About “Now And Then”

Over the course of five decades, the realization of “Now and Then” was a journey filled with events, shaped by ongoing discussions and collaborations among the four Beatles that continue to this day. The legendary John Lennon demo, steeped in myth, saw its initial efforts in February 1995 when Paul, George, and Ringo worked on it as part of The Beatles Anthology project. However, it remained incomplete, largely due to the formidable technological hurdles posed by John’s recorded vocals from the 1970s. For years, it seemed like the song would never reach completion.

Then, in 2022, a stroke of serendipity occurred. A software system developed by Peter Jackson and his team, integral to the production of the documentary series “Get Back,” finally allowed for the separation of John’s vocals from his piano part. Consequently, the original recording came to life, and all four Beatles contributed to its revitalization.

This extraordinary tale of musical archaeology mirrors The Beatles’ boundless creative curiosity and mutual fascination with technology. It signifies the culmination of the final recording that John, Paul, George, and Ringo will ever create together, and pays tribute to the enduring legacy of the preeminent and most influential band in the history of popular music.

On November 1, 2023, the Beatles’ YouTube channel premiered ‘Now and Then – The Last Beatles Song,’ a 12-minute documentary film written and directed by Oliver Murray. This short film delves into the backstory of the song, featuring insights from McCartney, Starr, Harrison, Sean Lennon, and Jackson. Additionally, it offers a sneak peek of an upcoming release.

Personnel

The Beatles

• John Lennon – lead and backing vocals
• Paul McCartney – lead and backing vocals, bass, lap steel guitar, piano, electric harpsichord, shaker
• George Harrison – backing vocals, acoustic guitar, electric guitar
• Ringo Starr – backing vocals, drums, tambourine, shaker

Production

• Paul McCartney, Giles Martin, Ben Foster – string arrangement
• Produced by Paul McCartney and Giles Martin, with additional production by Jeff Lynne
• Giles Martin, Sam Okell – stereo and Atmos mixes
• Miles Showell – vinyl mastering
• Oli Morgan – Atmos mastering
• Bruce Sugar, Steve Genewick, Greg McAllister, Geoff Emerick, Keith Smith, Mark “Spike” Stent, Steve Orchard, Jon Jacobs – engineering

Orchestra

• Violin: Neel Hammond, Adrianne Pope, Charlie Bisharat, Andrew Bulbrook, Songa Lee, Serena McKinney
• Viola: Ayvren Harrison, Caroline Buckman, Drew Forde, Linnea Powell
• Cello: Mia Barcia-Colombo, Giovanna Clayton, Niall Ferguson
• Double bass: Mike Valerio

The Beatles’ mixed feelings towards the recording sessions of “Sgt. Pepper’s Lonely Hearts Club Band” can be attributed to several factors. By the mid-1960s, The Beatles were facing immense pressure to maintain their status as the world’s leading musical act. The constant touring and recording schedule was taking a toll on their mental and physical well-being. The ambitious nature of “Sgt. Pepper” added to this pressure.

The album marked a significant departure from their previous work. It introduced experimental and unconventional recording techniques, as well as a more complex and layered sound. This shift led to creative differences within the band, as each member had their own vision for the album.

The production of “Sgt. Pepper” was a lengthy and intensive process. The band spent over 700 hours in the studio, which was a departure from their earlier albums that were often recorded relatively quickly. This prolonged process may have been mentally draining for the band members.

The technology available at the time presented challenges. The recording equipment of the 1960s was more limited compared to what is available today. Achieving the ambitious soundscapes they envisioned required extensive experimentation and innovation.

While George Martin was a crucial figure in shaping The Beatles’ sound, there were moments during the “Sgt. Pepper” sessions where the band felt frustrated with him. They occasionally felt that he was not fully grasping their vision or was resistant to their experimental ideas.

The band was known for their dedication to perfectionism in the studio. This could lead to long hours of rehearsal and multiple takes. While this dedication contributed to their musical excellence, it also meant that the process could be laborious and tiring.

Despite these challenges, “Sgt. Pepper’s Lonely Hearts Club Band” ultimately became a landmark album in the history of popular music, receiving critical acclaim and becoming one of the best-selling albums of all time. It’s important to note that while the sessions may have been challenging, the end result was a testament to The Beatles’ creativity and innovation.

