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• • • Website Past members • • • • See for others The Beatles were an English band formed in in 1960. With members,, and, they became widely regarded as of the rock era. Rooted in, and 1950s, the Beatles later experimented with several, ranging from and to and, often incorporating elements and unconventional in innovative ways. In 1963 their enormous popularity first emerged as '; as the group's music grew in sophistication, led by primary songwriters, the band were integral to pop music's and came to be perceived as an embodiment of the ideals shared by the. The Beatles built their reputation playing clubs in Liverpool and over a three-year period from 1960, with initially serving as bass player. The core trio of Lennon, McCartney and Harrison went through a succession of drummers, including, before asking Starr to join them in 1962. Manager moulded them into a professional act, and producer guided and developed their recordings, greatly expanding the group's popularity in the United Kingdom after their first hit, ', in late 1962.

They acquired the nickname 'the Fab Four' as Beatlemania grew in Britain over the next year, and by early 1964 became international stars, leading the ' of the United States pop market. From 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums (1965), (1966), (1967), (also known as the White Album, 1968) and (1969).

After in 1970, they each enjoyed success as solo artists. McCartney and Starr, the surviving members, remain musically active. Lennon was in December 1980, and Harrison died of lung cancer in November 2001.

The Beatles are the in history, with estimated sales of over 800 million physical and digital albums worldwide. They have had more number-one albums on the and sold more singles in the UK than any other act. They are also the, with 178 million certified units.

In 2008, the group topped magazine's list of the all-time most successful artists; as of 2017, they hold the record for chart with twenty. They have received seven, an for and fifteen. The group was inducted into the in 1988, and all four main members were inducted individually from 1994 to 2015.

They were also collectively included in magazine's compilation of. Abbey Road Studios main entrance Martin's first recording session with the Beatles took place at EMI's in London on 6 June 1962. Martin immediately complained to Epstein about Best's poor drumming and suggested they use a in his place. Already contemplating Best's dismissal, the Beatles replaced him in mid-August with, who left to join them. A 4 September session at EMI yielded a recording of ' featuring Starr on drums, but a dissatisfied Martin hired drummer for the band's third session a week later, which produced recordings of 'Love Me Do', ' and '.

Martin initially selected the Starr version of 'Love Me Do' for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine. Released in early October, 'Love Me Do' peaked at number seventeen on the chart. Their television debut came later that month with a live performance on the regional news programme. After Martin suggested rerecording 'Please Please Me' at a faster tempo, a studio session in late November yielded that recording, of which Martin accurately predicted, 'You've just made your first No.1.' In December 1962, the Beatles concluded their fifth and final Hamburg residency. By 1963, they had agreed that all four band members would contribute vocals to their albums – including Starr, despite his restricted vocal range, to validate his standing in the group.

Lennon and McCartney had established a songwriting partnership, and as the band's success grew, their dominant collaboration limited Harrison's opportunities as a. Epstein, in an effort to maximise the Beatles' commercial potential, encouraged them to adopt a professional approach to performing. Lennon recalled him saying, 'Look, if you really want to get in these bigger places, you're going to have to change – stop eating on stage, stop swearing, stop smoking.'

Lennon said: 'We used to dress how we liked, on and off stage. He'd tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn't want us suddenly looking square. He'd let us have our own sense of individuality.' 1963–1966: Beatlemania and touring years Please Please Me and With the Beatles. Sample of '. The song's repeated use of 'yeah' exclamations became a signature phrase for the group at the time. Problems playing this file?

Released in March 1963, the album initiated a run during which eleven of their twelve studio albums released in the United Kingdom through 1970 reached number one. The band's third single, ', came out in April and was also a chart-topping hit, starting an almost unbroken string of seventeen British number-one singles for the Beatles, including all but one of the eighteen they released over the next six years.

Issued in August, the band's fourth single, ', achieved the fastest sales of any record in the UK up to that time, selling three-quarters of a million copies in under four weeks. It became their first single to sell a million copies, and remained the biggest-selling record in the UK until 1978. Their commercial success brought increased media exposure, to which the Beatles responded with an irreverent and comical attitude that defied the expectations of pop musicians at the time, inspiring even more interest. The band toured the UK three times in the first half of the year: a four-week tour that began in February, the Beatles' first nationwide, preceded three-week tours in March and May–June.

As their popularity spread, a frenzied adulation of the group took hold. Greeted with riotous enthusiasm by screaming fans, the press dubbed the phenomenon '. Although not billed as tour leaders, the Beatles overshadowed American acts and during the February engagements and assumed top billing 'by audience demand', something no British act had previously accomplished while touring with artists from the US. A similar situation arose during their May–June.

McCartney, Harrison, Swedish pop singer and Lennon on the set of the Swedish television show Drop-In, 30 October 1963 In late October, the Beatles began a five-day tour of Sweden, their first time abroad since the final Hamburg engagement of December 1962. On their return to the UK on 31 October several hundred screaming fans greeted them in heavy rain. Around 50 to 100 journalists and photographers as well as representatives from the also joined the airport reception, the first of more than 100 such events. The next day, the band began its fourth tour of Britain within nine months, this one scheduled for six weeks. In mid-November, as Beatlemania intensified, police resorted to using high-pressure water hoses to control the crowd before a concert in Plymouth. Please Please Me maintained the top position on the Record Retailer chart for 30 weeks, only to be displaced by its follow-up,, which EMI released on 22 November to record advance orders of 270,000 copies.

