producer George Martin enhanced their musical arrangements after signing them to EMI. Their debut single "Love Me Do" achieved national recognition. By early 1964, the phenomenon known as Beatlemania elevated them to worldwide fame and commercial success, leading the British Invasion into the American music scene. Their cinematic debut with A Hard Day's Night (1964) further broadened their cultural influence.

After ending live concerts in 1966 to concentrate on studio work, the Beatles crafted complex albums such as Rubber Soul (1965), Revolver (1966), and Sgt. Pepper's Lonely Hearts Club Band (1967). Later projects like The Beatles ("White Album," 1968) and Abbey Road (1969) continued their commercial achievements while shaping album-oriented rock, psychedelic trends, electronic experimentation, cover art innovation, and music video production. They established Apple Corps in 1968 to oversee their business ventures and legacy initiatives. Following their split in 1970, all members launched solo careers; Lennon was tragically killed in 1980 and Harrison passed away in 2001; McCartney and Starr continue to perform.

As history’s top-selling musical act with approximately 600 million units sold globally, the Beatles hold records including twenty number-one singles on the U.S. Billboard Hot 100 and fifteen chart-topping albums on the UK Albums Chart. Their UK single sales reach 21.9 million copies. The group received numerous accolades: eight Grammy Awards, four Brit Awards, an Academy Award for Best Original Song Score for Let It Be (1970), plus fifteen Ivor Novello Awards. Inducted collectively into the Rock and Roll Hall of Fame in 1988—with each member later inducted individually—they ranked first on Rolling Stone’s greatest artists lists in 2004 and 2011. Additionally, Time magazine named them among the century’s 100 most influential individuals.

The Quarrymen and name changes

In November 1956, sixteen-year-old John Lennon created a skiffle band with friends from Quarry Bank High School in Liverpool called the Quarrymen. In July 1957, fifteen-year-old Paul McCartney joined as rhythm guitarist. Early in 1958, McCartney invited his friend George Harrison for an audition; despite initial reluctance due to his young age, Harrison became lead guitarist. By January 1959, Lennon’s original companions had departed, leaving the trio performing under names such as Johnny and the Moondogs and later the Rainbows.

Lennon’s art school acquaintance Stuart Sutcliffe joined in January 1960 after acquiring a bass guitar. He proposed renaming the group first to Beatals, then the Silver Beetles, ultimately settling on the Beatles by August of that year.

Initial residencies and rising UK fame

In August 1960, manager Allan Williams secured a residency in Hamburg for the five-member group, which now included new drummer Pete Best. Under contract with club proprietor Bruno Koschmider for three and a half months, the Beatles performed at venues such as the Indra Club and Kaiserkeller. Due to contractual violations and ensuing legal complications, Harrison, McCartney, and Best were deported by the end of 1960. Lennon returned to Liverpool, while Sutcliffe remained in Hamburg until early 1961.

The Beatles made several returns to Hamburg over the next two years for additional residencies, during which they adopted the "exi" hairstyle influenced by photographer Astrid Kirchherr. Sutcliffe departed early in 1961 to pursue art studies once again, with McCartney stepping in as bassist. Producer Bert Kaempfert signed the quartet as Tony Sheridan’s backing band for Polydor Records sessions in 1961, resulting in the single "My Bonnie," which peaked at number 32 on the Musikmarkt chart.

Following their second Hamburg stint, the Beatles gained traction within Liverpool’s Merseybeat scene but grew tired of monotonous club gigs. In November 1961, they encountered Brian Epstein, a local music columnist and record store owner who recognized their potential stardom and subsequently became their manager.

Initial EMI sessions

Epstein assumed management duties in January 1962, working to extricate the band from their contract with Bert Kaempfert Productions and securing an early release for a final Hamburg session. Upon returning to Germany in April, they were informed of Sutcliffe’s passing. Epstein negotiated with various record companies, ending their Polydor backing contract with Tony Sheridan and arranged a New Year's Day audition with Decca Records, which ultimately declined them. Three months later, producer George Martin signed the group to EMI’s Parlophone label.

Martin’s inaugural session with the Beatles took place at EMI Recording Studios (later known as Abbey Road Studios) on 6 June 1962. Dissatisfied with drummer Pete Best’s performance, Martin suggested employing a session drummer. In August, Best was replaced by Ringo Starr from Rory Storm and the Hurricanes. On 4 September, they recorded "Love Me Do" with Starr on drums; a week later, Martin brought in Andy White for another session that produced "Love Me Do," "Please Please Me," and "P.S. I Love You."

Initially, Martin selected Starr’s version of "Love Me Do" for their debut single; subsequent pressings featured White’s drumming with Starr playing tambourine. Released in October, "Love Me Do" reached number 17 on the Record Retailer chart. Their television debut occurred that same month on People and Places. After Martin advised increasing the tempo, they re-recorded "Please Please Me" in November, which he predicted would become their first number one hit.

In December 1962, the Beatles completed their final Hamburg residency at the Star-Club. By 1963, all four members contributed vocals on albums to demonstrate unity despite Starr's limited vocal range. The songwriting partnership of Lennon and McCartney dominated material creation, restricting Harrison’s opportunities as lead vocalist. Epstein promoted professionalism to enhance commercial success, recommending adjustments in stage behavior and appearance while maintaining their unique identities.

Please Please Me and With the Beatles

On 11 February 1963, the Beatles laid down ten tracks during a single recording session for their debut album, Please Please Me. This was complemented by four songs previously released as singles. Producer George Martin decided against capturing a live performance at The Cavern Club due to its inadequate acoustics, opting instead for a minimalistic production approach at Abbey Road that recreated a live atmosphere. After the moderate reception of "Love Me Do," the follow-up single "Please Please Me" was issued in January 1963 and quickly climbed to number one on most UK charts.

Critics attribute the album's vibrant appeal to its swift and energetic production process. Lennon later reflected that their songwriting was straightforward, influenced by artists such as The Everly Brothers and Buddy Holly, concentrating more on creating a distinctive sound than on intricate lyrical content.

Released in March 1963, Please Please Me marked the beginning of an unprecedented streak of eleven consecutive UK number one albums for the group. Their third single, "From Me to You", initiated a near-unbroken sequence of seventeen UK number one singles over six years. The August release "She Loves You" shattered UK sales records by moving 750,000 copies within four weeks and became the band’s first single to reach one million sales, holding the title of the UK's best-selling record until 1978.

This commercial triumph significantly boosted media attention, with the Beatles cultivating a cheeky public persona that further amplified public fascination. They embarked on three UK tours in early 1963, with fan enthusiasm escalating into what became known as "Beatlemania". Their October appearance on Sunday Night at the London Palladium drew an audience of 15 million viewers and cemented their status as headliners over American performers during joint tours.

In late October, the Beatles undertook their first international tour since Hamburg by visiting Sweden, where they received a warm media welcome upon returning through Heathrow Airport. Immediately afterward, they commenced a six-week UK tour during which police resorted to using water hoses to manage crowds overwhelmed by Beatlemania. On 4 November, they performed at the Royal Variety Performance in front of members of the royal family.

