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This in-depth book features a meticulously researched and a comprehensive array of inside sources. Here at last is the whole uncensored story of the life and work of the Beatles. The book is fully illustrated throughout, and features interviews with those who knew and worked with the Beatles from the start of their career to the bitter end.

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Included are the frank recollections of Pete Best, the group's first drummer. By the summer of , the old identity would be tossed aside for good as they made the fateful decision to spend their remaining years together creatively hibernating in Abbey Road. From this point forward, there would be no more road trips.

Only one song would be directly influenced by it. However, Pet Sounds would play a major role in the evolution of their next album.

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With fewer distractions to impede their progress, gung-ho experimentation would be the order of the day. New sounds, like a guitar lick being played backwards, are creeping their way into the arrangements. And what a song it is. Taxman is a brilliant satire that every English rock star of the s and 70s can easily relate to. Eleanor Rigby maintains the level of excellence established by Taxman. Lennon is the only one who ever disputed this. The title character originally named Daisy Hawkins is a lonely spinster secretly pining for love and affection as she waits in vain for a suitor who never arrives.

Like Rigby, he has no idea how to connect. If the roles were reversed, the result would be just as heartbreaking. One of those Beatles songs that stays with you long after you hear it. A very European sentiment. If you listen closely, you can hear him yawning late in the track. Sounds good to me. The last verse offers one last bit of wisdom. Great lyrics in this one. Nothing else matters unless you have that special someone to lean on always. The idea of being apart for just a second is agony. The album turns whimsical with the endearing Yellow Submarine. Leave it to The Beatles to make the idea of living underwater in a giant tube sound like fun rather than the claustrophobic torture it would actually be.

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Even on a kid-friendly number like this, the band and producer George Martin are still able to carry forth with their winning experimentation. With its sly time signature changes and strong drumming, the song is more evidence of the band embracing harder material, both lyrically and musically.

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McCartney really was the only member of the band who could sing this with conviction. The overlapping vocals in the dying seconds allow for a memorable ending. Fifty years later, the experimental DNA of the album and its wide, multi-layered range of sounds make it an interesting—if not risky—record to revisit and tinker with.

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While Martin brings modern mixing techniques and software like Pro Tools to the recording booth, he relies nearly as much on vintage technology and ideas that are a half-century old. Tape machines and effects used during the original sessions were wheeled out when useful, but there was no philosophical devotion to analog tech. An original tape machine used on the album in The sounds on it are really good. Even something as simple as adjusting the equalization—or EQ in more common parlance—on the drums is much easier to do today than it was back then.

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For Martin, the goal is to strike a balance between people like this and a new generation of listeners. Somehow, he must appeal to the modern-day equivalent of those kids, while keeping an older generation of fans satisfied enough to plunk down their money one more time. Even if it is 50 years old. By John Paul Titlow 8 minute Read.