The LP topped a half-million albums sold in one week. Recorded between July and October, With the Beatles made better use of studio production techniques than its predecessor. It held the top spot for 21 weeks with a chart life of 40 weeks. Erlewine described the LP as 'a sequel of the highest order – one that betters the original'. In a reversal of then standard practice, EMI released the album ahead of the impending single ', with the song excluded to maximise the single's sales. The album caught the attention of music critic of, who suggested that Lennon and McCartney were 'the outstanding English composers of 1963'.

The newspaper published a series of articles in which Mann offered detailed analyses of the music, lending it respectability. With the Beatles became the second album in UK chart history to sell a million copies, a figure previously reached only by the 1958. When writing the for the album, the band's press officer,, used the superlative the 'fabulous foursome', which the media widely adopted as 'the Fab Four'. 'British Invasion'. Main article: EMI's American subsidiary,, hindered the Beatles' releases in the United States for more than a year by initially declining to issue their music, including their first three singles.

Concurrent negotiations with the independent US label led to the release of some of the songs in 1963, but not all. Vee-Jay finished preparation for the album, culled from most of the songs of Parlophone's Please Please Me, but a management shake-up led to the album not being released. Then when it surfaced that the label did not report royalties on their sales, the licence Vee-Jay signed with EMI was voided. A new licence was granted to the label for the single 'She Loves You'.

The record received some airplay in the of Virginia by Gene Loving of radio station and was featured on the 'Rate-a-Record' segment of, but it failed to catch on nationally. Epstein arranged for a $40,000 US marketing campaign. American chart success began after disc jockey Carroll James of AM radio station WWDC (now ) in Washington, DC first played ' in mid-December 1963. It was not until the end of the first week of January 1964 that their records were played in New York City (also accompanied by a major marketing campaign and with similar play frequency), and then the rest of the country, initiating their music's spread across US radio.

This caused an increase in demand, leading Capitol to rush-release 'I Want to Hold Your Hand' later that month. Issued on 26 December 1963, with the band's previously scheduled debut there just weeks away, 'I Want to Hold Your Hand' sold a million copies, becoming a number-one hit in the US by mid-January. In its wake, Vee-Jay released Introducing. The Beatles to go along with Capitol's debut album,, while Swan reactivated production of 'She Loves You'. The Beatles arriving at John F. Kennedy International Airport, 7 February 1964 On 7 February 1964, the Beatles left the United Kingdom with an estimated 4,000 fans gathered at Heathrow, waving and screaming as the aircraft took off. Upon landing at New York's, an uproarious crowd estimated at 3,000 greeted them.

They gave their first live US television performance two days later on, watched by approximately 73 million viewers in over 23 million households, or 34 per cent of the American population. Biographer Jonathan Gould writes that, according to the rating service, it was 'the largest audience that had ever been recorded for an American television program'. The next morning, the Beatles awoke to a negative critical consensus in the US, but a day later their first US concert saw Beatlemania erupt.

Back in New York the following day, the Beatles met with another strong reception during two shows. The band then flew to Florida and appeared on the weekly Ed Sullivan Show a second time, before another 70 million viewers, before returning to the UK on 22 February. A Hard Day's Night Capitol Records' lack of interest throughout 1963 had not gone unnoticed, and a competitor,, encouraged to offer the group a three-motion-picture deal, primarily for the commercial potential of the soundtracks. Directed by, involved the band for six weeks in March–April 1964 as they played themselves in a. The film premiered in London and New York in July and August, respectively, and was an international success, with some critics drawing comparison with the. According to Erlewine, the accompanying soundtrack album,, saw them 'truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and irresistible melodies.'

That 'ringing guitar' sound was primarily the product of Harrison's, a prototype given to him by the manufacturer, which made its debut on the record. During the week of 4 April 1964, the Beatles held twelve positions on the singles chart, including the top five. Their popularity generated unprecedented interest in British music, and a number of other UK acts subsequently made their own American debuts, successfully touring over the next three years in what was termed the. Their hairstyle, unusually long for the era and mocked by many adults, became an emblem of rebellion to the burgeoning youth culture. McCartney, Harrison and Lennon performing on Dutch television in 1964 Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York.

In August, journalist arranged for the Beatles to meet. Visiting the band in their New York hotel suite, Dylan introduced them to. Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were 'perceived as inhabiting two separate subcultural worlds': Dylan's audience of 'college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly ' contrasted with their fans, 'veritable ' – kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists.' Within six months of the meeting, Gould writes, 'Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona'.

Within a year, 'the distinctions between the audiences would have nearly evaporated [and the group's] audience. [was] showing signs of growing up.' Beatles for Sale, Help! And Rubber Soul According to Gould,, the Beatles' fourth studio LP, evidenced a growing conflict between the commercial pressures of their global success and their creative ambitions. They had intended the album, recorded between August and October 1964, to continue the format established by A Hard Day's Night which, unlike their first two LPs, contained only original songs.