“Paul is Dead” is an enduring urban legend and conspiracy theory suggesting that the English musician Paul McCartney of the Beatles passed away in a tragic car accident in 1966 and was covertly replaced by a doppelgänger. This rumor first emerged in 1966, but gained widespread traction in September 1969, particularly on American college campuses.

According to this theory, in order to shield the public from the sorrow of McCartney’s demise, the surviving members of the Beatles, with the alleged assistance of Britain’s MI5, orchestrated the substitution with a McCartney look-alike. They purportedly encoded this secret through subtle details within their albums, leading enthusiasts to scrutinize Beatles songs and cover artwork for clues. By October 1969, this pursuit had evolved into an international phenomenon. The fervor waned after Life magazine published an interview with McCartney in November 1969, addressing the rumors.

This phenomenon has been examined through the lenses of sociology, psychology, and communications throughout the 1970s. McCartney himself playfully lampooned the hoax with the title and cover art of his 1993 live album, “Paul Is Live.” Time magazine recognized this legend as one of “the world’s most enduring conspiracy theories” in 2009.

“Paul is Dead” is a longstanding urban legend and conspiracy theory surrounding the English rock band The Beatles, particularly focused on Paul McCartney. The theory claims that Paul McCartney died in a car crash in 1966 and was secretly replaced by a look-alike.

Alleged clues of “Paul is Dead”

This rumor gained momentum in the late 1960s when fans began scrutinizing Beatles album covers, lyrics, and songs for supposed hidden messages that hinted at Paul’s death. Some of the alleged clues include:

Abbey Road Album Cover: On the cover of the Beatles’ 1969 album “Abbey Road,” Paul is barefoot and out of step with the others, which was interpreted as a symbol of a corpse. Also, the fact that he is holding a cigarette in his right hand, although McCartney was left-handed, was seen as another sign.

“Revolution 9”: Some backward-masking enthusiasts claimed to hear messages when the song “Revolution 9” was played in reverse. They believed they heard “Turn me on, dead man” in the gibberish.

Backward Lyrics: When certain Beatles songs were played backward, fans claimed to hear phrases that confirmed Paul’s death. For example, “Number nine, number nine” from “Revolution 9” was interpreted as “Turn me on, dead man” when reversed.

“I’m So Tired”: Some fans believed that John Lennon muttered “Paul is dead, man, miss him, miss him” at the end of the song “I’m So Tired” from the “White Album.”

Hidden Messages in Songs: Fans listened closely for hidden messages in Beatles songs, such as hearing the words “I buried Paul” in the fade-out of “Strawberry Fields Forever.”

Despite the fervor surrounding this theory, it’s important to note that the “Paul is Dead” rumor was largely debunked. Paul McCartney himself has repeatedly confirmed that he is alive and well. The supposed “clues” are often coincidences or misinterpretations.

The enduring nature of this urban legend can be attributed to the fascination people have with celebrity culture, the mystique of hidden messages, and the enduring popularity of The Beatles. Additionally, urban legends tend to persist even in the face of evidence to the contrary, as they often tap into deeper cultural or psychological themes.

The Beatles’ “Love” album is a unique compilation released in 2006. It was created by George Martin and his son Giles Martin, who worked with the support of Paul McCartney, Ringo Starr, Yoko Ono, and Olivia Harrison. The album serves as the soundtrack to the Cirque du Soleil show of the same name, which was a theatrical production incorporating Beatles music.

“Love” is distinct from other Beatles albums as it features a blend of familiar songs, with innovative and creative remixes and mashups of their original recordings. The Martins were given access to the original master tapes and were able to isolate individual tracks, allowing them to create new arrangements and combinations of Beatles songs.

The album’s tracks flow seamlessly from one to the next, creating a continuous musical experience. It showcases a fresh perspective on the Beatles’ catalog, offering a new way to appreciate their music.

Some tracks on “Love” include unique versions of classics like “Get Back,” “Eleanor Rigby,” and “Lucy in the Sky with Diamonds,” among others. The album also features elements from unreleased Beatles recordings and interviews, creating a truly immersive experience for fans.

“Love” received critical acclaim and won two Grammy Awards. It stands as a testament to the enduring creativity and innovation of The Beatles’ music, even decades after their initial recordings.