Please Please Me dominated the Record Retailer chart for 30 weeks until it was overtaken by its successor, With the Beatles, which was released on 22 November with pre-orders reaching 270,000 copies and selling over half a million during its first week. Recorded between July and October, With the Beatles showcased enhanced studio techniques and maintained the number one position for 21 weeks within a 40-week chart presence. Critics acclaimed it as an outstanding follow-up that outshone its predecessor.

EMI deliberately released With the Beatles prior to the single "I Want to Hold Your Hand", deliberately excluding that track from the album to maximize single sales. The album received widespread critical praise; William Mann of The Times recognized Lennon and McCartney as leading English composers of 1963, lending artistic legitimacy through his detailed critiques. It became only the second UK album to surpass one million sales after the 1958 soundtrack of South Pacific. The band's press officer introduced the term "the fabulous foursome" in liner notes, helping popularize their lasting nickname "the Fab Four".

Initial Visit to the United States and the British Invasion

The American branch of EMI, Capitol Records, initially postponed the release of the Beatles' music in the United States for more than a year by rejecting their first three singles. Meanwhile, independent label Vee-Jay secured partial rights and issued some releases in 1963. Vee-Jay prepared the album Introducing... The Beatles, primarily featuring tracks from Parlophone's Please Please Me, but a change in management prevented its full release. After disputes over royalty payments, EMI revoked Vee-Jay’s licensing agreement. Subsequently, the Swan label acquired rights to "She Loves You," which received limited airplay in certain regions but did not achieve widespread national success.

Manager Brian Epstein presented a demo of "I Want to Hold Your Hand" to Capitol executive Brown Meggs, who signed the group and initiated a $40,000 promotional campaign across the US. The Beatles’ American breakthrough began when DJ Carroll James at Washington DC's WWDC aired the British single in December 1963. Copies recorded from this broadcast circulated to other radio stations, prompting Capitol to move up the single’s release by three weeks. Issued on 26 December, it sold one million copies and reached number one on the charts by mid-January. Following this achievement, Vee-Jay released Introducing... The Beatles concurrently with Capitol's debut album Meet the Beatles!, while Swan resumed production of "She Loves You." EMI’s international subsidiary Odeon pressed Beatles albums for distribution outside the US. After their American visit, MGM released "My Bonnie" as a Beatles single on 27 January 1964, and Atco issued earlier recordings made in Germany featuring Tony Sheridan.

On 7 February 1964, around 4,000 enthusiasts gathered to see the Beatles depart Heathrow Airport. Upon their arrival at New York’s JFK Airport, approximately 3,000 fans welcomed them. Their initial live US television appearance on The Ed Sullivan Show two days later attracted an estimated 73 million viewers across more than 23 million households, ranking among the largest audiences ever for an American TV broadcast. Although initial critical responses were mixed, Beatlemania quickly erupted during their first US concert at Washington Coliseum. Subsequent performances at Carnegie Hall received widespread praise. They returned to The Ed Sullivan Show before an audience of 70 million viewers prior to heading back to the UK on 22 February.

Their American debut took place during a period of national grief following President John F. Kennedy’s assassination in November 1963. For many young Americans, the Beatles rekindled a sense of excitement and cultural hope that had diminished after this tragedy. Their signature long hairstyles became emblematic of youthful defiance and social transformation.

The Beatles' breakthrough ignited extraordinary enthusiasm for British music and initiated what became known as the British Invasion. Their success paved the way for UK beat and pop groups such as the Dave Clark Five, the Animals, Herman's Hermits, Petula Clark, the Kinks, and the Rolling Stones to enter the US market. During the week of 4 April 1964, the Beatles remarkably occupied twelve spots on the Billboard Hot 100 singles chart, including all top five positions.

A Hard Day's Night

When Capitol Records showed little interest in 1963, rival United Artists Records encouraged its film division to propose a three-movie contract to the Beatles, aiming to exploit the potential of US soundtracks. Under the direction of Richard Lester, A Hard Day's Night captured the band portraying themselves over a six-week shoot from March to April 1964, blending music with comedy. The film debuted in London and New York during July and August, achieving global acclaim and earning comparisons to the Marx Brothers from critics.

United Artists issued a complete soundtrack album in North America that combined Beatles tracks with Martin’s orchestral arrangements. In other markets, the band's third studio album, A Hard Day's Night, presented film songs on its first side and new recordings on the second. Erlewine highlights this album as the moment they "truly established themselves as a band," fusing varied influences into a bright, innovative sound characterized by "ringing guitars and irresistible melodies." The distinctive "ringing guitar" tone originated from Harrison’s prototype 12-string electric Rickenbacker, which debuted on this record and later inspired musicians such as Roger McGuinn of the Byrds.

1964 world tour, meeting Bob Dylan and stand on civil rights

During June and July 1964, the Beatles embarked on an international tour comprising 37 performances across Denmark, the Netherlands, Hong Kong, Australia, and New Zealand. They returned to the United States for a 30-show tour covering 23 cities between August and September, attracting audiences ranging from 10,000 to 20,000 in venues stretching from New York to San Francisco.

In August, journalist Al Aronowitz facilitated their introduction to folk legend Bob Dylan, who introduced them to cannabis. This encounter connected two distinct fan demographics: Dylan’s politically conscious college crowd contrasted with the Beatles’ predominantly teenage commercial audience. Within months, Lennon adopted elements of Dylan’s vocal style; meanwhile, Dylan embraced electric instruments and Mod fashion, dissolving folk-rock boundaries and broadening youth cultural appeal.

Confronted with racial segregation during their 1964 US tour at venues such as Jacksonville’s Gator Bowl Stadium, the Beatles refused to perform unless audiences were integrated. Lennon stated: "We never play to segregated audiences and we aren't going to start now ... I'd sooner lose our appearance money." Local authorities agreed to integrate audiences, and the group canceled bookings at segregated hotels. For their subsequent US tours in 1965 and 1966, they included clauses in their contracts mandating integrated audiences.

Beatles for Sale, Help! and Rubber Soul

Gould describes the Beatles’ fourth studio album, Beatles for Sale, as reflecting the tension between commercial demands stemming from their worldwide fame and their artistic goals. Recorded from August through October 1964, it aimed to follow A Hard Day's Night by featuring only original compositions. However, with limited new material due to heavy touring and nearly depleted songwriting reserves, Lennon acknowledged that "Material's becoming a hell of a problem." To complete the album, six cover songs were added. Released in early December, its eight original tracks demonstrated increasing sophistication within the Lennon–McCartney songwriting partnership.

In early 1965, Lennon and Harrison were introduced to LSD by Harrison’s dentist John Riley.[1] Lennon described his experience as "terrifying but... fantastic," leading both him and Harrison to use it regularly; Starr participated occasionally. Harrison’s psychedelic experimentation contributed to his interest in meditation and Hinduism. McCartney initially hesitated but tried LSD in late 1966 and later acknowledged its positive influence on his perspective.