They had nearly exhausted their backlog of songs on the previous album, however, and given the challenges constant international touring posed to their songwriting efforts, Lennon admitted, 'Material's becoming a hell of a problem'. As a result, six covers from their extensive repertoire were chosen to complete the album. Released in early December, its eight original compositions stood out, demonstrating the growing maturity of the songwriting partnership. Together in 1965, celebrating a Grammy win In early 1965, while they were his guests for dinner, Lennon and Harrison's dentist secretly added to their coffee. Lennon described the experience: 'It was just terrifying, but it was fantastic. I was pretty stunned for a month or two.' He and Harrison subsequently became regular users of the drug, joined by Starr on at least one occasion.

McCartney was initially reluctant to try it, but eventually did so in late 1966. He became the first Beatle to discuss LSD publicly, declaring in a magazine interview that 'it opened my eyes' and 'made me a better, more honest, more tolerant member of society'.

Controversy erupted in June 1965 when appointed all four Beatles after Prime Minister nominated them for the award. In protest – the honour was at that time primarily bestowed upon military veterans and civic leaders – some conservative MBE recipients returned their own insignia. The US trailer for with (from the rear) Harrison, McCartney, Lennon and (largely obscured) Starr Released in July, the Beatles' second film,, was again directed by Lester. Described as 'mainly a relentless spoof of ', it inspired a mixed response among both reviewers and the band. McCartney said: ' Help! Was great but it wasn't our film – we were sort of guest stars. It was fun, but basically, as an idea for a film, it was a bit wrong.'

The soundtrack was dominated by Lennon, who wrote and sang lead on most of its songs, including the two singles: ' and '. The accompanying album, the group's fifth studio LP, contained all original material save for two covers, ' and '; they were the last covers the band would include on an album, with the exception of 's brief rendition of the traditional Liverpool folk song '. The band expanded their use of vocal overdubs on and incorporated classical instruments into some arrangements, including a string quartet on the pop ballad '. Composed by McCartney, 'Yesterday' would inspire the most recorded cover versions of any song ever written.

The group's third US tour opened with a performance before a world-record crowd of 55,600 at New York's on 15 August 1965 – 'perhaps the most famous of all Beatles' concerts', in Lewisohn's description. A further nine successful concerts followed in other American cities. At a show in Atlanta, the Beatles gave one of the first live performances ever to make use of a system of on-stage monitor speakers. Towards the end of the tour, they met with, a foundational musical influence on the band, who invited them to his home in. September saw the launch of an American Saturday-morning cartoon series,, that echoed A Hard Day's Night 's slapstick antics over its two-year original run. The series was a historical milestone as the first weekly television series to feature animated versions of real, living people.

Sample of 'Norwegian Wood' from Rubber Soul (1965). Harrison's use of a on this song is representative of the Beatles' incorporation of unconventional instrumentation into rock music. Problems playing this file? In mid-October 1965, the Beatles entered the recording studio; for the first time when making an album, they had an extended period without other major commitments. Until this time, according to George Martin, 'we had been making albums rather like a collection of singles. Now we were really beginning to think about albums as a bit of art on their own.' Released in December, was hailed by critics as a major step forward in the maturity and complexity of the band's music.

Their thematic reach was beginning to expand as they embraced deeper aspects of romance and philosophy. Biographers and attribute the new musical direction to 'the Beatles' now habitual use of marijuana', an assertion confirmed by the band – Lennon referred to it as 'the pot album', and Starr said: 'Grass was really influential in a lot of our changes, especially with the writers. And because they were writing different material, we were playing differently.' 's foray into the world of classical music with flutes and strings, Harrison's introduction of a on ' marked a further progression outside the traditional boundaries of popular music. As their lyrics grew more artful, fans began to study them for deeper meaning. Of 'Norwegian Wood' Lennon commented: 'I was trying to be sophisticated in writing about an affair.

But in such a smokescreen way that you couldn't tell.' While many of Rubber Soul 's prominent songs were the product of Lennon and McCartney's collaborative songwriting, it also featured distinct compositions from each, though they continued to share official credit. The song ', of which each later claimed lead authorship, is considered a highlight of the entire Lennon–McCartney catalogue. Harrison called Rubber Soul his 'favourite album' and Starr referred to it as 'the departure record'. McCartney has said, 'We'd had our cute period, and now it was time to expand.'

However, recording engineer later stated that the studio sessions revealed signs of growing conflict within the group – 'the clash between John and Paul was becoming obvious', he wrote, and 'as far as Paul was concerned, George could do no right'. In 2003, ranked Rubber Soul fifth among ', and AllMusic's describes it as 'one of the classic records'. Controversy, final tour and Revolver. At EMI Studios with George Martin in the mid-1960s Capitol Records, from December 1963 when it began issuing Beatles recordings for the US market, exercised complete control over format, compiling distinct US albums from the band's recordings and issuing songs of their choosing as singles. In June 1966,, one of Capitol's compilation albums, caused an uproar with its cover, which portrayed the grinning Beatles dressed in butcher's overalls, accompanied by raw meat and mutilated plastic baby dolls. It has been incorrectly suggested that this was meant as a satirical response to the way Capitol had 'butchered' the US versions of their albums. Thousands of copies of the LP had a new cover pasted over the original; an unpeeled 'first-state' copy fetched $10,500 at a December 2005 auction.

