Fab: An Intimate Life of Paul McCartney. Howard Sounes

Rory and Iris asked the boys if the dog they’d hit was all right. Ringo said they’d been too tired to stop and find out.

      ‘Get out of the house! I never want to speak to you again!’ Iris raged at the boys, appalled by such lack of feeling. She later reflected that Ringo might have simply made the story up to rile her. Still, it was enough to make her finish with Paul, who pursued her for a while, calling and visiting her house, also trying to see her when she was working summer season at Great Yarmouth, but she shunned him. ‘He kept saying to me mother, “Why won’t she see me?” And me mother said, “Because you’ve got no heart, Paul.”’

* The second part of this couplet is credited to John Lennon.

* UK chart positions are based on the Record Retailer chart, used in turn for the Guinness Book of British Hit Singles. ‘Please Please Me’ went to number one in other UK charts in 1963, but the Beatles do not claim it as a number one, as is evident by its omission from the Beatles’ 1 album.

       CHAPTER 5 THE MANIA

      THE FIRST ALBUM

      Seeking to capitalise on the success of ‘Please Please Me’, George Martin called the Beatles back to EMI and asked them to perform their stage show for him, thus creating in one amazing day, Monday 11 February 1963, a complete album. The Beatles recorded ten songs on the day, to which EMI later added the four numbers previously released as singles, making a 14-track LP. It opened with John and Paul singing in joyful harmony ‘I Saw Her Standing There’, one of eight original Lennon-McCartney compositions on the record, and ended with John alone – his voice by now in shreds – screaming ‘Twist and Shout’.

      This, the Beatles’ début album, established the convention whereby John and Paul would write and sing most of the songs, with at least two lead vocals reserved for George and Ringo. Not yet a songwriter in his own right, George was given ‘Do You Want to Know a Secret’ on the first LP, while Ritchie croaked out the Dixon-Farrell number ‘Boys’, as he had with Rory Storm and the Hurricanes. Ringo’s voice was limited, but a Ringo song was part of what became the successful recipe. Here then was essentially the sound of the Beatles on stage in 1963, as they would have sounded at the Cavern: four young men having the time of their lives, as emphasised by the album cover photo of the lads grinning from the stairs at EMI headquarters in Manchester Square. Entitled Please Please Me, to hook fans who’d bought the single, the LP went to number one in May 1963 and held the top spot month after month, right up until the band’s second LP displaced it. This was sensational.

      A careful reading of the fine print on Please Please Me reveals that the original songs on the LP are credited to ‘McCartney/Lennon’ (sic), and published by Northern Songs Ltd, details that would cause Paul more angst than almost anything in his career. The first two songs the Beatles released, ‘Love Me Do’ and ‘PS I Love You’, the A- and B-side of their début single, had been published by Ardmore & Beechwood, the firm Brian Epstein stumbled upon shopping the Beatles around London. Brian was disappointed by the way Ardmore & Beechwood promoted these songs, so when ‘Please Please Me’ was ready he asked George Martin to suggest a new publisher. Martin directed him to another friend, in the small world of the British music business, Dick James.

      George Martin and Dick James had enjoyed a hit together in 1956 when Parlophone released a recording of James singing the theme to the television show Robin Hood. In mid-life, Dick settled down to work as a song-plugger and music publisher, latterly operating from an office on the Charing Cross Road near the junction of Denmark Street, where music businesses cluster. It was Dick who brought the Tin Pan Alley tune ‘How Do You Do It?’ to George Martin, and George assured Brian Epstein that his friend was honest and hungry for success. Like Brian, Dick was Jewish, which helped the two form a bond. Dick also knew how to charm the younger man. Forewarned that Epstein was dissatisfied with the promotion Ardmore & Beechwood had secured for ‘Love Me Do’, Dick telephoned a contact at BBC television while Brian was in his office and talked the Beatles onto the TV show Thank Your Lucky Stars. Brian was so impressed he offered Dick the rights to John and Paul’s new songs. ‘Please Please Me’ and its B-side ‘Ask Me Why’ were duly published by Dick James Music, with a new company created to handle John and Paul’s subsequent compositions.

      The boys wanted a company. ‘We said to them, “Can we have our own company?”’ Paul recalled. ‘They said, “Yeah.”’ Northern Songs was thereby created, named in honour of the fact the songwriters were from the North of England. It was not entirely Paul and John’s company, though. Dick and his partner Charles Silver owned half of Northern Songs. John and Paul were assigned 20 per cent each, Brian the remaining 10 per cent. Furthermore, Northern Songs would be managed by Dick James Music, the publisher taking a 10 per cent commission off the top, which meant that James earned more money from publishing John and Paul’s songs than they did themselves. Under the terms of the deal all the songs John and Paul wrote for the next three years would go into Northern Songs, with an option to extend the agreement for an additional three years. Brian wasn’t experienced enough to know whether this was good or bad. He was, after all, merely a record-shop manager. He took George Martin’s advice that the deal was sound, and it wasn’t unfair for its day. So it was that one February morning in Liverpool, before hurrying to Manchester to do a show, John and Paul signed their songs away to Dick’s company. Paul came to regret deeply the fact he hadn’t taken independent legal advice before doing so, for he was agreeing to more than he realised at the time; ‘we just signed this thing, not really knowing what it was all about,’ as he complains now, ‘and that is virtually the contract I’m still under. It’s draconian!’

      Paul’s other eternal bugbear is song credits, the form of which was also established at this early stage in the Beatles’ story. In the tradition of the great songwriting teams of the past – from Gilbert and Sullivan to Leiber and Stoller – John and Paul paired their surnames together when they became published writers, styling themselves ‘McCartney and Lennon’ on Please Please Me. This suited Paul, but his business partners didn’t think McCartney and Lennon euphonious. ‘You’ll be Lennon and McCartney,’ he was told.

      ‘Why not McCartney and Lennon?’

      ‘It sounds better.’

      ‘Not to me it doesn’t.’ Yet Paul agreed to the change, implemented for the Beatles’ third single, ‘From Me to You’, which went to number one in May 1963, and remaining the form for every subsequent song published in their name. This came to irk Paul when Beatles songs he had written entirely on his own, notably ‘Yesterday’, were credited to Lennon and McCartney, and he could do nothing to change it.

      For the time being, though, there was just the pure, innocent joy of making music and seeing it successful. On one of his increasingly rare mornings home in Liverpool, in the spring of 1963, Paul awoke in his bed at 20 Forthlin Road to hear the milkman coming up the garden path whistling a familiar tune, ‘From Me to You’. It was the moment that Paul felt he’d made it. And now he met the girl of his dreams.

      JANE ASHER

      She was a lovely-looking young woman, just as pretty as Paul had seen in the papers, for Jane Asher was equally if not more famous than Paul McCartney in early 1963, an actress on stage and screen since she was only five years old, recently a regular panellist on the television pop music show Juke Box Jury. Tonight, Thursday 18 April 1963, Asher, two weeks shy of her 17th birthday, was helping review a pop concert at the Royal Albert Hall for the BBC’s listing magazine, the Radio Times.

      The show was the Beatles’ first engagement at what is perhaps the most famous concert hall in England: a colossal, oval-shaped theatre built in the 1860s to commemorate the life of the Prince Consort, Prince Albert, and a venue Paul would return to many times to perform and watch others play. The Beatles were on a bill with a host of other acts including fellow Liverpudlians Gerry and the Pacemakers and singer Shane Fenton (whom Paul’s