So, if you haven’t seen it yet, I have launched a new website last week called The Beatles Bookstore. It is a collaboration between Beatles authors to support each other, and to showcase out books to the world!
We have author pages for each of the authors signed up and there are already nearly 30 books in the store.
Covid-19 Social Distancing
In the current climate, there are so few stores open and all the Beatles festivals have been cancelled, so this is a great opportunity for us authors to, hopefully, sell our books!
Due to popular demand and numerous requests over the years, we are going to make a documentary of my first book, Liddypool: Birthplace of The Beatles.
Due to the popularity of “Liddypool”, David and local film director Roger Appleton have decided to make a documentary film based around the book and celebrate The Beatles and Liverpool.
The Film: Locations
We plan to hire a vintage double-decker book to take a trip around Liverpool, visiting the famous homes and sites connected to The Beatles, from the Dingle and Wavertree. We will visit Penny Lane, Woolton, Strawberry Field and St. Peter’s Church. We will got to Mendips and Forthlin Road in Allerton. Then The Casbah in West Derby and into the city centre, The Cavern and the Beatles statues. Along the way, we will “bump into” people who were there. We will welcome people like The Quarrymen, owners of The Cavern and so many more.
The Beatles Songs
We will tell the story of the importance of Liverpool to the story of The Beatles like never before. We will be supported along the journey by Liverpool singer/ songwriter Ian Prowse who will share his musical story. He will also sing some of those Beatles songs made popular in Liverpool by The Beatles.
The Film – News Coming Soon
Sign up for the website to get updates. We will need your help to make it when we launch the crowd-funding campaign.
Liverpool’s First Casualty of the Coronavirus witnessed Beatlemania
Outside of Liverpool, you’ve probably never heard of Cy Tucker. He was a legend around Liverpool and performed on the same bill as The Beatles, but sadly, he is Liverpool’s first casualty of the coronavirus.
Cy Tucker, born Thomas Thornton in 1943, played guitar and sang with Liverpool group The Cinnamons who played Litherland Town Hall on 27th December 1960, while waiting for another group to arrive. “I was bashing my brains out for a couple of hours for 30 bob,” said Tucker. “Then the Beatles came on and the girls went berserk.” This was the night when The Beatles, having returned from Hamburg, took Liverpool by storm.
Tucker then joined Earl Preston And The TTs as the second lead vocalist; this was the group that beat The Beatles in a poll in Mersey Beat. A single of the hit ballad, “My Prayer” came out in Cy Tucker’s name. “I met Paul McCartney in the Blue Angel one night. He said; You’re on the Oriole LP, This Is Mersey Beat, you’ve got a single by yourself and one with Earl Preston. You’ve got to have a hit with one of them.” But it never really happened in a big way for one of Liverpool’s great beat groups.
Cy Tucker and the Friars
He had other solo records, but became one of the most popular local acts until his death, as Cy Tucker and the Friars. His ability to sing those big, emotional ballads never disappointed his Liverpool audiences.
“In 1964, The Beatles created entire LP, Beatles for Sale, as a homage to their life-long love of country music. But how did this connection to musicians such as Carl Perkins begin? It began in The Country of Liverpool! And here, in exciting and accurate detail, David Bedford walks us through the Liverpool-link to The Beatles’ country and western vibes. Known for his detailed research and passion for “getting things right,” Bedford unfolds yet another dimension in The Beatles’ story that has long been overlooked. This book is a must-read for Beatles fans and scholars alike. I loved it!”
Finding the Fourth Beatle has received many fantastic reviews from fans and magazines too. Below is the review from Modern Drummer magazine, who liked our book and also the great book, Ringo’s White Album, by Alex Cain and Terry McCusker (experts in our book too).
“For those who must consume every morsel of Beatles history, Finding the Fourth Beatle by David Bedford and Garry Popper will sate even the thirstiest fanatics.”
“It’s maddening minutiae for some, nirvana for others”
The Beatles knew it was one of the most important dates of their lives; they still thought they could clown around as if they were in The Cavern. According to George Harrison, they even “put on heavy, thicker-than-usual Liverpool accents to try and fool the Londoners. It was a bit of a defence mechanism.” (True Story of The Beatles)
John Lennon would later say that “somehow this helped get our spirits up again.” Still, despite their best efforts, they were unable to recreate the energy and atmosphere of their Liverpool and Hamburg shows. Johnrecalled: “Remember that we had at the back of our minds that Brian Eppie had spent a lot of time already trying to get record companies interested in us, but without having any luck. I guess that was weighing on our minds.” (True Story of The Beatles)
As if all these pressures were not bad enough, tensions soon rose to the breaking point when Epstein’s sense of self-importance tripped him up once again. Dismissing normal studio protocol, he interrupted he proceedings and immediately got into an open altercation with John Lennon. Oops!