In England, meanwhile, Harrison met sitar maestro, who agreed to train him on the instrument. During a tour of the Philippines the month after the Yesterday and Today furore, the Beatles unintentionally snubbed the nation's first lady,, who had expected them to attend a breakfast reception at the. When presented with the invitation, Epstein politely declined on the band members' behalf, as it had never been his policy to accept such official invitations.

They soon found that the was unaccustomed to taking no for an answer. The resulting riots endangered the group and they escaped the country with difficulty. Immediately afterwards, the band members visited India for the first time. We're now; I don't know which will go first – rock 'n' roll or Christianity. —John Lennon to journalist, 1966 Almost as soon as they returned home, the Beatles faced a fierce backlash from US religious and social conservatives (as well as the ) over a comment Lennon had made in a March interview with British reporter.

'Christianity will go,' Lennon had said. 'It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right. Was alright but his were thick and ordinary. It's them twisting it that ruins it for me.' The comment went virtually unnoticed in England, but when US teenage fan magazine printed it five months later – on the eve of the group's August US tour – it sparked a controversy with Christians in the American '. The issued a protest, and bans on Beatles' records were imposed by Spanish and Dutch stations and South Africa's.

Epstein accused Datebook of having taken Lennon's words out of context; at a press conference Lennon pointed out, 'If I'd said television was more popular than Jesus, I might have got away with it.' Lennon claimed that he was referring to how other people viewed their success, but at the prompting of reporters, he concluded: 'If you want me to apologise, if that will make you happy, then okay, I'm sorry.'

As preparations were made for the US tour, the Beatles knew that their music would hardly be heard. Having originally used amplifiers, they later acquired more powerful 100-watt amplifiers, specially designed by for them as they moved into larger venues in 1964, but these were still inadequate.

Struggling to compete with the volume of sound generated by screaming fans, the band had grown increasingly bored with the routine of performing live. Recognising that their shows were no longer about the music, they decided to make the August tour their last. Sample of ' from Revolver (1966). The album involves innovative compositional approaches, arrangements and recording techniques. This song, primarily written by McCartney, prominently features classical strings in a novel fusion of musical styles. Problems playing this file?

Rubber Soul had marked a major step forward;, released in August 1966 a week before the Beatles' final tour, marked another. 's Scott Plagenhoef identifies it as 'the sound of a band growing into supreme confidence' and 'redefining what was expected from popular music'. Revolver featured sophisticated songwriting, studio experimentation, and a greatly expanded repertoire of musical styles, ranging from innovative classical string arrangements to rock.

Abandoning the customary group photograph, its cover – designed by, a friend of the band since their Hamburg days – 'was a stark, arty, black-and-white collage that caricatured the Beatles in a pen-and-ink style beholden to ', in Gould's description. The album was preceded by the single ', backed by '. Short promotional films were made for both songs; described by cultural historian Saul Austerlitz as 'among the first true music videos', they aired on The Ed Sullivan Show and in June 1966. Among the experimental songs that Revolver featured was ', the lyrics for which Lennon drew from 's. Its creation involved eight tape decks distributed about the EMI building, each staffed by an engineer or band member, who randomly varied the movement of a while Martin created a composite recording by sampling the incoming data. McCartney's 'Eleanor Rigby' made prominent use of a; Gould describes it as 'a true hybrid, conforming to no recognisable style or genre of song'. Harrison was developing as a songwriter, and three of his compositions earned a place on the record.

In 2003, Rolling Stone ranked Revolver as the third greatest album of all time. During the US tour that followed its release, however, the band performed none of its songs. As Chris Ingham writes, they were very much 'studio creations.

And there was no way a four-piece rock 'n' roll group could do them justice, particularly through the desensitising wall of the fans' screams. 'Live Beatles' and 'Studio Beatles' had become entirely different beasts.' The band's final concert at San Francisco's on 29 August was their last commercial concert. It marked the end of a four-year period dominated by almost nonstop touring that included over 1,400 concert appearances internationally. 1966–1970: Studio years and break-up Sgt. Pepper's Lonely Hearts Club Band. Front cover of Sgt.

Pepper's Lonely Hearts Club Band, 'the most famous cover of any music album, and one of the most imitated images in the world' Freed from the burden of touring, the Beatles embraced an increasingly experimental approach as they recorded, beginning in late November 1966. According to engineer, the album's recording took over 700 hours.

He recalled the band's insistence 'that everything on Sgt. Pepper had to be different. We had microphones right down in the bells of brass instruments and headphones turned into microphones attached to violins. We used giant primitive oscillators to vary the speed of instruments and vocals and we had tapes chopped to pieces and stuck together upside down and the wrong way around.' Parts of ' featured a 40-piece orchestra. The sessions initially yielded the non-album single '/' in February 1967; the Sgt.