In June 1965, Queen Elizabeth II honored all four Beatles with appointments as Members of the Order of the British Empire (MBE), following nomination by Prime Minister Harold Wilson. The award stirred controversy because it traditionally recognized military veterans and civic figures; some conservative recipients returned their decorations in protest.

July marked the release of their second film, Help!, again directed by Lester and described as a parody of James Bond movies. McCartney commented that while enjoyable, it was not truly their film. The soundtrack featured songs primarily led by Lennon, including singles "Help!" and "Ticket to Ride."

The Help! album— their fifth studio record— mirrored A Hard Day's Night by combining soundtrack songs on side one with additional studio tracks on side two. It consisted mostly of original material except for two covers: "[Act Naturally]" and "[Dizzy Miss Lizzy]," which were among their last covers until Let It Be. The band expanded vocal overdubs and incorporated classical elements such as a string quartet on McCartney’s ballad "Yesterday," performed solo without other members. This song remains one of the most covered compositions ever written.[2] With Help!, the Beatles became the first rock group nominated for a Grammy Award for Album of the Year.[3]

Their third US tour commenced with a record-breaking audience of 55,600 at New York's Shea Stadium on 15 August—described by Lewisohn as "perhaps the most famous of all Beatles' concerts." Nine additional successful concerts followed across America. In Atlanta, they pioneered use of foldback monitor speakers during live shows.[4] Toward tour’s end, they met Elvis Presley in Beverly Hills—an influence who later criticized them for perceived anti-Americanism and drug use.

September 1965 saw the launch of an American Saturday-morning cartoon series titled The Beatles, which echoed the style of A Hard Day's Night over two seasons. It was notable as the first weekly program featuring animated depictions of living individuals.[5]

In October, freed from other obligations for an extended period, the Beatles entered the studio. Producer George Martin observed this marked a transition from collections of singles toward albums conceived as unified artistic statements. Released in December, Rubber Soul received widespread acclaim as a significant advancement in musical sophistication and depth.[6] The themes expanded into romance and philosophy—a shift attributed by NEMS executive Peter Brown to their habitual marijuana use. Lennon referred to it as "the pot album," while Starr noted that cannabis influenced their evolving songwriting and playing styles. Harrison introduced sitar on "Norwegian Wood (This Bird Has Flown)", further broadening their sonic palette.[6] Fans began scrutinizing lyrics for deeper significance.

While many tracks were Lennon-McCartney collaborations, Rubber Soul also included individually crafted songs credited jointly but written separately by each songwriter.[7] "In My Life" is regarded as one of their standout pieces. Harrison named it his favorite album; Starr called it "the departure record." McCartney reflected that they had moved beyond their earlier "cute period" into greater creative exploration. However, recording engineer Norman Smith noted rising tensions during sessions—"the clash between John and Paul was becoming obvious," with Paul frequently critical of George.

Controversies, Revolver and final tour

Beginning in December 1963, Capitol Records managed the Beatles' releases in the United States, assembling unique albums and selecting singles, resulting in differing track lists between the UK and US until the 1967 release of Sgt. Pepper's Lonely Hearts Club Band, which marked the first time both countries shared identical lineups. In June 1966, Capitol's Yesterday and Today album stirred public outcry due to its infamous "butcher" cover, depicting the Beatles dressed in butcher smocks surrounded by raw meat and plastic baby dolls. This led to thousands of copies being withdrawn and replaced with a new cover, while original "first-state" editions later became highly sought-after collector's items. Concurrently, George Harrison commenced sitar lessons under the guidance of Ravi Shankar.

During their 1966 visit to the Philippines, the Beatles unintentionally caused offense to First Lady Imelda Marcos by refusing an invitation to a breakfast reception, which triggered riots and a perilous departure from the country. Following this, they made their inaugural visit to India.

Shortly after returning home, John Lennon encountered significant backlash in the United States after remarks he made in a March interview predicting Christianity's decline were published there; these comments had attracted little attention in England but sparked widespread outrage across America. The Vatican issued formal protests, and several nations imposed bans on Beatles records. Manager Brian Epstein accused the magazine Datebook of misrepresenting Lennon's statements. Under mounting media scrutiny, Lennon issued an apology.

Released in August 1966 just ahead of their final tour, Revolver marked a substantial artistic leap forward, showcasing intricate songwriting, studio innovation, and a variety of musical styles ranging from classical string arrangements to psychedelic influences. The album’s monochromatic cover, inspired by Aubrey Beardsley’s artwork, was created by Klaus Voormann, a longtime acquaintance of the band. The leading single "Paperback Writer," backed by "Rain," was accompanied by some of the earliest promotional films broadcast on prominent television programs.

Among its experimental tracks was "Tomorrow Never Knows", which incorporated tape loops and psychedelic lyrics influenced by Timothy Leary's book The Psychedelic Experience. Paul McCartney’s "Eleanor Rigby" featured a string octet that blended classical elements with pop music uniquely. George Harrison contributed three compositions, including "Taxman", marking the group's initial foray into political commentary.

As they prepared for their American tour, the Beatles realized that despite using custom Vox amplifiers designed to increase volume, their music was consistently drowned out by fan hysteria. Disillusioned with live performances and unsettled by the Philippines incident, they resolved that this would be their final tour.

No new material was performed during this tour; critics observed that due to technical constraints and overwhelming audience noise, the live Beatles had become a separate entity from their studio recordings. Their last commercial concert took place at Candlestick Park in San Francisco on 29 August 1966, concluding over four years of rigorous international touring with more than 1,400 shows worldwide.

Sgt. Pepper's Lonely Hearts Club Band

Freed from touring responsibilities, the Beatles embraced an experimental recording approach for Sgt. Pepper's Lonely Hearts Club Band, beginning sessions in late 1966. Engineer Geoff Emerick recalled that these sessions consumed over 700 hours and involved pioneering techniques such as placing microphones inside brass instruments and manipulating tape recordings. The album included a 40-piece orchestra featured on "A Day in the Life". Additionally, these sessions produced the double A-side single "Strawberry Fields Forever"/"Penny Lane" released in February 1967; shortly thereafter, the Sgt. Pepper album was issued in May under tight deadlines. Its intricate production was accomplished using four-track technology and astonished both critics and fellow musicians alike. The album received near-universal critical praise; Gould described it as a masterpiece that transformed rock music aesthetics as well as the economics of record production.

Following Sgt. Pepper, the Beatles were broadly acknowledged as prominent figures within youth culture and regarded as "lifestyle revolutionaries". It became the first major pop/rock album to feature complete printed lyrics on its back cover, prompting academic scrutiny including analysis by literary critic Richard Poirier. The elaborate cover art—designed by pop artists Peter Blake and Jann Haworth—portrayed the band embodying their fictional alter egos from the title track, standing before a crowd populated by famous personalities. Their moustaches reflected hippie fashion trends while their vividly colored military-style uniforms conveyed subtle anti-authoritarian symbolism.