John Lennon and Brian Epstein – A Fair Fight?
The red mist descended over Lennon faster than a rainstorm. Pete Best: “…Brian began to voice some criticism either of John’s singing or his guitar playing. I’m not sure which. Lennon burst into one of his bouts of violent, uncontrollable temper, during which his face would alternate from white to red. ‘You’ve got nothing to do with the music!’ he raged. ‘You go back and count your money, you Jewish git!’” The sudden chill in the studio was far icier than the weather outside. “Brian looked like he had cracked down the middle. Mike Smith, the sound engineers and the rest of us all looked at each other in amazement.” (Beatle!)
Brian wisely walked away from the confrontation. This was likely the first time he experienced a very public tongue-lashing from the often cruel tongue of John Lennon. It wouldn’t be the last, and the fact that it happened at a crucial audition at Decca studios of all places shocked everyone watching. Not the best way to sell yourself.
Would You Have Signed The Beatles?
The final order of the songs performed at the session is not known, but by the end they had managed to record 15 numbers, all live, with little or no opportunity to correct mistakes. Time was up.
Now, decades later, we ask you to put yourself in Dick Rowe’s position. After all the feedback on the day’s events, having listened to the session tapes, and knowing the comparisons and options concerning Brian Poole and the Tremeloes, Rowe had to make a straightforward commercial business decision whether to sign The Beatles or not. There was no crystal ball where he could gaze into the future; nor did he have the luxury of looking back in hindsight.
With that in mind, and based on the known facts, what would you have decided? Would you have signed The Beatles?
Blame it on the Drummer – A Convenient Scapegoat?
These Decca auditions have been cited over the years as proof of Pete Best’s poor drumming and one of the reasons why he had to go. “Worst of all was Pete’s drumming,” and “At Decca, Pete had the full kit at his disposal and did little with it.” (Tune In). But is there any basis in this assessment?
Examining Third Party Opinions: Is Criticism Valid as Evidence?
Writing for Ultimate Classic Rock, Dave Lifton also condemns Best’s drumming. “The tapes prove George Martin’s assertion that Pete Best was the wrong drummer for the group. For years, Best had said he was fired in favour of Ringo Starr because the band were jealous of his success with their female fans. But after one listen, it’s obvious that Best was a limited drummer with a poor sense of timekeeping.”
“I thought Pete Best was very average, and didn’t keep good time. You could pick up a better drummer in any pub in London,” recalled Decca session engineer Mike Savage in a 2007 interview. (TuneIn)
Very average and didn’t keep good time? A better drummer in any pub in London? These emotive words condemn Best as a drummer; Savage’s words are savage. In context, Mike Savage was the 20-year-old junior assistant to producer Mike Smith back in 1962. “If you’ve got a quarter of a group being very average, that isn’t good,” (Tune In) he continued. Granted, this is a fair comment.
However, an analysis of the songs will demonstrate that the whole audition was average at best. Applying the scholastic tests, theavage quote, the first by him was given 45 years after the original session, goes against the testimony by many ‘60s-era Liverpool musicians who describe Pete as a very good drummer. There is also no independent corroboration of these comments, and nobody else from Decca, including Mike Smith, commented on Pete’s drumming. We will examine Best’s drumming ability track by track to see if Savage’s assessment holds up.
Analysis by Drummers
For our analysis of the Decca session, we invited three drummers to listen to the audition songs, each for the first time ever. The analysts, which include a father-and-son team, are:
Mike Rice, drummer with ‘60s Merseybeat band The Senators who was an active drummer until recently, and saw both Pete and Ringo play with The Beatles.
Derek Hinton, 50, a guitarist and bassist in bands for over 30 years and an accomplished drummer as well.
Derek’s son Andrew Hinton, 19, an excellent drummer, bass guitarist and lead guitarist who is currently pursuing a music degree at Liverpool University.
Each participant was played the song only once, and was then asked for his immediate feedback on Pete’s drumming as if they were at the session.