Pepper LP followed in June. The musical complexity of the records, created using relatively primitive recording technology, astounded contemporary artists. Among music critics, acclaim for the album was virtually universal. Gould writes: The overwhelming consensus is that the Beatles had created a popular masterpiece: a rich, sustained, and overflowing work of collaborative genius whose bold ambition and startling originality dramatically enlarged the possibilities and raised the expectations of what the experience of listening to popular music on record could be. On the basis of this perception, Sgt. Pepper became the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionise both the aesthetics and the economics of the record business in ways that far outstripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963. Pepper was the first major pop/rock LP to include its complete lyrics, which appeared on the back cover.

Those lyrics were the subject of critical analysis; for instance, in late 1967 the album was the subject of a scholarly inquiry by American literary critic and professor of English, who observed that his students were 'listening to the group's music with a degree of engagement that he, as a teacher of literature, could only envy'. Poirier identified what he termed its 'mixed allusiveness': 'It's unwise ever to assume that they're doing only one thing or expressing themselves in only one style.

One kind of feeling about a subject isn't enough. Any single induced feeling must often exist within the context of seemingly contradictory alternatives.'

McCartney said at the time: 'We write songs. We know what we mean by them.

But in a week someone else says something about it, and you can't deny it.. You put your own meaning at your own level to our songs.' The album's elaborate cover also attracted considerable interest and study. A collage designed by and, it depicted the group as the fictional band referred to in the album's standing in front of. The heavy moustaches worn by the group reflected the growing influence of style, while cultural historian Jonathan Harris describes their 'brightly coloured parodies of military uniforms' as a knowingly 'anti-authoritarian and anti-establishment' display. In 2003, Rolling Stone ranked it number one on its list of the '500 Greatest Albums of All Time'. Brian Epstein was dead.

Paul and George were in complete shock. I don't think it could have been worse if they had heard that their own fathers had dropped dead Brian had found them, believed in them, molded them, turned them into millionaires, and made them famous the world over We knew that life would never be the same again. –, wife of George Harrison On 25 June 1967, the Beatles performed their forthcoming single, ', to an estimated 350 million viewers on, the first live global television link. Released a week later, during the, the song was adopted as a anthem. Two months later, the group suffered a loss that threw their career into turmoil.

Having been introduced to only the previous night in London, on 25 August they travelled to for his retreat. Two days later, their manager's assistant, Peter Brown, phoned to inform them that Epstein, only thirty-two years old, had died. The coroner ruled the death an accidental overdose, although it was widely rumoured to be a suicide.

Epstein had been in a fragile emotional state, stressed by personal issues. His death left the group disoriented and fearful about the future.

Lennon recalled: 'We collapsed. I knew that we were in trouble then.

I didn't really have any misconceptions about our ability to do anything other than play music, and I was scared. I thought, 'We've had it now.' ' Magical Mystery Tour, the White Album and Yellow Submarine. Filming a sequence for ', the soundtrack to a forthcoming Beatles television film, was released in the UK as a six-track double in early December 1967. In the United States, the six songs were issued on an identically titled LP that also included five tracks from the band's recent singles. Unterberger says of the US Magical Mystery Tour, 'the psychedelic sound is very much in the vein of Sgt.

Pepper, and even spacier in parts (especially the sound collages of ')' and he calls its five songs culled from the band's 1967 singles 'huge, glorious, and innovative'. In its first three weeks, the album set a record for the highest initial sales of any Capitol LP, and it is the only Capitol compilation later to be adopted in the band's official canon of studio albums. First aired on, the film, largely directed by McCartney, brought the group their first major negative UK press. It was dismissed as 'blatant rubbish' by the; the called it 'a colossal conceit'; and labelled the film 'a kind of fantasy morality play about the grossness and warmth and stupidity of the audience'. Gould describes it as 'a great deal of raw footage showing a group of people getting on, getting off, and riding on a bus'. Although the viewership figures were respectable, its slating in the press led US television networks to lose interest in broadcasting the film. In January 1968, the Beatles filmed a cameo for the animated movie, which featured cartoon versions of the band members and a soundtrack with eleven of their songs, including four unreleased studio recordings that made their debut in the film.

Released in June 1968, the film was praised by critics for its music, humour and innovative visual style. It would be seven months, however, before its soundtrack album appeared.

The Beatles, known as the White Album for its minimalist cover, conceived by pop artist 'in direct contrast to Sgt. Pepper', while also suggesting a 'clean slate' In the interim came, a double LP commonly known as the White Album for its virtually featureless cover. Creative inspiration for the album came from a new direction: without Epstein's guiding presence, the group had briefly turned to as their. At his in, India, a 'Guide Course' scheduled for three months marked, yielding numerous songs including a majority of the 30 included on the album. However, Starr left after only ten days, likening it to, and McCartney eventually grew bored and departed a month later.