Let It Be… Naked, released on 17 November 2003 by Apple Records, presents an alternative mix of the Beatles’ 1970 album ‘Let It Be.’ Paul McCartney spearheaded this project, aiming to recapture the band’s raw, live-to-tape essence, which he believed was not fully captured by the original album’s producer, Phil Spector. ‘Naked’ offers newly mixed versions of the original tracks, sans incidental studio chatter and most of Spector’s embellishments. Additionally, it swaps out two tracks from the 1970 release, ‘Dig It‘ and ‘Maggie Mae,’ and introduces ‘Don’t Let Me Down,’ originally the B-side of the ‘Get Back‘ single.

McCartney’s vision for ‘Naked’ was to return to the rock and roll roots of their early years, forsaking the orchestral overdubs and additions made by Spector to three of the songs on the final ‘Let It Be‘ album. Particularly, McCartney was discontented with Spector’s mixes for these three tracks, notably ‘The Long and Winding Road.’ George Harrison supported the ‘Naked’ project before his passing.

In contrast, Lennon’s perspective, as expressed in a December 1970 interview with Rolling Stone magazine, defended Spector’s work. He believed Spector transformed what was originally poorly recorded material into something significant. Harrison and Ringo Starr also spoke positively about Spector’s contribution.

The traditional Liverpool folk song ‘Maggie Mae‘ and the improvisational piece ‘Dig It” were omitted from ‘Naked,’ as they didn’t align with the concept of a straightforward album. Lennon’s ‘Don’t Let Me Down‘ was incorporated, featuring a composite edit of the rooftop concert versions. ‘I’ve Got a Feeling‘ was also presented in a new composite edit. For ‘The Long and Winding Road,’ the producers opted for the final take, recorded five days after Spector’s selection for the original album.

“1” is a compilation album released on November 13, 2000. The album features many of the Beatles’ number-one hits from various charts around the world. The album contains 27 tracks, each of which reached the number-one position on either the UK singles chart or the US Billboard Hot 100. “1” was released on November 13, 2000, in the United Kingdom, and on November 14, 2000, in the United States.

Upon its release, “1” quickly became a commercial success. It topped the charts in multiple countries and was certified multi-platinum in several regions. Some of the notable tracks featured on “1” include “Hey Jude“, “Let It Be“, “Can’t Buy Me Love“, “A Hard Day’s Night“, “Help!“, “Penny Lane“, and many more. The album received positive reviews from music critics. It was praised for its selection of songs, audio quality, and the impact of the Beatles’ music on popular culture. The album cover features a black-and-white photograph of the Beatles taken by Angus McBean.

“1” further solidified the Beatles’ status as one of the most influential and successful bands in music history. It introduced their music to a new generation and reminded longtime fans of the band’s enduring appeal. The album has been re-issued in various formats over the years, including special editions with bonus materials. “1” has received numerous certifications around the world, indicating its commercial success and popularity. It has been certified diamond in the United States, indicating sales of over 10 million copies. “1” played a significant role in revitalizing interest in the Beatles’ music at the turn of the century. It also contributed to the resurgence of interest in physical CDs at a time when digital downloads were becoming more prevalent.

“1” remains one of the best-selling and most iconic compilation albums in music history. It stands as a testament to the enduring popularity and influence of the Beatles’ music.

• Release date: November 13, 2000
• Genres: Rock, Pop music, Pop rock, Beat music, Psychedelic rock
• Studio: EMI, Apple, Olympic and Trident Studios, London; Pathé Marconi Studios, Paris

“Anthology 3” is the final installment in a three-part series of albums released by The Beatles in 1996. This compilation album offers a unique insight into the band’s later years, showcasing a range of unreleased recordings, alternate takes, and live performances.

One of the distinctive features of “Anthology 3” is its focus on The Beatles’ post-Revolver era. It includes studio outtakes from the “White Album” sessions, as well as recordings from the “Let It Be” sessions, providing listeners with a glimpse into the band’s creative process during this period of transition and experimentation.

The album also features live performances, giving fans the opportunity to experience The Beatles in a concert setting. These recordings capture the band’s musical prowess and demonstrate their ability to deliver memorable performances on stage.

“Anthology 3” showcases the evolution of The Beatles’ sound and style, highlighting their growth as musicians and songwriters. It includes early versions of well-known tracks like “Helter Skelter” and “While My Guitar Gently Weeps,” offering a fresh perspective on these classic songs.

