When Flora MacDonald in 1746 helped Bonnie Prince Charlie escape from the English to the Isle of Skye, and then to France, little did they know it would help Brian Epstein sign The Beatles! Seriously? Yes! read on.
My Bonnie Lies Over The Ocean
The Scottish folk song that recorded that story was called “My Bonnie Lies Over The Ocean”. When, in 1961, German Producer Bert Kaempfert decided to make a record with Tony Sheridan, backed by The Beatles (as The Beat Brothers), he wanted a song that the German people would know, but was also performed by the British musicians. He chose “My Bonnie” and “When The Saints Go Marching In”.
Recording “My Bonnie”
Kaempfert combined melody with lush orchestral strings and brass. As well as orchestral and jazz-oriented records, he wrote the music for “Strangers In The Night”, recorded by Frank Sinatra, “Wooden Heart” recorded by Elvis Presley, as well as hits for Nat King Cole and Al Martino. Kaempfert must be one of the few, if not only, to have worked with Elvis, Sinatra and The Beatles.
Bert worked for Polydor, who often recorded at a school theatre in Hamburg Harburg. But this was no ordinary theatre, as I found out when I visited there in 2017. Kaempfert had The Beatles and Tony Sheridan, who had been playing this song together at the Top Ten Club, set up on the stage. This is where myth and fact combined to create urban myths!
Some say Kaempfert removed Pete Best’s bass drum and other drums, because he was so bad. This, they claim, became the first of many producers to be dissatisfied with Best’s drumming. There is no evidence for that.
What we do know is that Bert Kaempfert was happy to use The Beatles as a backing band, having seen them several times at the Top Ten Club. We also know that he never used heavy rock ‘n’ roll drums on any track, as he was into Easy Listening music. He therefore asked Pete Best to only use his snare drum and hi-hat cymbal, which he used to great effect, as you can tell when you listen to the record. We have evidence of that. Best’s drumming is superb!
Because there are so many myths, misunderstandings and deliberate mistellings, I was determined in our book, Finding the Fourth Beatle, to ask real drummers what they thought of Pete Best’s drumming on “My Bonnie”. As I said in the book; I am not qualified to offer a professional opinion on drummers, as I am not a drummer, just an author.
Feedback from the drummers
“As Pete Best is not using his bass drum or floor tom, he does a really good job. Maybe Pete at that stage wasn’t experienced or talented enough maybe to play quieter. That is great drumming and a really good, high-speed drum roll in perfect time. How could anyone criticise that?” Mike Rice
“Very tight drum rolls at speed which is hard to do and keep in time. Especially as he didn’t use his full kit, he is very inventive in the use of the snare, with good flicks on the hi-hat, using it like a crash cymbal. A very technical piece of drumming, expertly executed.” Derek and Andrew Hinton
“My Bonnie” and other Songs
What songs were recorded, and in what order, is not known as there is little paperwork completed at the time. It is generally accepted that seven songs were recorded with Kaempfert. On the 22nd June, and possibly on the 23rd June 1961, four songs were committed to tape: “My Bonnie”, plus a German vocal as “Mein Herz Ist Bei Dir”; “The Saints (When The Saints Go Marching In)”; “Why”, written by Sheridan, and “Cry For A Shadow”, George Harrison’s skit on the Shadows, with a virtuoso solo performance, credited to Harrison/ Lennon.
The Beatles were also invited to perform another song, and John chose “Ain’t She Sweet”, one of his favourites, and one that would probably have fitted in with Kaempfert’s desire to record easy listening, old-time songs, that the German listener could identify with. However, what John produced was the harder, rockier sounding vocal performance that they would have done on stage, which didn’t really do him, or the group, justice. There were to be no vocal harmonies that would become their trademark in years to come.
It is also thought that they recorded “Take Out Some Insurance On Me, Baby (If You Love Me, Baby)”, probably at the same sessions, but there isn’t any documentation to confirm this. Sheridan, ably assisted by Paul on bass and Pete on drums also recorded “Nobody’s Child” as well.
This was the Beatles being recorded for the first time as a group, in a studio, with a bona fide producer.
“My Bonnie”, Brian Epstein and The Beatles
To complete the story, Brian Epstein became interested in The Beatles when local fans started asking to order “My Bonnie” by The Beatles. This brought them to Brian’s attention, who, as a record retailer, was interested in a local group who could sell records. (Read the interview with Alistair Taylor for more on that story).
And so, the story that started with Bonnie Prince Charlie’s escape from the English way back in 1746 led to Brian signing The Beatles.
When John and Paul realised that they needed a bass player in their group, they approached two of John’s friends, Stu Sutcliffe and Rod Murray, and offered them the position. The first one to accept would get the job, provided they had their own bass guitar.
They both welcomed the challenge, and Stuart Sutcliffe won. However, Stu has probably had more criticism than any other member of The Beatles over his talent, or perceived lack of musical ability. For decades, the memory of Stuart Sutcliffe has been tainted by those who claim that, even though he was a brilliant painter, he was not much of a musician.