For Lennon and Harrison, creativity turned to questioning when an electronics technician known as suggested that the Maharishi was attempting to manipulate them. When he alleged that the Maharishi had made sexual advances to women attendees, a persuaded Lennon left abruptly just two months into the course, bringing an unconvinced Harrison and the remainder of the group's entourage with him. In anger, Lennon wrote a scathing song titled 'Maharishi', renamed ' to avoid potential legal issues. McCartney said, 'We made a mistake. We thought there was more to him than there was.'

During recording sessions for the White Album, which stretched from late May to mid-October 1968, relations between the Beatles grew openly divisive. Starr quit for two weeks, and McCartney took over the drum kit for ' (on which Harrison and Lennon drummed as well) and '. Lennon had lost interest in collaborating with McCartney, whose contribution ' he scorned as 'granny music shit'. Tensions were further aggravated by Lennon's romantic preoccupation with artist, whom he insisted on bringing to the sessions despite the group's well-established understanding that girlfriends were not allowed in the studio.

Describing the double album, Lennon later said: 'Every track is an individual track; there isn't any Beatle music on it. [It's] John and the band, Paul and the band, George and the band.'

McCartney has recalled that the album 'wasn't a pleasant one to make'. Both he and Lennon identified the sessions as the start of the band's break-up. Issued in November, the White Album was the band's first album release, although EMI continued to own their recordings. The new label was a subsidiary of, which Epstein had formed as part of his plan to create a tax-effective business structure. The record attracted more than 2 million advance orders, selling nearly 4 million copies in the US in little over a month, and its tracks dominated the playlists of American radio stations.

Despite its popularity, it did not receive flattering reviews at the time. According to Gould: The critical response. Ranged from mixed to flat. In marked contrast to Sgt.

Pepper, which had helped to establish an entire genre of literate rock criticism, the White Album inspired no critical writing of any note. Even the most sympathetic reviewers. Clearly didn't know what to make of this shapeless outpouring of songs. Newsweek 's Hubert Saal, citing the high proportion of parodies, accused the group of getting their tongues caught in their cheeks.

General critical opinion eventually turned in favour of the White Album, and in 2003, Rolling Stone ranked it as the tenth greatest album of all time. Pitchfork's Mark Richardson describes it as 'large and sprawling, overflowing with ideas but also with indulgences, and filled with a hugely variable array of material.

Its failings are as essential to its character as its triumphs.' Erlewine comments: 'The [band's] two main songwriting forces were no longer on the same page, but neither were George and Ringo', yet 'Lennon turns in two of his best ballads', McCartney's songs are 'stunning', Harrison had become 'a songwriter who deserved wider exposure', and Starr's composition was 'a delight'. The LP, issued in January 1969, contained only the four previously unreleased songs that had debuted in the film, along with the title track (already issued on Revolver), 'All You Need Is Love' (already issued as a single and on the US Magical Mystery Tour LP) and seven instrumental pieces composed by Martin. Because of the paucity of new Beatles music, AllMusic's Unterberger and Bruce Eder suggest the album might be 'inessential' but for Harrison's ': 'the jewel of the new songs.

Resplendent in swirling, larger-than-life percussion, and tidal waves of feedback guitar. A virtuoso excursion into otherwise hazy psychedelia'. Abbey Road, Let It Be and break-up Although was the Beatles' final album release, it was largely recorded before. The project's impetus came from an idea Martin attributes to McCartney, who suggested they 'record an album of new material and rehearse it, then perform it before a live audience for the very first time – on record and on film'. Originally intended for a one-hour television programme to be called Beatles at Work, much of the album's content came from extensive rehearsals filmed by director at, beginning in January 1969. Martin has said that the project was 'not at all a happy recording experience.

It was a time when relations between the Beatles were at their lowest ebb.' Lennon described the largely impromptu sessions as 'hell. The most miserable. On Earth', and Harrison, 'the low of all-time'.

Irritated by both McCartney and Lennon, Harrison walked out for five days. Upon returning, he threatened to leave the band unless they 'abandon[ed] all talk of live performance' and instead focused on finishing a new album, initially titled Get Back, using songs recorded for the TV special. He also demanded they cease work at Twickenham and relocate to the newly finished. The other band members agreed, and the idea came about to salvage the footage shot for the TV production for use in a feature film. American soul musician (pictured in 1971) was, for a short time, considered a during the recording of Get Back.

In an effort to alleviate tensions within the band and improve the quality of their live sound, Harrison invited keyboardist to participate in the last nine days of sessions. Preston received label billing on the ' single – the only musician ever to receive that acknowledgment on an official Beatles release. At the conclusion of the rehearsals, the band could not agree on a location to film a concert, rejecting several ideas, including a boat at sea, a lunatic asylum, the Tunisian desert, and the.

Ultimately, what would be their was filmed on the rooftop of the Apple Corps building at 3, London, on 30 January 1969. Five weeks later, engineer, whom Lewisohn describes as Get Back 's 'uncredited producer', began work assembling an album, given 'free rein' as the band 'all but washed their hands of the entire project'. New strains developed between the band members regarding the appointment of a financial adviser, the need for which had become evident without Epstein to manage business affairs. Lennon, Harrison and Starr favoured, who had managed and; McCartney wanted and John Eastman – father and brother, respectively, of, whom McCartney married on 12 March. Agreement could not be reached, so both Klein and the Eastmans were temporarily appointed: Klein as the Beatles' business manager and the Eastmans as their lawyers.

