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The Word The Beatles. The single, a promising but fairly rudimentary effort, hovered around the lower reaches of the British Top The Beatles phenomenon didn't truly kick in until "Please Please Me," which topped the British charts in early This was the prototype British Invasion single: an infectious melody, charging guitars, and positively exuberant harmonies.

What the Beatles had done was take the best elements of the rock and pop they loved and make them their own. What they added was an unmatched songwriting savvy inspired by Brill Building teams such as Gerry Goffin and Carole King , a brash guitar-oriented attack, wildly enthusiastic vocals, and the embodiment of the youthful flair of their generation, ready to dispense with postwar austerity and claim a culture of their own.

They were also unsurpassed in their eclecticism, willing to borrow from blues, popular standards, gospel, folk, or whatever seemed suitable for their musical vision. Producer George Martin was the perfect foil for the group, refining their ideas without tinkering with their cores; during the last half of their career, he was indispensable for his ability to translate their concepts into arrangements that required complex orchestration, innovative applications of recording technology, and an ever-widening array of instruments.

Just as crucially, the Beatles were never ones to stand still and milk formulas. All of their subsequent albums and singles would show remarkable artistic progression though never at the expense of a damn catchy tune.

Even on their second LP, With the Beatles , it was evident that their talents as composers and instrumentalists were expanding furiously, as they devised ever more inventive melodies and harmonies, and boosted the fullness of their arrangements.

After some celebrated national TV appearances, Beatlemania broke out across the British Isles in late , and the group generating screams and hysteria at all of their public appearances, musical or otherwise. Capitol, which had first refusal of the Beatles' recordings in the United States, had declined to issue the group's first few singles, which ended up appearing on relatively small American independents.

The Beatles' television appearances on The Ed Sullivan Show in February of launched Beatlemania and the entire British Invasion on an even bigger scale than it had reached in Britain. No one had ever dominated the market for popular music so heavily; it's doubtful that anyone ever will again.

The Beatles themselves would continue to reach number one with most of their singles and albums until their breakup. Hard as it may be to believe today, the Beatles were often dismissed by cultural commentators of the time as nothing more than a fad that would vanish within months as the novelty wore off.

The Beatles' success, too, had begun to open the U. Between riotous international tours in and , the Beatles continued to squeeze out more chart-topping albums and singles. Until , the group's British albums were often truncated for release in the States; when their catalog was transferred to CD, the albums were released worldwide in their British configurations.

In retrospect, critics have judged Beatles for Sale late and Help! To some degree, that's true. Touring and an insatiable market placed heavy demands upon their songwriting, and some of the originals and covers on these records, while brilliant by many group's standards, were filler in the context of the Beatles' best work.

But when at the top of their game, the group was continuing to push forward. Although the Beatles' second film, Help! By this time, though, the Beatles had nothing to prove in commercial terms; the remaining frontiers were artistic challenges that could only be met in the studio. They rose to the occasion at the end of with Rubber Soul, one of the classic folk-rock records. Lyrically, Lennon, McCartney, and even Harrison who was now writing some tunes on his own were evolving beyond boy-girl scenarios into complex, personal feelings.

They were also pushing the limits of studio rock by devising new guitar and bass textures, experimenting with distortion and multi-tracking, and using unconventional for rock instruments like the sitar. As much of a progression as Rubber Soul was relative to their previous records, it was but a taster for the boundary-shattering outings of the next few years. Drugs psychedelic and otherwise were fueling their already fertile imaginations, but they felt creatively hindered by their touring obligations.

Revolver, released in the summer of , proved what the group could be capable of when allotted months of time in the studio. Hazy hard guitars and thicker vocal arrangements formed the bed of these increasingly imagistic, ambitious lyrics; the group's eclecticism now encompassed everything from singalong novelties "Yellow Submarine" and string quartet-backed character sketches "Eleanor Rigby" to Indian-influenced swirls of echo and backward tapes "Tomorrow Never Knows".

Some would complain that the Beatles had abandoned the earthy rock of their roots for clever mannerism. But Revolver, like virtually all of the group's singles and albums from "She Loves You" on, would be a worldwide chart-topper.

For the past couple of years, live performance had become a rote exercise for the group, tired of competing with thousands of screaming fans that drowned out most of their voices and instruments. A summer worldwide tour was particularly grueling: the group's entourage was physically attacked in the Philippines after a perceived snub of the country's queen, and a casual remark by John Lennon about the Beatles being bigger than Jesus Christ was picked up in the States, resulting in the burning of Beatle records in the Bible belt and demands for a repentant apology.

Their final concert of that American tour in San Francisco on August 29, would be their last in front of a paying audience, as the group decided to stop playing live in order to concentrate on their studio recordings. This was a radical indeed, unprecedented step in , and the media was rife with speculation that the act was breaking up, especially after all four spent late engaged in separate personal and artistic pursuits.

Frequently cited as the strongest double A-side ever, the Beatles were now pushing forward into unabashedly psychedelic territory in their use of orchestral arrangements and Mellotron, without abandoning their grasp of memorable melody and immediately accessible lyrical messages. Pepper, released in June as the Summer of Love dawned, was the definitive psychedelic soundtrack. Or, at least, so it was perceived at the time: subsequent critics have painted the album as an uneven affair, given a conceptual unity via its brilliant multi-tracked overdubs, singalong melodies, and fairy tale-ish lyrics.