Sgt. Pepper dominated UK charts for 23 straight weeks and added an additional four weeks through February 1968. Selling approximately 2.5 million copies within its first three months, it outperformed all prior Beatles albums commercially upon release. It also became the first rock album awarded the Grammy Award for Album of the Year. Its lasting popularity has sustained record-breaking sales well into the 21st century.

Magical Mystery Tour and Yellow Submarine

Following the release of Sgt. Pepper, the Beatles embarked on two film ventures: Magical Mystery Tour, a one-hour television film, and Yellow Submarine, an animated feature produced by United Artists. Recording for the former began in April 1967 but attention soon shifted toward completing the latter. On 25 June, the band performed "All You Need Is Love" during Our World, the first live worldwide television broadcast, reaching approximately 350 million viewers. Released amid the Summer of Love, the track became emblematic of flower power during the Beatles' peak psychedelic phase. Throughout July and August, their focus turned to utopian concepts, including proposals for establishing a commune on a Greek island.

On 24 August, the group met with Maharishi Mahesh Yogi in London and participated in his Transcendental Meditation retreat held in Bangor. Just days later, on 27 August, they were informed that their manager Brian Epstein had died from an accidental overdose of carbitol, though speculation about suicide circulated. Epstein's passing left the band unsettled and uncertain about their direction. Lennon later expressed fears that their career might be over, while Harrison's wife Pattie Boyd recounted the profound shock experienced by McCartney and Harrison. In September, McCartney advocated for continuing work on Magical Mystery Tour.

The UK release of the Magical Mystery Tour soundtrack arrived in December 1967 as a six-track double extended play (EP), marking Britain’s first double EP and continuing the psychedelic style established by Sgt. Pepper. The packaging highlighted its role as a film soundtrack rather than a conventional album follow-up. In contrast, the US version was issued as an LP incorporating five recent singles, breaking Capitol Records’ sales records within three weeks and eventually being recognized as part of the Beatles’ official studio album catalog.

Broadcast on Boxing Day to an audience of around 15 million in the UK, the film was met with harsh criticism. Reviewers labeled it "blatant rubbish" and "a colossal conceit," dismissing it as disjointed footage centered on bus rides. Despite respectable viewership numbers, negative press led American networks to lose interest in airing it.

The Beatles’ involvement with Yellow Submarine was minimal; it premiered in July 1968 featuring animated depictions of the band with a brief live-action cameo. The soundtrack comprised eleven tracks, including four previously unreleased songs, and received acclaim for its musical quality, humor, and pioneering animation style. Seven months later, a soundtrack LP was released containing these new songs alongside earlier releases and seven instrumental compositions by producer George Martin.

India retreat, Apple Corps and the White Album

In February 1968, the Beatles traveled to Maharishi Mahesh Yogi's ashram in Rishikesh, India, to participate in a three-month meditation "Guide Course." This period proved highly fertile creatively, producing numerous songs destined for their next album. Starr departed after ten days due to dissatisfaction with the food, followed by McCartney about a month later. Lennon and Harrison grew skeptical after electronics expert Magic Alex suggested that Maharishi was manipulative. Lennon abruptly left two months into the retreat amid allegations against Maharishi involving sexual advances; Harrison and others soon followed suit. Reflecting his disillusionment, Lennon penned "Sexy Sadie," initially titled "Maharishi." McCartney later admitted they had erred in placing too much faith in him.

In May, Lennon and McCartney announced their new business enterprise, Apple Corps. Originally established as a tax-efficient structure, Apple evolved into ventures encompassing record distribution, peace activism, and educational initiatives. McCartney likened Apple to "a form of Western communism." The company suffered financial losses due to failed projects largely overseen by Beatles’ associates appointed without regard for expertise. Subsidiaries included Apple Electronics, headed by Magic Alex to pursue technological innovation, and Apple Retailing which managed the short-lived Apple Boutique in London. Harrison later described this period as "chaos," with John and Paul "blowing millions," while he and Starr simply went along.

Between late May and mid-October 1968, they recorded The Beatles, a double LP commonly called "the White Album" because of its plain white cover. Relations within the band became strained; Starr temporarily quit for two weeks, prompting McCartney to fill in on drums for tracks such as "Back in the U.S.S.R." and "Dear Prudence". Lennon lost enthusiasm for collaborating with McCartney, dismissing "Ob-La-Di, Ob-La-Da" as "granny music shit." Tensions escalated with Lennon's insistence on including avant-garde artist Yoko Ono during sessions despite prior agreements excluding partners from recording. McCartney recalled that making this album was "not a pleasant one," marking a turning point toward their eventual breakup.

The album showcased diverse musical styles but maintained stylistic consistency within individual tracks rather than blending genres within songs.[8] Upgrading to an eight-track recording console allowed more layered production; often members recorded separately which contributed to perceptions of solo performances rather than cohesive group efforts. Lennon described it as individual contributions instead of authentic Beatles music. These sessions also produced their longest single yet, "Hey Jude", released independently alongside "Revolution".

Issued in November as Apple Records’ inaugural album (though EMI retained recording rights), the White Album received over two million advance orders and sold nearly four million copies in the US within its first month. Its songs dominated American radio airplay and attracted extensive countercultural analysis. Despite commercial achievements, critics were largely perplexed by its content and it did not garner critical acclaim comparable to that earned by Sgt. Pepper.

Abbey Road, Let It Be and the band's breakup

Although Let It Be was the last album released by the Beatles, most of its recordings predated those of Abbey Road. The concept originated from Paul McCartney's idea to create new songs, rehearse them, and debut their live performance on both record and film. Initially intended as a one-hour television special titled Beatles at Work, much of the material was captured during studio sessions beginning in January 1969, directed by Michael Lindsay-Hogg. Producer George Martin described these sessions as "far from a pleasant recording experience," with interpersonal relations at an all-time low. John Lennon referred to the process as "hell... the most miserable... on Earth," while George Harrison called it "the lowest point ever." Frustrated with McCartney and Lennon, Harrison left the sessions for five days before returning with a demand to concentrate on completing a new album, initially named Get Back, featuring songs recorded for the TV project. He also pushed for relocating from Twickenham Film Studios to Apple Studio, a change that was approved, and the footage was repurposed into a feature-length film.

To help reduce tensions and enhance their live sound, Harrison invited keyboardist Billy Preston to join during the final nine days of recording. Preston was credited on the "Get Back" single—the only musician outside the Beatles to receive official billing. After rehearsing, the group dismissed several potential concert venues before filming their last live performance atop Apple Corps headquarters at 3 Savile Row, London, on 30 January 1969. Approximately five weeks later, engineer Glyn Johns began compiling an album with considerable autonomy, as the band had distanced themselves from the project.

Disagreements intensified over selecting a financial manager following Brian Epstein's passing. Lennon, Harrison, and Ringo Starr supported Allen Klein, known for managing the Rolling Stones; meanwhile, McCartney preferred Lee Eastman, father of his wife Linda Eastman. Unable to reach consensus, Klein was appointed business manager while the Eastmans served temporarily as legal counsel. These conflicts resulted in missed financial opportunities. On 8 May, Klein became sole manager despite McCartney's refusal to sign; he was outvoted by the other members.

