Tune In: The Beatles: All These Years
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Tune In is the first volume of All These Years—a highly-anticipated, groundbreaking biographical trilogy by the world's leading Beatles historian. Mark Lewisohn uses his unprecedented archival access and hundreds of new interviews to construct the full story of the lives and work of John Lennon, Paul McCartney, George Harrison, and Ringo Starr.
Ten years in the making, Tune In takes the Beatles from before their childhoods through the final hour of 1962—when, with breakthrough success just days away, they stand on the cusp of a whole new kind of fame and celebrity. They’ve one hit record ("Love Me Do") behind them and the next ("Please Please Me") primed for release, their first album session is booked, and America is clear on the horizon. This is the lesser-known Beatles story—the pre-Fab years of Liverpool and Hamburg—and in many respects the most absorbing and incredible period of them all. Here is the complete and true account of their family lives, childhoods, teenage years and their infatuation with American music, here is the riveting narrative of their unforgettable days and nights in the Cavern Club, their laughs, larks and adventures when they could move about freely, before fame closed in.
For those who’ve never read a Beatles book before, this is the place to discover the young men behind the icons. For those who think they know John, Paul, George, and Ringo, it’s time to press the Reset button and tune into the real story, the lasting word.
bought some lilac-colored velvet for him to make into four cool bright jackets. He says John, Stu and George weren’t too keen to begin with, but then came to the house to be measured up.29 The jackets were worn with their usual black “drainies” and either black or white shirts, and new gray winkle-picker shoes that appeared to be made from crocodile skin. They also had something like uniform hair—greased back high on top, long and thick at the back, almost down over their collars—so with all this
writing a letter for publication that clarified a point in the first. He expressed his intention to find a group that would join him on TV appearances with Bert Weedon and the Shadows, and reiterated, “For some time I have been searching for a group to use regularly, and I feel that the ‘Beetles’ (most of them are Liverpool ex-art students) fill the bill.” This, it seems, was enough to stir John and Stu into action. Of the many curious episodes that pepper the Beatles’ story in 1960, here is one
words in the last letter he’d sent to the German Consul on their behalf had been “they have a watertight contract.” He’d not counted on the Beatles’ ability to spring a leak. Williams was well placed to carry out at least one of his threats. If he reported the Beatles to the Agents’ Association they’d be barred from employment at that level of business throughout Britain. The Beatles didn’t think he was a member and reckoned that Liverpool promoters operated outside of the association … but they
building down the left side, behind the old house. A turn right, a turn left, and they were in Number 2 studio, 60ft by 38ft, a big room with a high ceiling, no windows, parquet flooring (covered in places by rugs) and all the technical necessities of a recording session. For Paul, and the others to some extent, Decca’s brittle anxieties made an unwelcome return. “[It had] great big white studio sight-screens, like at a cricket match, towering over you, and up this endless stairway was the
it, effecting the Beatles’ first thrust into the capital. For now, he just mailed out Tony Barrow’s press pack, an impressive five-page document called “Introducing THE BEATLES,” with a photographic cover printed on pink card so it stood out from the pile—a trick he’d got from the doyen Perrin. Every relevant media outlet received the first, second or even third press mailing announcing the Beatles’ arrival. The third was EMI’s, a densely typed three-page biography that drew largely on the other