In short, nobody was prepared for the wave of Beatlemania when it hit America. And at least once, they got their hands on a Beatle in a hotel lobby, tearing off part of Ringo Starr’s shirt and ripping away his cherished St. They risked detection, arrest and sometimes life and limb in their attempts to sneak past the security cordons. They stood all day and all night in the streets outside the hotels where the band was staying, hoping in vain for a glimpse of the boys. They mobbed the stages, overwhelmed security, chased and sometimes caught the cars carrying their idols. The fans, some as young as 10 years old, some adults, stood in lines outside of stadiums and concert halls for hours and screamed themselves hoarse before, during and after the Beatles’ brief shows. to New York and back, playing and singing to legions of screaming, hysterical fans. Starting in San Francisco, they zig-zagged across North America, from Toronto to Dallas, L.A. No pop group had ever made such a tour - 25 concerts in 23 cities in a month, August 19 – September 20, 1964. With this book, he joins the legions of writers whose tomes feed the still insatiable appetite of Beatles fans for more about the Fab Four. Nearly 40 years later, he’s finally gotten around to writing about it, in Ticket To Ride. The tour changed the way rock ‘n’ roll concerts were played, it changed a lot of people’s minds about The Beatles, and it changed Larry Kane’s life. He was the only American journalist in The Beatles’ official press group on their groundbreaking 1964 U.S. It was quite radical at the time.Larry Kane indeed got a ticket to ride. We almost invented the idea of a new bit of a song on the fade-out with this song. We picked up one of the lines, "My baby don't care," but completely altered the melody. I think the interesting thing is the crazy ending - instead of ending like the previous verse, we changed the tempo. It was pretty much a work job that turned out quite well. Because John sang it, you might have to give him 60 per cent of it. We'd often work those out as we wrote them. We wrote the melody together you can hear on the record, John's taking the melody and I'm singing harmony with it. I remember talking about Ryde but it was John's thing. But this 'number one' business doesn't seem to stop - great while it lasts - but now we'll have to start all over again and people will start predicting funny things for the next one. There's bound to be a time when we come in at 19 (on the charts). With Ticket To Ride we were even more worried. John Lennon, Lennon Remembers - Jann Wenner, 1970 It's a heavy record, and the drums are heavy too. I don't want anything else on the album, the guitars and janglin' piano or whatever. If you'd give me the eight-track now, remix it - I'll show you what it is really, but you can hear it there. If you go and look in the charts for what other music people were making, and you hear it now, it doesn't sound too bad. I liked it, 'cause it was slightly a new sound at the time. Paul McCartney, Paul McCartney: Many Years From Now w/Barry Miles, 1998 John just didn't take the time to explain that we sat down together and worked on that song for a full three-hour songwriting session, and at the end of it all we had all the words, we had the harmonies, and we had all the little bits. Paul's contribution was the way Ringo played the drums. That was one of the earliest heavy-metal records made.
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