George Martin was taken aback when McCartney requested his production services for another album after the challenging Get Back sessions. Recording for Abbey Road commenced on 2 July. Lennon opposed Martin's idea of a continuous medley and advocated for separate sides showcasing his and McCartney's compositions; they ultimately compromised with individual tracks on side one and a medley on side two. The studio's newly installed transistorized mixing console produced a thinner sound that frustrated the band and contributed to a softer, more mellow tone compared to earlier records.

On 4 July, Lennon's debut solo single credited to Plastic Ono Band, "Give Peace a Chance," was released. The last occasion all four Beatles were present in the studio together was on 20 August during mixing of "I Want You (She's So Heavy)." On 8 September, while Starr was hospitalized, the remaining members discussed ending the Lennon–McCartney songwriting partnership in favor of equal contributions from each member plus Starr’s two songs and a Christmas lead single. Lennon announced his departure on 20 September but agreed to delay public disclosure to avoid jeopardizing sales of the forthcoming album.

Released on 26 September, Abbey Road sold four million copies within three months and dominated UK charts for seventeen weeks. Its second track, "Something," marked Harrison’s only Beatles A-side single. Although critical reception was mixed overall, the medley received praise. Musicologist Richie Unterberger described it as "a fitting swan song," commending its harmonies; Ian MacDonald criticized it as "erratic and often hollow," despite its coherence. Martin regarded it as his favorite Beatles album; Lennon described it as "competent" but lacking vitality.

For the incomplete Get Back album, Harrison recorded "I Me Mine" on 3 January 1970 without Lennon present. Rejecting Glyn Johns' version of what evolved into Let It Be, Klein handed session tapes over to producer Phil Spector in March. Spector remixed and added overdubs to several tracks originally intended as live recordings. McCartney objected to Spector’s elaborate orchestration on "The Long and Winding Road," but his objections were disregarded. He publicly announced his exit on 10 April, shortly before releasing his first solo album.

Let It Be was released on 8 May 1970 with "The Long and Winding Road" expected as their final single; it was issued in the US but not in the UK. The accompanying documentary won an Academy Award for Best Original Song Score but received mixed reviews—some critics praised performances over album versions while others highlighted its depiction of band discord. Unterberger regards it as underrated overall with notable hard rock elements and strong harmonies.

McCartney filed legal proceedings to dissolve the Beatles’ contractual partnership on 31 December 1970. Legal battles continued until formal dissolution occurred on 29 December 1974 when Lennon signed termination documents while vacationing at Walt Disney World Resort in Florida.

1970s

In 1970, each member—Lennon, McCartney, Harrison, and Starr—launched solo albums, occasionally collaborating with one another. Starr's Ringo (1973) stands out as the sole record featuring contributions from all four former Beatles, albeit on separate tracks. In August 1971, Harrison and Starr joined forces for the Concert for Bangladesh held in New York City. Beyond a 1974 jam session that remained unreleased until bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again.

Apple Records issued two double-album Beatles compilations in 1973: 1962–1966 and 1967–1970, commonly referred to as the "Red Album" and "Blue Album." Both achieved Multi-Platinum certification in the United States and Platinum status in the United Kingdom. From 1976 to 1982, EMI/Capitol released several compilation albums without involvement from the former band members, beginning with Rock 'n' Roll Music. The only album featuring previously unreleased content during this period was The Beatles at the Hollywood Bowl (1977), which presented official concert recordings from their US tours in 1964 and 1965.

Various projects capitalized commercially on The Beatles’ music and image, often operating beyond their control. In April 1974, the London stage production John, Paul, George, Ringo ... and Bert, which included eleven Lennon–McCartney compositions and Harrison’s "Here Comes the Sun", encountered Harrison’s withdrawal of permission for his song due to dissatisfaction with the show's production quality. Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road premiered. The 1976 feature film All This and World War II combined archival news footage with Beatles cover versions performed by artists such as Elton John and Keith Moon. The unauthorized tribute revue Beatlemania debuted in early 1977 and eventually spawned five touring productions; a legal action by the band led to a multi-million dollar settlement. The 1978 musical film Sgt. Pepper's Lonely Hearts Club Band, featuring the Bee Gees and Peter Frampton, was met with commercial failure.

During the rise of Beatles nostalgia throughout the 1970s in America, speculation about a reunion was widespread, with promoters offering significant sums to reunite the group for a concert. Promoter Bill Sargent initially proposed $10 million in 1974, increasing his offer to $50 million by early 1976. On 24 April 1976, during a Saturday Night Live broadcast, producer Lorne Michaels humorously offered $3,000 for a reunion performance; Lennon and McCartney briefly considered accepting but ultimately declined.


1980s

In December 1980, Mark David Chapman fatally shot Lennon outside his New York City residence. Harrison honored Lennon by revising the lyrics of his song "All Those Years Ago", featuring Starr on drums and McCartney alongside his wife Linda providing backing vocals; this track was released as a single in May 1981. McCartney’s tribute "Here Today" appeared on his April 1982 album Tug of War. Starr co-starred in McCartney’s 1984 film Give My Regards to Broad Street and contributed to its soundtrack. Harrison’s 1987 album Cloud Nine included "When We Was Fab", reflecting nostalgically on the Beatlemania period.

In 1987, EMI and Apple Corps standardized The Beatles’ studio albums for worldwide CD release, establishing an official collection comprising twelve original UK studio albums plus the US LP version of Magical Mystery Tour. Remaining singles and EP tracks were assembled into the two-volume compilation Past Masters (1988). EMI subsequently withdrew other Beatles compilations from its catalogue—including the Hollywood Bowl release.

The Beatles were inducted into the Rock and Roll Hall of Fame in 1988; Harrison and Starr attended alongside Lennon's widow Yoko Ono and their sons Julian and Sean. McCartney declined attendance due to unresolved business disputes. In 1989, EMI/Capitol resolved a decade-long royalty litigation with the band, enabling authorized commercial releases of previously unreleased material.

1990s

In 1994, the Beatles saw the release of Live at the BBC, marking the first official publication of previously unreleased Beatles performances in nearly two decades. That year also witnessed McCartney, Harrison, and Starr joining forces on the Anthology initiative, a project that originated in 1970 when Apple Corps director Neil Aspinall began compiling footage for a documentary initially named The Long and Winding Road.

Between 1995 and 1996, this endeavor culminated in a television miniseries, an eight-volume video collection, and three box sets—each comprising two CDs or three LPs—with artwork crafted by Klaus Voormann. The Anthology chronicled the band's journey through their own narratives and featured numerous unreleased tracks. Collaborating with producer Jeff Lynne, McCartney, Harrison, and Starr contributed fresh instrumental and vocal elements to John Lennon’s late 1970s demos, producing two new Beatles singles: "Free as a Bird" and "Real Love". A third Lennon demo titled "Now and Then" was considered but ultimately discarded due to substandard audio quality. The commercial success of the Anthology was significant, with the TV series attracting an audience estimated at 400 million viewers. Additionally, The Beatles Anthology was published in October 2000. In 1999, an expanded soundtrack album, Yellow Submarine Songtrack, was released to coincide with the reissue of the 1968 animated film Yellow Submarine.