The album cover maintains the psychedelic aesthetic that was popular in the late 1960s, reflecting the era in which many of these recordings were made. Overall, “Anthology 3” serves as a valuable addition to The Beatles’ discography, providing fans with a comprehensive and intimate look into the band’s creative process and musical journey.

“Anthology 2” is the second installment of a three-part series of albums released by The Beatles in 1996. This compilation album features a diverse collection of previously unreleased recordings, alternating takes, and live performances from various periods in the band’s career. It provides a fascinating glimpse into the creative process and evolution of one of the most iconic and influential bands in music history.

Some of the highlights of “Anthology 2” include early demo versions of songs like “Strawberry Fields Forever” and “Lucy in the Sky with Diamonds,” giving listeners a chance to hear these classics in their early stages of development. The album also includes alternating takes of well-known tracks like “I Am the Walrus” and “Revolution,” offering a unique perspective on the band’s recording sessions.

In addition to studio recordings, “Anthology 2” includes live performances from The Beatles’ heyday, showcasing their raw energy and tight musicianship. These tracks provide a vivid sense of what it was like to experience The Beatles in a live concert setting.

The album cover features artwork reminiscent of the psychedelic style that was popular during the late 1960s, reflecting the era in which many of these recordings were made. “Anthology 2” is a valuable addition to the Beatles discography, allowing fans to delve deeper into the band’s creative process and enjoy previously unheard material from this legendary group.

About Anthology I

“Anthology I” by The Beatles is a compilation album that was released in 1995. It is the first volume of a three-part series that provides a comprehensive look at the Beatles’ musical journey. The album features a mix of studio outtakes, alternate versions of familiar songs, and previously unreleased tracks, giving fans a behind-the-scenes glimpse into the creative process of one of the most influential bands in music history.

The tracks on “Anthology I” span the early years of the Beatles, from their formative days in Liverpool to their breakthrough on the international music scene. It includes recordings from the period 1958 to 1964, showcasing the band’s evolution from a local act playing in clubs to a global phenomenon.

Some notable highlights from “Anthology I” include early versions of songs like “Love Me Do” and “Please Please Me,” as well as unreleased tracks like “Free as a Bird,” which was completed by the surviving members of the band for the Anthology project.

In addition to the music, “Anthology I” also includes spoken-word segments featuring interviews with John Lennon, Paul McCartney, George Harrison, and Ringo Starr. These interviews provide valuable insights into the band’s dynamic and creative process.

Overall, “Anthology I” offers a fascinating and intimate portrait of the Beatles’ early years, making it a must-listen for both dedicated fans and those interested in the history of popular music. It serves as a testament to the enduring legacy of the Beatles and their enduring impact on the world of music.

Past Masters is a two-disc compilation originally released as two separate volumes on 7 March 1988, as part of the first issue of the band’s catalogue on compact disc.

Every song released commercially by the band that wasn’t on the Beatles’ 12 original UK albums or the US Magical Mystery Tour LP is included in this set. Mark Lewisohn provides background information in the liner notes. Most of the Past Masters set is made up of A- and B-sides from the band’s singles, including single versions of songs that appeared on the band’s albums in a different format. A UK-only EP, two German-language tracks, a song recorded for the American market, and a charity compilation track are also included.

Past Masters is the Beatles’ 14th (and final) major release, despite not being a studio album. The Beatles’ core catalog was standardized in 1987, followed by official re-releases in 2009.

Past Masters Vol. 2 contains 15 tracks from British singles with B-sides.
It includes “Wildlife” version of “Across the Universe” (from the charity album No One’s Gonna Change Our World) and the 1970 stereo mix of “The Inner Light” previously available only on a limited edition 1981 EP.

Past Masters Vol. 2 tracklist

(All songs written and composed by Lennon–McCartney, except where noted).

1. Day Tripper
2. We Can Work It Out
3. Paperback Writer
4. Rain
5. Lady Madonna
6. The Inner Light (Harrison)
7. Hey Jude
8. Revolution
9. Get Back
10. Don’t Let Me Down
11. The Ballad of John and Yoko
12. Old Brown Shoe (Harrison)
13. Across the Universe
14. Let It Be
15. You Know My Name (Look Up the Number)