Others remain convinced, as millions did at the time, that it represented pop's greatest triumph, or indeed an evolution of pop into art with a capital A. In addition to mining all manner of roots influences, the musicians were also picking up vibes from Indian music, avant-garde electronics, classical, music hall, and more.

When the Beatles premiered their hippie anthem "All You Need Is Love" as part of a worldwide TV broadcast, they had been truly anointed as spokespersons for their generation a role they had not actively sought , and it seemed they could do no wrong. Musically, that would usually continue to be the case, but the group's strength began to unravel at a surprisingly quick pace.

In August , Brian Epstein -- prone to suicidal depression over the past year -- died of a drug overdose, leaving them without a manager. They pressed on with their next film project, Magical Mystery Tour, directed by themselves; lacking focus or even basic professionalism, the picture bombed when it was premiered on BBC television in December , giving the media the first real chance they'd ever had to roast the Beatles over a flame.

Another film, the animated feature Yellow Submarine, would appear in , although the Beatles had little involvement with the project, either in terms of the movie or the soundtrack. In early , the Beatles decamped to India for a course in transcendental meditation with the Maharishi; this too became something of a media embarrassment as each of the four would eventually depart the course before its completion.

The Beatles did use their unaccustomed peace in India to compose a wealth of new material. While largely abandoning their psychedelic instruments to return to guitar-based rock, they maintained their whimsical eclecticism, proving themselves masters of everything from blues-rock to vaudeville. The problem, at least in terms of the group's long-term health, was that these were very much individual songs, as opposed to collective ones.

Lennon and McCartney had long composed most of their tunes separately you can almost always tell the composer by the lead vocalist. But they had always fed off of each other not only to supply missing bits and pieces that would bring a song to completion, but to provide a competitive edge that would bring out the best in the other.

McCartney's romantic melodicism and Lennon's more acidic, gritty wit were perfect complements for one another. By The White Album, it was clear if only in retrospect that each member was more concerned with his own expression than that of the collective group: a natural impulse, but one that was bound to lead to difficulties.

In addition, George Harrison was becoming a more prolific and skilled composer as well, imbuing his own melodies which were nearly the equal of those of his more celebrated colleagues with a cosmic lightness.

Harrison was beginning to resent his junior status, and the group began to bicker more openly in the studio. Ringo Starr, whose solid drumming and good nature could usually be counted upon as was evident in his infrequent lead vocals , actually quit for a couple of weeks in the midst of the White Album sessions though the media was unaware of this at the time.

Personal interests were coming into play as well: Lennon's devotion to romantic and artistic pursuits with his new girlfriend and soon-to-be wife Yoko Ono was diverting his attentions from the Beatles. Apple Records, started by the group earlier in as a sort of utopian commercial enterprise, was becoming a financial and organizational nightmare.

These weren't the ideal conditions under which to record a new album in January , especially when McCartney was pushing the group to return to live performing, although none of the others seemed especially keen on the idea. They did agree to try and record a "back-to-basics," live-in-the-studio-type LP, the sessions being filmed for a television special.

That plan almost blew up when Harrison, in the midst of tense arguments, left the group for a few days. Although he returned, the idea of playing live concerts was put on the back burner; Harrison enlisted American soul keyboardist Billy Preston as kind of a fifth member on the sessions, both to beef up the arrangements and to alleviate the uncomfortable atmosphere. Exacerbating the problem was that the Beatles didn't have a great deal of first-class new songs to work with, although some were excellent.

In order to provide a suitable concert-like experience for the film, the group did climb the roof of their Apple headquarters in London to deliver an impromptu performance on January 30, , before the police stopped it; this was their last live concert of any sort.

Generally dissatisfied with these early sessions, the album and film -- at first titled Get Back, and later to emerge as Let It Be -- remained in the can as the group tried to figure out how the projects should be mixed, packaged, and distributed.

By this time, the Beatles' quarrels were intensifying in a dispute over management: McCartney wanted their affairs to be handled by his new father-in-law, Lee Eastman, while the other members of the group favored a tough American businessman, Allen Klein. It was something of a miracle, then, that the final album recorded by the group, Abbey Road, was one of their most unified efforts even if, by this time, the musicians were recording many of their parts separately.

It certainly boasted some of their most intricate melodies, harmonies, and instrumental arrangements; it also heralded the arrival of Harrison as a composer of equal talent to Lennon and McCartney, as George wrote the album's two most popular tunes, "Something" and "Here Comes the Sun.

Lennon, who had begun releasing solo singles and performing with friends as the Plastic Ono Band, threatened to resign in late , although he was dissuaded from making a public announcement. Most of the early tapes remained unreleased, partially because the footage for the planned television broadcast of these sessions was now going to be produced as a documentary movie.

The accompanying soundtrack album, Let It Be, was delayed so that its release could coincide with that of the film. Lennon, Harrison, and Allen Klein decided to have celebrated American producer Phil Spector record some additional instrumentation and do some mixing.

Thus the confusion that persists among most rock listeners to this day: Let It Be, although the last Beatles album to be released, was not the last one to be recorded.

Abbey Road should actually be considered as the Beatles' last album; most of the material on Let It Be, including the title track which would be the last single released while the group was still together , was recorded several months before the Abbey Road sessions began in earnest, and a good 15 months or so before its May release. By that time, the Beatles were no more. The outside world for the most part remained almost wholly unaware of the seriousness of the group's friction, making it a devastating shock for much of the world's youth when McCartney announced that he was leaving the Beatles on April 10, The "announcement" was actually contained in a press release for his new album, in which his declaration of his intention to work on his own effectively served as a notice of his departure.