2000s

On 13 November 2000, the Beatles released 1, a compilation featuring their number one hits from both the UK and US charts. It set records as the fastest-selling album ever at that time, moving 3.6 million copies in its debut week and reaching 13 million sales within thirty days. The album secured the top position in at least 28 countries and had sold approximately 31 million copies worldwide by April 2009.

George Harrison passed away from metastatic lung cancer in November 2001. To commemorate the first anniversary of his death, McCartney and Starr performed at the Concert for George, an event organized by Eric Clapton alongside Harrison’s widow Olivia at London's Royal Albert Hall.

In 2003, Let It Be... Naked, a reimagined edition of the original Let It Be album overseen by McCartney, was issued. This version excluded the string arrangements originally added by producer Phil Spector and achieved top ten chart positions in both the UK and US. Subsequently, US album releases from 1964 to 1965 were issued as box sets: The Capitol Albums, Volume 1 in 2004 and Volume 2 in 2006, each containing stereo and mono mixes based on original American vinyl pressings.

For Cirque du Soleil's Las Vegas production titled Love, George Martin and his son Giles created a unique soundscape by remixing and fusing together 130 Beatles recordings into a cohesive musical experience. The show debuted in June 2006, followed by the release of the Love album that November. In April 2009, Starr joined McCartney onstage during a benefit concert held at New York’s Radio City Music Hall, which was organized by McCartney.

On 9 September 2009, after an extensive four-year digital remastering process, the entire Beatles catalog was reissued. This included stereo versions of all twelve original UK studio albums plus Magical Mystery Tour and Past Masters, available both individually and as part of a box set. Additionally, a second set titled The Beatles in Mono offered remastered mono editions alongside original stereo mixes of Help! and Rubber Soul. That same day also saw the launch of The Beatles: Rock Band, a music video game featuring their songs. Later in December 2009, their catalog was officially distributed in FLAC and MP3 formats via a limited edition USB flash drive limited to 30,000 units.

2010s

Owing to a prolonged dispute over royalties and the trademark conflict between Apple Corps and Apple, Inc., the Beatles were among the final prominent artists to join digital music platforms. In 2008, McCartney revealed that EMI's contract conditions were unacceptable to the band. It was not until 2010 that the Beatles’ official studio albums, along with Past Masters and the "Red" and "Blue" greatest-hits compilations, were made available on iTunes.

In 2012, Universal Music Group acquired EMI’s recorded music division. Due to antitrust regulations imposed by the EU, EMI had to divest certain assets such as Parlophone; however, Universal maintained ownership of the Beatles’ catalogue, which was overseen by Capitol Records under Capitol Music Group. That year also saw the reissue of the original Beatles album catalogue on vinyl, offered individually or as a comprehensive box set.

The release of On Air – Live at the BBC Volume 2 occurred in 2013. Later in December, Apple Records briefly issued The Beatles Bootleg Recordings 1963 on iTunes to extend copyright protections before removing it on the same day, eliciting mixed responses from collectors.

On 26 January 2014, McCartney and Starr reunited for a joint performance at the 56th Annual Grammy Awards. The following evening featured the broadcast of The Night That Changed America: A Grammy Salute to the Beatles, which included contemporary artist performances, archival footage, and interviews with McCartney and Starr conducted by David Letterman. By December 2015, the Beatles’ catalogue was accessible on streaming services such as Spotify and Apple Music.

September 2016 marked the debut of Ron Howard’s documentary The Beatles: Eight Days a Week, which focused on their touring period between 1961 and 1966. The film garnered several awards and nominations. Simultaneously, an expanded, remixed, and remastered edition of The Beatles at the Hollywood Bowl was released.

On 18 May 2017, Sirius XM introduced The Beatles Channel, a dedicated radio station broadcasting around the clock. Shortly thereafter, Sgt. Pepper's Lonely Hearts Club Band was reissued with new stereo mixes and previously unreleased material to commemorate its 50th anniversary. Deluxe box sets followed for The Beatles in November 2018 and for Abbey Road in September 2019. In October 2019, Abbey Road returned to the top position on the UK Albums Chart, setting a record for the longest interval—50 years—between chart-topping releases.


2020s

In November 2021, Peter Jackson’s documentary The Beatles: Get Back, utilizing footage from the original Let It Be film, premiered on Disney+ as a three-part miniseries. A companion book with the same title was published on 12 October, followed by a super deluxe edition of the Let It Be album released on 15 October. January 2022 saw the launch of Get Back (Rooftop Performance), featuring newly mixed audio from their rooftop concert on streaming platforms.

During 2022, McCartney and Starr collaborated with Dolly Parton, Peter Frampton, and Mick Fleetwood on a new recording of "Let It Be", which appeared on Parton’s album Rockstar released in November 2023. In October of that year, a special edition of Revolver was issued containing unreleased demos, studio outtakes, original mono mixes, and a new stereo remix created using AI de-mixing technology developed by Peter Jackson’s WingNut Films, previously employed for the Get Back documentary. Accompanying this release were new music videos for "Here, There and Everywhere" and "I'm Only Sleeping", with the latter winning the Grammy Award for Best Music Video at the 66th Annual Grammy Awards.


In June 2023, McCartney announced intentions to unveil "the final Beatles record" later that year by isolating John Lennon's vocals from an old solo demo using Jackson’s AI de-mixing technology. The track was revealed in October as "Now and Then", with physical and digital releases scheduled for 2 November. The official music video premiered a day later and amassed over eight million views within twelve hours. The song rapidly became one of Spotify’s most-streamed current tracks and debuted simultaneously across numerous radio formats, breaking records for most stations airing a single track concurrently. It also became their first UK number one single since 1969. At the 67th Annual Grammy Awards, "Now and Then" won the Grammy Award for Best Rock Performance and earned a nomination for Grammy Award for Record of the Year, marking it as both the first AI-assisted track nominated for and awarded a Grammy.

On 8 May 2024, Jackson’s Park Road Post digitally restored the 1970 film Let It Be, which was subsequently released on Disney+, marking its first public screening since its original theatrical run.

Development

In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz examine the transformative journey of the Beatles:

Walter Everett contrasts the compositional styles of Lennon and McCartney: McCartney honed a precise musical craftsmanship aimed at engaging audiences, enriching a shared musical vocabulary; Lennon’s creations reveal a more exploratory, less structured artistic approach. Ian MacDonald characterizes McCartney as an instinctive melodist with lively, harmonious tunes, whereas Lennon’s style is sparser and conversational, with an emphasis on blues influences. MacDonald also commends Harrison’s unique guitar contributions and recognizes Starr as "the pioneer of modern pop/rock drumming."