Further conflict ensued, however, and financial opportunities were lost. On 8 May, Klein was named sole manager of the band, the Eastmans having previously been dismissed as the Beatles' attorneys. McCartney refused to sign the management contract with Klein, but he was out-voted by the other Beatles. Martin stated that he was surprised when McCartney asked him to produce another album, as the Get Back sessions had been 'a miserable experience' and he had 'thought it was the end of the road for all of us'.

The primary recording sessions for Abbey Road began on 2 July 1969. Lennon, who rejected Martin's proposed format of a 'continuously moving piece of music', wanted his and McCartney's songs to occupy separate sides of the album. The eventual format, with individually composed songs on the first side and the second consisting largely of a, was McCartney's suggested compromise.

On 4 July, the first solo single by a Beatle was released: Lennon's ', credited to the. The completion and mixing of ' on 20 August 1969 was the last occasion on which all four Beatles were together in the same studio.

Lennon announced his departure to the rest of the group on 20 September, but agreed to withhold a public announcement to avoid undermining sales of the forthcoming album. Released six days after Lennon's declaration, Abbey Road sold 4 million copies within three months and topped the UK charts for a total of seventeen weeks. Its second track, the ballad ', was issued as a single – the only Harrison composition ever to appear as a Beatles A-side. Abbey Road received mixed reviews, although the medley met with general acclaim. Unterberger considers it 'a fitting swan song for the group', containing 'some of the greatest harmonies to be heard on any rock record'. And author calls the album 'erratic and often hollow', despite the 'semblance of unity and coherence' offered by the medley. Martin has singled it out as his personal favourite of all the band's albums; Lennon said it was 'competent' but had 'no life in it'.

Recording engineer Emerick notes that the replacement of the studio's mixing console with a transistorised one yielded a less punchy sound, leaving the group frustrated at the thinner tone and lack of impact and contributing to its 'kinder, gentler' feel relative to their previous albums. For the still unfinished Get Back album, one last song, Harrison's ', was recorded on 3 January 1970. Lennon, in Denmark at the time, did not participate. In March, rejecting the work Johns had done on the project, now retitled Let It Be, Klein gave the session tapes to American producer, who had recently produced Lennon's solo single ' In addition to remixing the material, Spector edited, spliced and overdubbed several of the recordings that had been intended as 'live'. McCartney was unhappy with the producer's approach and particularly dissatisfied with the lavish orchestration on ', which involved a fourteen-voice choir and 36-piece instrumental ensemble. McCartney's demands that the alterations to the song be reverted were ignored, and he publicly announced his departure from the band on 10 April 1970, a week before the release of his first,. On 8 May, the Spector-produced Let It Be was released.

Its accompanying single, 'The Long and Winding Road', was the Beatles' last; it was released in the United States, but not in the UK. The documentary film followed later that month, and would win the 1970 Academy Award for. Critic called it 'a very bad film and a touching one. About the breaking apart of this reassuring, geometrically perfect, once apparently ageless family of siblings'. Several reviewers stated that some of the performances in the film sounded better than their analogous album tracks.

Describing Let It Be as the 'only Beatles album to occasion negative, even hostile reviews', Unterberger calls it 'on the whole underrated'; he singles out 'some good moments of straight hard rock in ' and '', and praises ', 'Get Back', and 'the folky ', with John and Paul harmonising together'. McCartney filed suit for the dissolution of the Beatles' contractual partnership on 31 December 1970. Legal disputes continued long after their break-up, and the dissolution was not formalised until 29 December 1974, when John Lennon signed the paperwork terminating the partnership while on vacation with his family at in Florida. 1970–present: After the break-up. Lennon and McCartney in 1975 and 1976 Lennon, McCartney, Harrison and Starr all released solo albums in 1970.

Their solo records sometimes involved one or more of the others; Starr's (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged in New York City in August 1971. Other than an unreleased jam session in 1974, later as, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, and, were released in 1973, at first under the Apple Records imprint.

Commonly known as the Red Album and Blue Album, respectively, each have earned a in the United States and a Platinum certification in the United Kingdom. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation.

The only one to feature previously unreleased material was (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles was commercially exploited in various other ways, again often outside their creative control.

In April 1974, the musical, written by and featuring singer, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, '. Displeased with the production's use of his song, Harrison withdrew his permission to use it. Later that year, the off-Broadway musical opened. (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from and to the. The Broadway musical, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages.

(1978), a musical film starring the and, was a commercial failure and an 'artistic fiasco', according to Ingham. On 24 April 1976, during a broadcast of, producer offered the Beatles $3,000 to reunite on his show. Unbeknownst to him, John Lennon and Paul McCartney were watching the live broadcast at John's apartment at in New York at the time, which was within walking distance of the.