John launched into a rocking version of “Money (That’s What I Want)”, a 1960 hit for Barrett Strong on the Tamla label. Written by Tamla founder Berry Gordy and Janie Bradford, it became the first hit record for Gordy’s Motown label, whose roster included all the great American pop-soul artists The Beatles worshipped. John seems to be almost croaking, or trying too hard to sound like a rock ‘n’ roller, and overdoes the vocals. Though John’s voice is too raspy, Pete’s atom beat is strong and Paul’s solid bass-playing augments the strong drum rhythm.
This song was later recorded for EMI and issued on their second LP, With The Beatles.
Mike: “Couldn’t hear Pete enough because the balance isn’t too good between the instruments. Pete’s timing is good and he is playing the correct rhythm for the song, using his bass and floor tom well. Nothing wrong with his drumming.”
Derek and Andrew: “Very good use of the full kit. Very tight and a good tempo all the way through. Drumming is fast and at a good pace with good syncopation.”
“To Know Him Is to Love Him” was written by Phil Spector, inspired by words on his father’s tombstone, “To Know Him Was To Love Him”. It was first recorded by Spector’s group, the Teddy Bears, and it went to #1 on the Billboard Hot 100 singles chart in 1958. The Beatles’ version was not officially released until 1994, when it appeared on their Live at the BBC compilation album. The song is in 12/8 time. John’s lead vocal is good, though lacking in the quality we would expect, while the backing harmonies from Paul and George are perfect. Guitars, bass and drums all work together. This is possibly one of the best tracks of the day.
Never recorded by The Beatles with EMI, the song was performed for the BBC and a version was released on Live At The BBC.
Mike: “I would have added something slightly different, personally, when they go in to ‘Why can’t she see…….’, but that is still good, and the beat is good and regular, and he makes a good transition back into ‘To know, know, know her…’, so I’ve no real criticisms.”
Derek and Andrew: “The timing on the hi-hat is like a metronome, it is that good and regular. He is playing almost freestyle, playing to the song – not just sticking to a set rhythm. He emphasises the melody and song, and doesn’t have a set part to play which is very creative. Maybe needs a little variation with his use of the snare and the ride cymbal.”
One of the best songs in the day’s repertoire, “Take Good Care of My Baby” came from the famous songwriting team of Carole King and Gerry Goffin. Bobby Vee’s hit version was released in America July 1961 and by September, it had reached #1 on the Billboard Hot 100. In The Beatles’ version, George’s vocal is superb, with John and Paul harmonising with him brilliantly; the group sounds tight.
Not recorded by The Beatles for EMI, the song was performed for the BBC and appeared on Live At The BBC.
Mike: “Clean and clear sound, Pete’s rhythm is the right one and nicely in time. Good performance.”
Derek and Andrew: “The drumming is very tight, and has a good, consistent tempo. He uses a simpler pattern and rhythm, appropriate for the song. He stops perfectly in time with the rest of the group; the whole group performs this song perfectly. The drumming is holding the group together, and leading from the back. He is very inventive, using a different rhythm for each song, whereas most drummers would just do the same for each song.”
There had to be a Buddy Holly composition included, and they chose “Crying, Waiting, Hoping” a song released in 1959 as the B-side to “Peggy Sue Got Married”. There are actually three versions of Holly’s song: the 1959 release, the 1964 reissue with different orchestration, and Holly’s original home recording.
The Beatles’ Decca version featured George Harrison on lead vocal whilst replicating studio guitarist Donald Arnone’s instrumental bridge note for note. Everything about the song is great. George’s vocal is once again the pick of the session, and the balance of the group’s rhythm is very good.
The number was never an official EMI release by The Beatles, until it appeared on Live At The BBC.
Mike: “Nice rhythm, good drum rolls at the right place, and variation in the chorus, too. A good performance and sounded great.”
Derek and Andrew: “Again, Pete’s drum rolls are excellent. More variety in his choice of rhythm, with good variation on the snare drum. He is playing a standard 4/4 time signature but with a samba variation. This is where he is listening to the group and playing the song well. It is inventive and precise, with perfect patterns. Stunning performance by Pete, and this is probably the best the whole group has sounded together. They all know what they are doing.”
Another fine vocal performance from George with supporting harmonies from John and Paul, whose interludes are characterized by very dodgy foreign accents. These odd dialects, though well-suited for a live Cavern show, spoil an otherwise impressive group performance with tight vocals, guitars and drums.
First released on Anthology 1, this is The Beatles’ only recording of a great song.
Mike: “He varied the beat at the right time – better variation – and kept a good tempo. No problem with his drumming there.”
Derek and Andrew: “Again, Pete adds his signature drum roll to perfection, and sounds really good. He uses great variety in the chorus with his use of the snare. Good variety in the lead guitar solo to back up what George is doing. Again, drumming is very tight with the group.”
