BEATLES MAGAZINE

Wednesday, 20 August 2025

"YER BLUES": A ROCK CLASSIC BORN IN A SMALL ROOM

In 1968, during the Beatles' spiritual retreat in Rishikesh, India, John Lennon penned and composed the track "Yer Blues." Lennon, grappling with profound emotional distress and a feeling of desperation while seeking a higher state of consciousness, sought to craft a blues song. However, he doubted his ability to authentically emulate the style of classic blues artists he admired, such as Sleepy John Estes.

As a result, John's composition became a satirical take on British blues revivalists. The song features exaggerated guitar solos and swing blues sections infused with rock and roll sensibilities.

The recording sessions for "Yer Blues" took place in a small annex within EMI Studio Two's control room, which was essentially a large closet.

Ringo Starr reminisced fondly about the minimalist recording conditions, which reminded him of the band's early days performing live.

Shortly after the release of The Beatles (also known as the "White Album"), John performed the song with a supergroup named "The Dirty Mac" at the Rolling Stones Rock and Roll Circus.

This one-off band featured Lennon, Eric Clapton on lead guitar, Keith Richards on bass, and Mitch Mitchell of the Jimi Hendrix Experience on drums.

In a remarkable turn of events, the impromptu recording of "Yer Blues" at EMI Studios was a direct result of an earlier conversation on August 12, 1968.

At the time, George Harrison was in the process of recording his lead vocals for "Not Guilty" in the control room. According to engineer Ken Scott, Harrison's aim was to achieve a more live, on-stage feel by having the speakers at full volume.

During this session, John Lennon entered the control room, and Scott jokingly remarked, "The way you lot are carrying on you'll be wanting to record everything in the room next door!" This small room, originally used for the four-track tape machines, lacked proper studio acoustics - This room was called Room 2A. John, however, took the suggestion seriously, replying, "That's a great idea; let's try it on the next number!"

The following day, on August 13, Lennon brought "Yer Blues" to the studio. After a late-night session dedicated to re-recording "Sexy Sadie," the band and the studio crew set up their instruments in the tiny room as John Lennon had suggested. This unconventional setup, with the band in close proximity and no acoustic separation, resulted in a raw and powerful sound.

Ringo later recalled, the recording of "Yer Blues" captured a unique energy. He described the song as the "four of us" being "in a box, a room about eight by eight, with no separation."

This intimate, unpolished approach, he noted, was a testament to the band's cohesive performance and created what he described as "grunge blues."

John Lennon's lead vocal for a Beatles song was uniquely captured with a specific microphone, the RCA 44BX, which had never been used by the band before or since.

This ribbon microphone was an American design from 1932 that Abbey Road Studios had purchased in the 1940s. It had a long history at the studio, being used on various recordings in the 1940s and 50s.

Notably, it served as the drum mic for many Cliff Richard & The Shadows' sessions and was also used to record vocals for artists like Gene Vincent and Adam Faith.

The recording process involved a total of fourteen takes. The four-track tape was utilized as follows: Ringo Starr's drumming was captured on track one, while Paul McCartney, using his newly acquired Fender Jazz Bass, was recorded on track two.

The electric guitars of John Lennon and George Harrison occupied tracks three and four. Notably, despite the absence of dedicated vocal microphones, guide vocals from Lennon, with occasional contributions from McCartney, can be discerned on these takes, having been captured by the other microphones within the confined space.

Tuesday, 19 August 2025

"I'LL GET YOU" RETURNS TO THE TOP 40

Sometimes a classic is just meant to be a hit again. The Beatles' beloved track “I’ll Get You” has made a stunning comeback, smashing its way back into the top 40 on every chart it's listed on. In the U.K., the song is having a particularly impressive run. It’s not just climbing—it’s now a bona fide smash on both the Official Vinyl Singles and Official Physical Singles charts, hitting No. 21 and No. 29 respectively. It seems a timeless tune can always find its way back to the top.

The Beatles' track, "I'll Get You," is defying expectations with a remarkable chart reversal.

While the song had already secured a spot in the top 40 on the U.K.'s vinyl singles chart last week, it was just short of making the same impact on the broader Official Physical Singles chart, where it stalled at No. 41.

Now, after an impressive five-week run, the song has not only secured a place on both charts but has also demonstrated its enduring appeal.

Having already climbed into the top 10 on both tallies, "I'll Get You" has proven its staying power, reversing what appeared to be a final descent down the charts and confirming its status as a renewed hit for The Beatles.

This week, The Beatles nearly scored two spots in the top 40 on the Official Vinyl Singles and Official Physical Singles charts. Their classic track, "All My Loving," re-entered the vinyl chart at No. 32. At the same time, it climbed from No. 69 to No. 43 on the physical-only chart, just missing the top 40 cutoff.

Beyond the chart success of "I'll Get You" and "All My Loving," The Beatles are seeing other singles move on the charts.

Their recent track, "Now and Then," has a modest gain, landing at No. 76. In contrast, the group's timeless favorite, "I Want to Hold Your Hand," dipped slightly to No. 93.

Monday, 18 August 2025

THE BEATLES' CONCERT IN MINNESOTA IS CELEBRATING ITS 60th ANNIVERSARY

The Beatles' historic concert in Minnesota, the "Land of 10,000 Lakes," was recently commemorated at the Mall of America.

Sixty years ago, the legendary band performed at the Metropolitan Stadium, which was torn down in the 1980s and later became the site of the massive shopping center.

The Beatles' only concert in Minnesota took place at Metropolitan Sadium in Bloomington in August 21, 1965. The concert was part of their first tour to play at sports stadiums, but due to concerns about crowd control, the concert was undersold. Despite the "Beatlemania" frenzy, the stadium was not completely full. The Beatles arrived at Minneapolis/St. Paul International Airport, held a press conference in the stadium's Minnesota Room, and then performed an 11-song set near second base.

Ron Butwin, a concert-goer, described the experience as an overwhelming cascade of sound. "It was just a wall of noise," he said, noting that the sheer volume of the crowd made it almost impossible to hear the band. He recalled how the fan frenzy, known as "Beatlemania," was so intense that the audience's cheers were louder than the music itself. Before the show, at a press conference, Butwin had the opportunity to present a gift to George Harrison. He described the moment with a sense of pure delight, saying it felt "like a kid in a candy store." The experience later led to a cherished memento: a handwritten letter from George, expressing his gratitude and sharing some amusing details.

At the press conference, Randy Resnick, local musician and B-Sharp Music employee, presented a Rickenbacker 360-12 electric 12-string guitar in a Fireglo red sunburst finish to George Harrison on behalf of the musicians of Minnesota.

Resnick,made the presentation, as captured by photographer Bill Carlson. Ron Butwin, another employee of B-Sharp, was also there for the presentation.

Another attendee, Bob Pratt, went to the concert with his father, Ken Pratt, a former KMSP photographer. Bob, who was ten years old at the time, expected to watch from the press area. Instead, he and his father were invited into the Twins' clubhouse, an incredible surprise. He vividly remembers shaking hands with all four members of the band—Ringo first, followed by Paul, John, and George—and telling them, "I love your music." He had a particularly memorable exchange with John Lennon, who asked if he was a native of Minnesota. When Bob confirmed he was "born and raised" there, John jokingly asked for help with the pronunciation of some of the baseball players' names, specifically Zoilo Versalles. John Lennon, however, was already familiar with the name of baseball great Harmon Killebrew. Both men were fortunate enough to witness the entire concert from the dugout.

As for what's next, fans can look forward to Paul McCartney's upcoming performance at U.S. Bank Stadium this October.