Influences

The Beatles’ initial inspirations encompassed artists such as Elvis Presley, Carl Perkins, Little Richard, Chuck Berry, and Gene Vincent. While performing in Hamburg, Little Richard offered them advice on stagecraft. Lennon acknowledged Elvis as a crucial influence on their formation and praised Chuck Berry’s sophisticated lyricism as profoundly impactful. Other formative influences included Buddy Holly, Eddie Cochran, Roy Orbison, the Everly Brothers, and Jerry Lee Lewis.

As their career advanced, they drew from contemporaries like Bob Dylan, Smokey Robinson and the Miracles, the Who, Frank Zappa, the Lovin' Spoonful, the Byrds, and especially the Beach Boys’ 1966 album Pet Sounds, which deeply inspired McCartney. Producer George Martin noted Brian Wilson’s notable influence on the band. Harrison’s later compositions were shaped by his 1966 studies with Ravi Shankar in India.

Genres

Starting out as a skiffle ensemble, the Beatles rapidly adopted 1950s rock and roll and became key figures in developing the Merseybeat sound, diversifying their style to include a wide spectrum of pop music. Lennon described Beatles for Sale as a "country-and-western LP," while Rubber Soul attracted folk music fans to pop.

Though not the first to use orchestral strings in pop, their 1965 track "Yesterday" marked their debut incorporation of classical elements, expanding recognition of their songwriting skills. They continued to experiment with string arrangements; for instance, Sgt. Pepper's "She's Leaving Home" evokes a sentimental Victorian ballad mood.

Their musical palette broadened further with psychedelic songs like "Rain," regarded as their initial openly psychedelic piece, alongside "Tomorrow Never Knows," "Strawberry Fields Forever," "Lucy in the Sky with Diamonds," and "I Am the Walrus." Harrison infused Indian classical music influences into tracks such as "The Inner Light," "Love You To," and "Within You Without You", attempting to emulate raga structures.

Music scholar Michael Campbell underscores innovation as central to their progression, citing "'A Day in the Life'" as an unprecedented fusion of contrasting elements. Philosophy professor Bruce Ellis Benson highlights their blend of diverse genres including Celtic music, rhythm and blues, and country.

Author Dominic Pedler stresses their simultaneous command of conventional chart hits alongside ventures into rock and adjacent genres from country to vaudeville. This amalgamation paved the way for future Indian music influences. As internal discord increased, individual preferences became more evident on the White Album, whose stark cover belied its eclectic sound—from Lennon's avant-garde "Revolution 9" to Starr's country-style "Don't Pass Me By," Harrison's rock ballad "While My Guitar Gently Weeps," and McCartney's early heavy metal precursor "Helter Skelter."

Contribution of George Martin

Producer George Martin played a pivotal role often referred to as the "fifth Beatle".[9] Drawing on his classical background, he served as an informal mentor to the band's evolving songwriting talents.[10] Martin persuaded McCartney to incorporate a string quartet into "Yesterday," introducing classical instrumentation into their sound.[11] His willingness to embrace experimentation, including baroque influences, propelled their creative growth.[12] Beyond arranging duties, Martin contributed instrumentally on piano, organ, and brass during sessions.[13]

Martin adapted adeptly to Lennon and McCartney's divergent songwriting methods. MacDonald observes that Martin found smoother collaboration with McCartney’s traditional style but was challenged by Lennon's more instinctive approach to create innovative arrangements.[14] Reflecting on their differences and his steadying presence, Martin remarked:

Template:Blockquote

Harrison regarded Martin as a grounding force amid their experimental ventures:

We grew together through those years—him as the sensible one and us as the eccentrics; yet he was always there to interpret our madness—we had our avant-garde moments weekly, and he acted as our anchor to convey that through engineers onto tape.[15]

In the studio

By embracing technological advances and pushing recording boundaries, the Beatles fostered innovative experimentation alongside producer George Martin and EMI engineers. They incorporated serendipitous sounds—such as unintentional guitar feedback, ringing glass bottles, and reversed tape effects—into their compositions. Their quest for novel sonic textures combined with Martin's arrangements and EMI engineers Norman Smith, Ken Townsend, and Geoff Emerick's expertise greatly influenced their recordings from Rubber Soul onward, especially Revolver.

They employed groundbreaking studio methods including sound effects layering, atypical microphone setups, tape looping, double tracking vocals/instruments, and vari-speed tape manipulation. The Beatles also introduced instruments uncommon in rock at that time like string sections, brass ensembles, Indian instruments such as sitar ("Norwegian Wood") and swarmandal ("Strawberry Fields Forever"). Electronic instruments like the Mellotron—with McCartney providing flute sounds on "Strawberry Fields Forever"—and clavioline producing oboe-like tones on "Baby, You're a Rich Man" further expanded their sonic palette.

Legacy

Robert Greenfield, former associate editor at Rolling Stone, likened the Beatles to Picasso for revolutionizing artistic boundaries to create distinctive popular music. British poet Philip Larkin regarded their output as one of the most significant advancements in popular music since World War II.

Their 1964 breakthrough in America ushered in the album era by shifting sales dominance from singles to LPs. They ignited the British Invasion across the US market and evolved into an international cultural phenomenon. Celebrated as icons of British culture globally, they remain closely identified with UK heritage worldwide.

Their pioneering musical contributions and commercial achievements inspired countless musicians internationally. Numerous artists attained chart success covering Beatles compositions. Their emergence transformed radio programming; by 1968 New York’s WABC excluded pre-Beatles tracks from its playlist entirely. They redefined albums beyond collections of singles plus filler songs and innovated modern music video formats. Their 1965 Shea Stadium concert attracted 55,600 attendees—the largest audience for a live show then—reshaping concert culture. Their fashion choices influenced youth worldwide as emblems of rebellion.

Music historian Mark Gould asserts that they altered audience engagement with popular music—progressing from Beatlemania sensations into symbols of 1960s counterculture movements including feminism, LGBTQ+ rights advocacy, and environmentalism. Following controversy over the "more popular than Jesus" remark in 1966, they deliberately promoted messages emphasizing wisdom and elevated consciousness.

Observers such as Mikal Gilmore and Todd Leopold identify their US debut as pivotal for generational identity formation; Leopold described their Ed Sullivan Show performance as initiating a cultural revolution akin to extraterrestrials arriving in America in 1964. Gilmore noted that while Elvis Presley visually embodied rebellion style-wise, the Beatles transformed style into profound cultural expression.

Established in 2009, Global Beatles Day is commemorated annually on June 25th celebrating their ideals—marking their 1967 BBC broadcast performance of "All You Need Is Love" aired worldwide.

Awards and achievements

In 1965 Queen Elizabeth II appointed Lennon, McCartney, Harrison, and Starr Members of the Order of the British Empire (MBE). The Beatles earned the 1971 Academy Award for Best Original Song Score for Let It Be (1970). Their accolades include seven Grammy Awards and fifteen Ivor Novello Awards, six Diamond-certified albums along with 20 Multi-Platinum albums in the US market; they also hold four Multi-Platinum UK albums plus multiple Platinum and Gold certifications domestically. The band was inducted into the Rock and Roll Hall of Fame in 1988.