And In The End? Conclusions from The Decca Audition
Steve Levine has been a successful record producer for many years, and was a good friend of George Martin. He has a unique insight into the recording environment and technology The Beatles would have used in 1962. For him, the whole process of stepping into a recording studio for the first time was a significant factor. Read Steve’s comments in the book.
Did our expert drummers agree with Savage’s comments about Pete’s drumming being “very average, and didn’t keep good time. You could pick up a better drummer in any pub in London”?
“I don’t know who these people are who criticise Pete’s drumming because he was a great drummer,” said Mike Rice. “He was fantastic to see live with The Beatles and his sound drove the group forward.” (DB interview 2015)
As Derek observed: “Pete’s timekeeping was like a metronome, and at times, it came across as if it was the drummer who was the leader of the group, like a Buddy Rich. In fact, Pete’s drumming reminds me of ‘Wipeout’ by the Ventures, with that great use of the floor tom and that pounding rhythm that drives the song.” It’s noteworthy that both The Ventures’ and Safaris’ versions of “Wipeout” didn’t come out until 1963, a year later.
Andrew notes: “Considering Pete had no training, he is very creative and he was creating sounds and rhythms for the first time. He knows what he is doing, is confident in his ability, and isn’t simply copying the records or original version.”
Derek concluded that Pete “is doing something different on virtually every song, and almost playing like the “Prog Rock” drummers were doing in the 1970s.”
“We Wouldn’t Have Used Pete Best” Really?
Junior Engineer Mike Savage commented further on Pete’s drumming: “If Decca was going to sign The Beatles, we wouldn’t have used Pete Best on the records.” (Tune In)
Interestingly, the only comments we have from Savage pertain only to Pete’s drumming. But what did he think about John, Paul and George? Why do we not have those comments? Neither session producer Mike Smith nor Dick Rowe singled out Pete for particular criticism – the recordings reveal that, at various times, they were all culpable. However, as we will see in a later chapter on the use of session drummers, it wouldn’t have mattered how well Pete Best did that day, because you could virtually guarantee that Decca or Parlophone were going to use a session drummer. That was no insult to Pete, or later, to Ringo.
Mike Smith at Decca
When asked about the Decca audition in the February 2002 issue of The Beatles Monthly, Smith said: “Maybe I should have trusted my instincts and signed them on the strength of their stage show. In the studio they were not good and their personalities didn’t come across. Maybe they were in awe of the situation. Of course I kicked a lot of furniture in the year or two afterwards when The Beatles started to happen for George Martin over at EMI. I would like to have auditioned the group when they had a better range of songs to offer, but NOT after they fired Pete Best. In my humble opinion he was a better drummer than Ringo.”
Smith added that “the one that played the most bum notes was McCartney. I was very unimpressed with what was happening with the bassline.” But he also wanted to qualify that observation, reminding us that “we are talking about four young men in a very strange environment, probably a very overpowering environment.” (Best of the Beatles) This is a fair comment to make about four young men entering a professional recording studio for the first time. It should come as no surprise that they were all affected by nerves. It is only natural.
Decca Sign Pete Best
Mike Savage: “If Decca was going to sign The Beatles, we wouldn’t have used Pete Best on the records.” How ironic that, just over a year later, Decca signed the second-most popular group in Liverpool, Lee Curtis and the All-Stars, whose drummer was, of course, Pete Best. Did they use a session drummer? No. It is also clear from what Smith has said that he was happy with Pete Best, and so he would not support the comments by Savage.
Decca released two singles, “Little Girl” and “Let’s Stomp” but, unfortunately, neither made the charts. In mid-1963, the rest of the band decided to split from Curtis to form The Original All-Stars. That group became The Pete Best Four, who were also signed by Decca and produced by none other than Mike Smith. And again, no session drummer was used. The Pete Best Four and Pete Best Combo released several singles and albums. But despite Pete’s profile and the songwriting talents of Wayne Bickerton and Tony Wadsworth, success eluded them.
As a former member of Pete’s group, Bickerton was asked about his drumming. “Pete was a good drummer,” Bickerton said. “All the stories of him not being able to play properly are grossly exaggerated. The problem he fought against was being an ex-Beatle, which worked against us. The talent was in the band, but it was secondary to the Beatle-obsessed media and public.” (Spencer Leigh Let’s Go Down To The Cavern)
In The End?