How many times have you heard it said about Stuart?
‘He was only in the group because he was John’s friend’.
‘He used to stand with his back to the audience’.
‘He used to play unplugged so that they couldn’t hear how bad he was playing’.
‘He looked great on stage, but he couldn’t really play’.
Stuart’s talent as a painter has never been in doubt, with a long career as an artist assured, if only he hadn’t died at the tender age of only 21.
The Real Stuart Sutcliffe
Many art experts have said that, had he lived, Stuart would have been one of the pre-eminent painters of the 1960s. On the other hand, there have been many authors and commentators who have told us repeatedly that Stuart couldn’t play the bass. I decided to speak to the people who knew him best: his sister Pauline; Art College friend and flatmate Rod Murray; friend and fellow musician Klaus Voormann; and other musicians who were there at the time.
What evidence can we find to support the claim that Stuart was a good bass player? Or will we find evidence to substantiate the opposing view that he really couldn’t play?
Stuart’s musical skills began when he started playing the piano as a young boy. “Stuart had previously been learning the piano,” said Millie Sutcliffe, Stuart’s mum. “Stuart’s father was a wonderful pianist, a classical musician, though not commercial or anything like that. He played just for his own pleasure. Stuart’s knowledge of music helped him, and he was a pretty good singer, too.”
As Stuart was learning the piano, his father Charles bought him a Spanish guitar, which he played a little, but not to any great level. This alone was not enough to give him an edge in joining the group. As his mum Millie had said, Stuart was also a good singer. He was, in fact, the head chorister at his local church of St. Gabriel’s, Huyton.
Rod Murray or Stuart Sutcliffe – the Bass Race
When John, Paul and George needed a bass player, they offered the position to Stuart and his flatmate Rod Murray. Neither could afford to buy one, so Rod, also at Art College, designed and started to make his own bass guitar.
Stuart’s painting was purchased at an exhibition in the Walker Art Gallery. The exhibition ran from 19 November 1959 to 17 January 1960 and, contrary to some reports, Stuart did not win the competition. However, John Moores, who sponsored the competition, purchased Stuart’s painting, giving him the money to buy the bass guitar. Rod still has his part-made bass guitar, and told me all about it in my interview for The Fab one hundred and Four.
Admittedly, when Stuart purchased his bass guitar, he couldn’t play it. But as a natural musician, and under the tutelage of musician David May, he soon picked it up.
Hamburg – Howie, Dick and Klaus
In order to provide continuous music, Koschmider split up The Beatles and The Seniors, giving Howie Casey the chance to assess Stuart’s competence as a bass player up close. “I was given Stuart Sutcliffe along with Derry and Stan Foster from the Seniors, and we had a German drummer. Stu had a great live style,” he recalled. (Fab one hundred and Four)
Rick Hardy of The Jets also witnessed Sutcliffe at close hand in Hamburg. “Stu never turned his back on stage,” he said emphatically. “Stu certainly played to the audience and he certainly played bass. If you have someone who can’t play the instrument properly, you have no bass sound. There were two rhythm guitarists with The Beatles and if one of them couldn’t play, you wouldn’t have noticed it – but it’s different with a bass guitar. I was there and I can say quite definitely that Stuart never did a show in which he was not facing the audience.”
One of those who became very close to Stuart in Hamburg was Klaus Voormann, who himself became a great bassist respected the world over. “Stu was a really good rock and roll bass player,” said Voormann, “a very basic bass player. He was, at the time, my favourite bass player, and he had that cool look. The Beatles were best when Stuart was still in the band. To me it had more balls. It was even more rock and roll when Stuart was playing the bass and Paul was playing piano or another guitar. The band was, somehow, as a rock and roll band, more complete.”
Pete Best on Stuart
In a rock ‘n’ roll band, the rhythm is driven by the drums and bass guitar working closely together, so the opinion of The Beatles’ drummer, Pete Best, is an important contribution to this debate. ”Stu was a good bass player,” Pete said. “I’ve read so many people putting him down for his bass playing. I’d like to set that one straight. His bass playing was a lot better than people give him credit for. He knew what his limits were. What he did was accept that and he gave 200%. He was the smallest Beatle with the biggest heart.” (quote from interview for Liddypool).
After he’d left The Beatles, not long before his death, Stuart was asked to play with a German group, The Bats. He borrowed his old bass guitar from Klaus Voormann (who had recently purchased it from Stuart) and played with The Bats at the Hamburg Art School Carnival and the Kaiserkeller.
Hopefully, that puts the argument to an end. Stu could play bass!
Stuart brought style, image and a fashion-sense to make The Beatles look cool on stage. He was a great and talented artist too. But he was more than that; he was a good bass player, at a time when John Lennon said The Beatles were at their best. John always remembered his friend; “I looked up to Stu, I depended on him to tell me the truth.”
For the last few years, it has been my privilege to help run the official Stuart Sutcliffe Fan Club on behalf of the family. Join us for free and get updates on events etc to do with Stuart. You can also see examples of his artwork online as well.