As history’s top-selling musical act, they have sold over 600 million units As of 2012 globally. Between 1991-2009 Nielsen Soundscan reported sales of 57 million US albums alone. They hold records for fifteen UK number-one albums plus selling 21.9 million singles—the highest tally for any British artist. In 2004 Rolling Stone named them most influential rock artists over five decades; Billboard ranked them number one on its all-time Hot 100 artists list (2008) with twenty number-one hits by 2017—the most ever on that chart. The Recording Industry Association of America certifies US sales at 183 million units—the highest for any artist there. Time magazine included them among its century’s top 100 influential figures; they received Grammy Lifetime Achievement Award (2014). Rolling Stone declared them greatest artists ever both in 2004 and again in 2011.

In 2007 they became first band honored on UK postage stamps issued by Royal Mail within a commemorative series; earlier in 1999 US Postal Service issued stamps recognizing both Beatles and Yellow Submarine.

Band members

Core members

  • John Lennon – vocals, guitar(s), keyboards, harmonica, bass (1960–1969; deceased 1980)
  • Paul McCartney – vocals, bass guitar(s), guitar(s), keyboards, drums (1960–1970)
  • George Harrison – guitars (lead/rhythm), vocals, sitar, keyboards, bass (1960–1970; deceased 2001)
  • Ringo Starr – drums/percussion/vocals (1962–1970)

Early members

Temporary members

  • Drummers Tommy Moore (deceased 1981) & Norman Chapman (deceased 1995) served briefly before Best joined August 1960.
  • Bassist Chas Newby (deceased 2023) filled in December 1960 during Hamburg shows when Sutcliffe remained there.
  • Jimmy Nicol substituted for Starr during five dates on Beatles’ world tour (1964).
  • Keyboardist Billy Preston (deceased 2006) contributed during sessions in 1969.

Timeline

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Discography

Main articles: The Beatles albums discography, The Beatles singles discography, and List of songs recorded by the Beatles

The core catalogue consists of twelve original UK studio albums plus Magical Mystery Tour (added during the ’80s) along with one compilation collecting all UK non-album singles plus EP tracks collectively released initially across two volumes in ’88 then merged later into one set.:

Song catalogue

Prior to ’69 most Beatles material was published mainly by Northern Songs, founded in ’63 by publisher Dick James specifically for Lennon–McCartney though later representing other artists too. Ownership was divided between James & Emmanuel Silver (~51%), McCartney (~20%), Lennon (~19-20%), & manager Brian Epstein (~9-10%).[16][17] Northern Songs went public in ’65 issuing five million shares; James & Silver held ~18.75% each while Lennon & McCartney each owned ~15%, Epstein’s NEMS Enterprises controlled ~7.5%, with Harrison & Starr holding smaller stakes.[18] Lennon & McCartney renewed publishing contracts binding them until ’73 with Northern Songs.[19]

Harrison created Harrisongs for his own works but remained under Northern Songs contract until March ’68 covering hits like "Taxman." Starr’s pre-’68 co-written songs were also under Northern Songs control before he launched Startling Music, owning rights to his compositions like "Don't Pass Me By" & "Octopus's Garden." Afterward Harrison signed with Apple Publishing owning rights to later works such as "While My Guitar Gently Weeps" & "Something".[20][21]

In March ’69 James sold Northern Songs shares secretly to broadcaster Associated Television (ATV), founded by impresario Lew Grade without notifying Beatles members themselves. The band tried forming consortium ownership but failed partly due to Lennon's opposition; ATV gained majority control over most Lennon–McCartney copyrights until ’73 when frustrated Lennon & McCartney sold shares back to ATV late ’69.[22][23]

By ’81 ATV parent company Associated Communications Corporation faced financial losses & sought sale of music division; Grade offered McCartney ATV Music & Northern Songs rights for $30 million but refused separating Northern Songs from ATV Music bundle; McCartney’s lower bid was declined; ACC was acquired by Australian tycoon Robert Holmes à Court for £60 million in ’82.[24]

In ’85 Michael Jackson purchased ATV catalog for $47.5 million gaining control over more than two hundred Beatles songs plus forty thousand other copyrights; merging publishing interests with Sony forming Sony/ATV Music Publishing valued over $500 million where Jackson held half ownership making it third largest global publisher; Sony bought out Jackson’s share for $750 million in ’16.

Though lacking publishing ownership rights themselves now Lennon estate & McCartney continue receiving songwriter royalties—one-third US commercial income plus roughly half or more internationally—two early tracks ("Love Me Do", "P.S.I Love You") were originally published by EMI subsidiary Ardmore & Beechwood before signing James deal; McCartney obtained rights via MPL Communications company acquisition ’78.

On January18th ’17 McCartney filed lawsuit against Sony / ATV seeking reclaim ownership over his portion of Lennon-McCartney catalogue beginning ’18 under US copyright law allowing authors reclaim after fifty-six years pre-’78 works; dispute resolved confidentially June ’17.

Selected filmography

Main article: The Beatles in film

Fictionalized films

Documentaries / filmed performances

Concert tours

Main article: List of the Beatles' live performances

Template:Col-float-begin

Headlining tours

  • UK tours winter-autumn ‘63
  • Sweden tour autumn ‘63
  • North American winter ‘64 tour
  • UK spring ‘64 tour
  • Worldwide tour ‘64
  • North American tour ‘64
  • European tour ‘65
  • US tour ‘65
  • UK tour ‘65
  • Germany/Japan/The Philippines tour ‘66
  • US tour ‘66

Co-headlining tours

  • Winter ‘63 Helen Shapiro Tour
  • Spring ‘63 Tommy Roe / Chris Montez UK tour
  • Roy Orbison / The Beatles Tour


See also

Sources


Further reading


External links

  1. ↑ ...
  2. ↑ ...
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  6. ↑ 6.0 6.1 ...
  7. ↑ Template:Sfn...
  8. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  9. ↑ Harry 2000a, p. 721.
  10. ↑ Gould 2007, p. 121, 290.
  11. ↑ MacDonald 2005, p. 158.
  12. ↑ Gould 2007, p. 290.
  13. ↑ Gould 2007, pp. 382, 405, 409, 443, 584.
  14. ↑ MacDonald 2005, p. 238.
  15. ↑ Harry 2003, p. 264.
  16. ↑ Southall & Perry 2006, pp. 15–17.
  17. ↑ Norman 1996, pp. 169–71.
  18. ↑ Southall & Perry 2006, pp. 37–38.
  19. ↑ Southall & Perry 2006, p. 42.
  20. ↑ Southall & Perry 2006, pp. 45–61.
  21. ↑ MacDonald 2005, p. 351.
  22. ↑ Norman 1996, pp. 369–372.
  23. ↑ Miles 1998, p. 296.
  24. ↑ Southall & Perry 2006, pp. 129–139.
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