The Beatles failed the Decca audition as a group, with no single member to blame, be it Pete Best, John Lennon, Paul McCartney or George Harrison. This failed audition could have been the end of the road for The Beatles, not just for Pete.
Brian, however, was not prepared to give up just yet. He took the boys out for a meal and tried to cheer them up. “The boys performed like real troopers when I stressed that this was only the beginning, not the end,” Brian said. “I knew how disappointed and fed up they were.” He felt he had let his boys down, but it was a learning experience for them all.
Thankfully, Decca turned The Beatles down, which meant they got the chance to work with George Martin; a perfect partnership. That Parlophone audition went ok, even if it wasn’t a perfect performance.
Were guitar groups really on the way out as Decca producer and executive Dick Rowe supposedly told Brian Epstein? Was that why they failed the Decca Audition? Mike Smith had raved about The Beatles when he visited the Cavern just a couple of weeks earlier, so why would Rowe not like their sound? “When Mike came back,” said Rowe, “I said, ‘Well, what are they like?’ I wasn’t excited, but I was very interested because there was a lot of underground talk about them. Mike said, ‘Oh, they’re great!’ I said, ‘Well, you better bring them down and give them an audition.” (The Beatles: Oral History)
Finding the Fourth Beatle
In Finding the Fourth Beatle, we decided to analyse the Decca audition in more detail than had been done before. There are so many subjective comments and biases that come through, that we felt we couldn’t just offer another author’s opinion on Pete Best, who seems to get a lot of blame. Was he responsible? Was he a crap drummer as some people think? So, we asked three drummers, of different generations, to listen to the Decca audition and give us their objective opinions on Pete’s drumming. It was very revealing!
Surely, if they were a three-part harmony, guitar-based group like Brian Poole and The Tremeloes. The sound was comparable, so was it simply a case of the two bands being too similar? On the surface, the answer is yes. However, when you dig a bit deeper, you can see why Dick Rowe didn’t sign The Beatles which, thankfully, meant that they were paired with George Martin and not Rowe.
So why has Dick Rowe been blamed for turning down The Beatles? Is the criticism justified? Was it simply a north-south divide problem? Was he biased against Liverpool artists? History shows that Rowe was responsible for the first no. 1 record by a Liverpool artist, even if it was “(How Much Is That) Doggie In The Window” by Lita Roza in March 1953. He also recorded “Halfway To Paradise” and “Jealousy”, two hits by Merseyside’s first rock ‘n’ roll star Billy Fury. The handsome singer-songwriter hailed from Liverpool, so wouldn’t that work in The Beatles’ favour?
So what was it? Did Dick Rowe make the decision, or did The Beatles make the decision for Dick Rowe? Put yourself in Rowe’s place; whom would you have signed? As you will see, it wasn’t a straight comparison between the two groups after all.
1st January 1962: Crying, Waiting, Hoping – The Story of The Audition
Let’s examine The Beatles’ Decca audition in more detail, song-by-song. Bear in mind that they performed these fifteen numbers in less than an hour, probably getting only one shot at each. Mike Smith has said that he expected them to reproduce the great performance he’d seen at the Cavern, and encouraged them to “play the whole spectrum of music” he’d heard.
Even though the songs were regularly performed in their act, they weren’t really representative of The Beatles’ sound. Brian was keen to demonstrate their wide range of talents, both individually and as a group, and to show their musical versatility. In hindsight, it was probably a mistake. But Brian didn’t impose the songs on them.
George and Paul
As George recalled: “In those days a lot of the rock ‘n’ roll songs were actually old tunes from the ‘40s, ‘50s or whenever, which people had rocked up. That was the thing to do if you didn’t have a tune; just rock up an oldie. Joe Brown had recorded a rock ‘n’ roll version of ‘The Sheik of Araby’. He was really popular on the Saturday TV show Six-Five Special and Oh Boy! I did the Joe Brown records, so I did ‘Sheik of Araby’. Paul sang ‘September in the Rain’. We each chose a number we wanted to do.” (Anthology)
Pete thought that, in hindsight, they shouldn’t have allowed Brian to have as much say in the songs they performed: “It was a strange dish to set before the recording kings, with the emphasis on standards which, I remember, was mainly at Brian’s insistence. Really, we were doing little that was different.” (Beatle! The Pete Best Story) John later said that the group “should have rocked like mad in there and shown what we’re like when we’re roused.” (The Beatles: The Biography, Spitz)
Morning arrived all too soon – but not that early, as Brian Epstein noted: “At 11 am…we arrived at Decca in a thin bleak wind, with snow and ice afoot,” he said rather poetically, carefully omitting the detail. (Cellarful of Noise)
Pete recalled Brian’s wrath after he’d warned them about staying out past ten: “When we got to the Decca studios the next day, we were late. Seems to be our history, being late, and Brian of course, was there before us. He was absolutely livid. He tore a strip off us left, right and centre. John just basically turned round and said, ‘Brian, shut up. We’re here for the audition, right.’” (Beatles at The BBC 2012)
Use Our Own Amps?
For some unexplained reason, The Beatles had taken their own amplifiers, as if they were turning up for a live gig. That was the first problem. Their cheap amps may have been passable for performing in clubs, but the hum the amplifiers emitted in the recording studio was an issue. When the hum proved far too audible to the sound engineers, they had to be changed for Decca’s own studio amps. “They didn’t want our tackle,” said Neil. “We had to use theirs. We needn’t have dragged our amps all the way from Liverpool.” (The Beatles. Hunter Davies)
True! This clearly shows how ill-prepared and ill-informed they had been. Adding more headaches to their groggy condition, they also had to cope with a huge, open, icy-cold studio. Decca had been closed for the Christmas period and, consequently, there was little or no room heat.
The boys were accustomed to close interaction in their live performances, but the recording studio was quite another story. The unfamiliar layout meant they could not communicate in the usual way. To avoid sound bleeding into other microphones from the drums, Pete was situated behind a studio ‘baffle’, an isolation screen. This made direct eye contact with the others almost impossible for Pete as all four struggled to keep cue off each other.
Don Dorsey, an engineer who has worked at Abbey Road, explained why this would be a problem: “A recording studio environment is quite different to a live environment. In a live hall, all band members are relatively close together and all their sound output mixes in the environment – the drummer hears everything. In a recording studio, it would be customary for the drummer to be separated from the rest of the band with a large wall-like sound baffle. The purpose of baffles is to keep sounds from one player intruding too much into the microphones of the others. As a result, to hear other band members well, headphones must be used and the sound would be nothing like a live appearance.” (Liddypool DB 2007)
The physical separation was new to The Beatles; the setup at the Hamburg recording sessions had been completely different. They also noticed for perhaps the first time the vast difference between playing to a control booth and performing in front of a live audience. As the top group in Liverpool and Hamburg, they had learnt to “mach shau” – to “work” the audience. This time around, the chance to recreate the magic of the Cavern, which Mike Smith had enjoyed so much, was impossible. On top of everything else, they had a classic case of audition nerves which affected their delivery of even the most familiar songs. No assessment of the Decca audition can be done without taking into consideration all these factors, both external and internal.
Seeing Red – Songs in the Key of Fraught Nerves and Temper Tantrums
Tensions had simmered from the moment The Beatles arrived, gathering even more momentum when the ever-punctual Brian became angered by the late arrival of the Decca staff. Culprit-in-chief was Mike Smith who, like the four lads, was also hung over from the night before. Brian took it personally. “Mike Smith was late and we were pretty annoyed about the delay. Not only because we were anxious to tape some songs but because we felt we were being treated as people who didn’t matter.” (Cellarful of Noise) Here, Epstein reveals his inner insecurity by letting slip his overblown sense of grievance about being treated as someone of importance.
In reality, The Beatles were no doubt relieved that they weren’t the only ones to arrive late, or the only ones to rattle Epstein’s code of behaviour. Dick Rowe avoided the flack this time. The man responsible for the final decision wasn’t at the session. That was left to Smith, who would report the feedback to Rowe later. In the meantime, with everyone finally in place, studio equipment was set up, levels were taken by the engineers in the control booth, and they were off. The scary red light came on, and in the silence and isolation of the Decca studio, the audition began.
Red Light Area
Although the use of the red light was customary to let everyone know that they were ready to record, it was a distraction. “They were pretty frightened,” said Neil. “Paul couldn’t sing one song. He was too nervous and his voice started cracking up. They were all worried about the red light. I asked if it could be put off, but we were told people might come in if it was off. ‘You what?’ we said. We didn’t know what all that meant.” (The Beatles. Hunter Davies) To add to the confusion, the group knew very little about all the microphones, booms and controls. The boys were truly in uncharted territory.
When I look back 10 years, most of my friends on Facebook and Twitter wouldn’t have known me. This last 10 years has been a whirlwind as my life took another turn.
Having had to give up work through ill health in 2000, I wasn’t sure what would happen from there. I started to write for the London Beatles Fan Club magazine – which later became the British Beatles Fan Club – and found that I enjoyed writing about The Beatles that I started on a project that would take 9 years to complete; “Liddypool: Birthplace of The Beatles“. Little did I know where that would take me.
Liddypool was published at the end of 2009 and, much to my amazement, became a worldwide hit. I had never written a book before, and couldn’t have done it without my publisher, Glyn Morris, and Marshall Terrill, my editor. The book sold out in 18 months and the second edition came out in 2011 and a third edition in 2017. It has taken me to America numerous times and around Europe to Beatles conventions and festivals. I never expected any of it. I have met and interviewed so many people connected to The Beatles; what a privilege and honour.
From that book, film producer Garry Popper contacted me and asked me to be the historian for a documentary about John Lennon. “Looking for Lennon” came out in 2018; what a privilege to work on that with Garry and director Roger Appleton.
John Lennon: The Boy Who Became A Legend
Through a good friend of mine, Mark Naboshek – who also edited The Fab one Hundred and Four and Finding the Fourth Beatle – introduced me to Michael Hill, John Lennon’s school friend from the age of 5. It was a privilege for me to edit and help Michael publish his book, “John Lennon: The Boy Who Became A Legend“. A fascinating book.
The Beatles Book
I was then contacted by Hunter Davies, the only ever official Beatles biographer, to collaborate with him, Keith Badman and Spencer Leigh, on a book called The Beatles Book. What an honour!
Finding the Fourth Beatle
Garry then suggested that he and I should write the follow-up to The Fab one hundred and Four, based upon the number of drummers I had identified in that book; 12! So we started with 12 Drummers Drumming, but then I started finding more and more drummers who had played with The Beatles, eventually ending up with 23 drummers, while also solving the mystery of what happened to Pete Best in 1962; he wasn’t sacked! Finding the Fourth Beatle was published in 2018.
While working on all those other projects, I wanted to also indulge my love of crime fiction, so I combined my Beatles research with crime fiction and published my first detective book, “Inspector Rocke: That’ll Be The Day That I Die” in 2017. More books are planned there too!
I am so grateful for everyone who has purchased one of my books. I never expected anything and I still get the biggest thrill whenever I am asked to autograph a book.
Thank you for joining me on this journey. 2020 promised to be an exciting year, with several books planned.
Keep in touch with the latest news by signing up at this website. And don’t forget that you can listen to me and my friend Paul Beesley on our Podcast, “Liddypod“.
A final thank you to my wonderful family and friends for their unending support, which means so much.
Having been invited down to The Cavern by John and Paul (see Part 1), the boys went to Mathew Street. They couldn’t get in to The Cavern!
“We went down there the following day and they wouldn’t let us in while they (The Beatles) were on,” said Joe Ankrah from the group. “Five black guys, standing outside The Cavern, which would have looked suspicious. So after they’d finished and everyone was coming out, they said we could come in then. The saving grace for us was that as we walked in, Paul remembered my name and said; ‘Joe, how are you?’ I told him I’d brought the band, and he was great. It was a really nice atmosphere.
“It was dark, the stage was lit and people were clearing up around us. He asked us to sing, so we started to sing ‘Duke Of Earl’. They were absolutely knocked dead, which was a buzz for us, because we’d been doing all of this rehearsing for twelve months and getting everything sharp without performing anywhere. It was refreshing to see people responding to what we were doing.
go and get brian Epstein!
“Bob Wooler, the Cavern compere, was there and he heard us and said; ‘I must go and get Brian. So he ran down Mathew Street to NEMS to see Eppy, and then came back to us. Brian can’t come down now, but tell the boys not to speak to anyone or sign anything, and we were just bemused. The Beatles picked up their instruments and started playing. We were just happy to be playing with a band, as we were used to just singing together. I would start us off with the pitch and away we’d go.”
There was, however, one problem, and that was Brian Epstein. When Epstein arrived at The Cavern that night, he hadn’t realised that The Shades didn’t have musicians and objected to The Beatles providing the backing. However, after intervention from John and Paul, he was overruled and The Beatles backed The Shades.
john and paul introduced us
“We found ourselves appearing at The Cavern that night and we turned up with these smart black shirts and suits. John or Paul said, ‘I’d like to introduce you all to some friends of ours, The Shades’, and then we walked on, wearing our dark glasses, our shades, being cool, all dressed in black, and we started singing. The place was in an uproar. We only had two microphones, with the lead singer on one, and the other four gathered around the second microphone, and doing our thing, and it was great. That’s where it all started.”
The Shades performed four songs that night: “Duke of Earl”, “A Thousand Stars”, “16 Candles” and “Come Go With Me”.
paul mccartney played piano
“I can remember going up to the Blue Angel after The Cavern”, Joe said, “and we did a few numbers with Paul playing the piano for us for Allan Williams.”
“After appearing with The Beatles, I signed with Eppy on behalf of the band, which didn’t mean much really, as we were under 21. But at least if people asked us to do anything, we could say no, because we were under contract.
played with the beatles
“We played with The Beatles then a couple more times–once at The Majestic Ballroom in Birkenhead on 15 October ‘62, and then La Scala in Runcorn on 16 October ‘62, which I remember because we went over the bridge to this little cinema. Then we played another couple of times with them.
“Lots of our friends were starting up groups, but we were ahead of them, and had worked so hard on our stage presence. We were rough, but I had to tell the others that we can’t be swearing on stage, and getting into arguments with them, but we had to watch what we said, how we said it. We once had a complaint from a member of the audience at the Playboy Club in London because one of us was sweating, and another one had different coloured socks than the others!”
There weren’t many black groups around in the UK at the time, so where did they get their inspiration? Joe explained: “I watched a group called the Deep River Boys, who did all the moves on stage, dancing around the microphone and maybe a little more cabaret than us. We were a bit snobby about cabaret because we didn’t want to do that. However, artists like Frankie Lymon and the Teenagers, or the original Drifters, were a great inspiration to us. Furthermore, I would say all the black American vocal groups like The Marcels, the Del-Vikings, Marvin Gaye, Aretha Franklin and so many more. They were all fantastic.”
With their career under the guidance of Brian Epstein, they should have had success, but it wasn’t to be. “We didn’t do much with Epstein really, because he was busy with The Beatles, Gerry and Cilla,” said Joe. They didn’t see them again until after they had come back from America in 1964, because they had this civic reception at the Town Hall. We were invited, and we were the only other band there. I’ve got the picture from the day to prove it, but the photo has never really been seen, maybe because it had black guys in it. It is hard to believe that it was happening back then, but we just accepted that was the way it was.
juke box jury
The Beatles taped the episode of Juke BoxJury at the Empire Theatre between 2.30pm and 3.15pm on December 7, 1963. Juke Box Jury was a popular show hosted by David Jacobs in which panellists voted on whether forthcoming singles would be hits or misses. In the audience were members of The Beatles’ Northern Area Fan Club members. Juke Box Jury was broadcast later that evening between 6.05pm and 6.35pm, and was watched by an estimated 23 million people.
The first song to be judged was “I Could Write A Book” by The Chants, and this is how The Beatles rated it:
George: “It’s great. Enough plugs and they’ve got a hit.”
David Jacobs: “Are they being too generous?”
the beatles voted it a hit
The Beatles unanimously voted the single a hit, but sadly, despite their support, it failed to achieve chart status. None of the group’s other records fared any better: their debut single, “I Don’t Care”, released in September 1963; “She’s Mine”, released in June 1964; and their last single with Pye, “Sweet Was The Wine”, from September 1964. Commenting on their period with Pye Records, Eddie Amoo commented, “They had no idea what to do with a black doo wop group. They just had no idea.”
The group never found record success despite further releases with Fontana, Page One, Decca and RCA. They toured with box office stars like Helen Shapiro, Bobby Rydell and The Searchers and went to Hamburg and played at the famous Star Club, where they were very popular. “All we had to do,” recalled Joe, “was play two sets of twenty minutes, whereas the other groups were playing three or four hours each night. We had a great time there and Manfred Weissleder was very good to us.”
the real thing
After they disbanded in 1975, Joey and Edmund Ankrah formed another group, OFANCHI, and enjoyed a degree of success on the television show New Faces. Eddie Amoo joined the Liverpool soul band The Real Thing, whose lineup included his brother Chris Amoo. They found UK chart success in June 1976 with “You To Me Are Everything”, which reached number 1 in the UK and number 28 on Billboard’s R&B Singles chart. Their follow-up UK hit, “Can’t Get By Without You”, reached number 2. They released a number of successful albums, including one named after the Toxteth area of Liverpool, their home turf.
The Chants were a fantastic group who should have made it big, especially with the help of The Beatles. Look them up on YouTube and listen to them. Fantastic!
This is an excerpt from “The Black Roots of The Beatles” in my book.
They are among the “Fab 104” people who featured in my second book, “The Fab one hundred and Four: The Evolution of The Beatles”.