The two men entertained the idea of hailing a cab to the studio and surprising Michaels by accepting his offer, but ultimately declined, for as Paul later said 'It would have been work, and we were having a night off, so we elected not to go. It was a nice idea – we nearly did it.' Harrison and Starr performing at the at, 1987 After the in December 1980, Harrison rewrote the lyrics to his song ' in Lennon's honour. With Starr on drums and McCartney and his wife,, contributing backing vocals, the song was released as a single in May 1981. McCartney's own tribute, ', appeared on his album in April 1982. In 1987, Harrison's album included ', a song about the Beatlemania era.

When the Beatles' studio albums were released on CD by EMI and Apple Corps in 1987, their catalogue was standardised throughout the world, establishing a canon of the twelve original studio LPs as issued in the UK plus the US LP version of Magical Mystery Tour (1967). All the remaining material from the singles and EPs which had not appeared on the original studio albums was gathered on the two-volume compilation (1988). Except for the Red and Blue albums, EMI deleted all its other Beatles compilations – including the Hollywood Bowl record – from its catalogue. In 1988, the Beatles were inducted into the, their first year of eligibility. Harrison and Starr attended the ceremony with Lennon's widow, Yoko Ono, and his two sons, and. McCartney declined to attend, citing unresolved 'business differences' that would make him 'feel like a complete hypocrite waving and smiling with them at a fake reunion'. The following year, EMI/Capitol settled a decade-long lawsuit filed by the band over royalties, clearing the way to commercially package previously unreleased material.

1990s, the first official release of unissued Beatles performances in seventeen years, appeared in 1994. That same year McCartney, Harrison and Starr collaborated on the project. Anthology was the culmination of work begun in 1970, when Apple Corps director, their former road manager and personal assistant, had started to gather material for a documentary with the working title The Long and Winding Road.

Documenting their history in the band's own words, the Anthology project included the release of several unissued Beatles recordings. McCartney, Harrison and Starr also added new instrumental and vocal parts to two songs recorded as demos by Lennon in the late 1970s. During 1995–96, the project yielded a television miniseries, an eight-volume video set, and three two-CD/three-LP box sets featuring artwork by Klaus Voormann. The two songs based on Lennon demos, ' and ', were issued as new Beatles singles.

The releases were commercially successful and the television series was viewed by an estimated 400 million people. In 1999, to coincide with the re-release of the 1968 film Yellow Submarine, a new soundtrack compilation CD/LP,, was issued. 2000s The Beatles', a compilation album of the band's British and American number-one hits, was released on 13 November 2000. It became the fastest-selling album of all time, with 3.6 million sold in its first week and 13 million within a month. It topped albums charts in at least 28 countries, including the UK and US. As of April 2009, the compilation had sold 31 million copies globally, and is the best-selling album of that decade in the United States. Harrison died from lung cancer in November 2001.

McCartney and Starr were among the musicians who performed at the, organised by and Harrison's widow,. The tribute event took place at the on the first anniversary of Harrison's death. In addition to songs he composed for the group and during his solo career, the concert included a celebration of, which had significantly influenced Harrison.

In 2003,, a reconceived version of the Let It Be album, with McCartney supervising production, was released. One of the main differences with the Spector-produced version was the omission of the original string arrangements. It was a top ten hit in both Britain and America. The US album configurations from 1964 to 1965 were released as box sets in 2004 and 2006 – and included both stereo and mono versions based on the mixes that were prepared for vinyl at the time of the music's original American release. As a soundtrack for 's Beatles stage revue,, George Martin and his son remixed and 130 of the band's recordings to create what Martin called 'a way of re-living the whole Beatles musical lifespan in a very condensed period'. The show premiered in June 2006, and the album was released that November when McCartney discussed his hope that ', a fourteen-minute experimental recording made at Abbey Road in 1967, would receive an official release. A rare live performance involving two ex-Beatles took place in April 2009 at a benefit concert organised by McCartney at New York's, where he was joined by Starr for three songs.

Klingon Academy 1.02 Patch Download more. Starr and McCartney introduced the video game at the 2009 convention. On 9 September 2009, the Beatles' entire back catalogue was reissued following an extensive digital remastering process that lasted four years.

Stereo editions of all twelve original UK studio albums, along with Magical Mystery Tour and the Past Masters compilation, were released on compact disc both individually and. Comparing the new releases with the 1987 CDs, which had been widely criticised for their lack of clarity and dynamism, 's Danny Eccleston wrote, 'the remastered vocals are purer, more natural-sounding and give the illusion of sitting slightly higher in the mix.' A second collection,, included remastered versions of every Beatles album released in true mono along with the original 1965 stereo mixes of Help! And Rubber Soul (which Martin had remixed for the 1987 editions)., a music video game in the series, was issued on the same day. In December 2009, the band's catalogue was officially released in and MP3 format in. 2010s Owing to a long-running royalty disagreement, the Beatles were among the last major artists to sign deals with online music services. Residual disagreement emanating from, ' owners, over the use of the name 'Apple' was also partly responsible for the delay, although in 2008, McCartney stated that the main obstacle to making the Beatles' catalogue available online was that EMI 'want[s] something we're not prepared to give them'.

In 2010, the official canon of thirteen Beatles studio albums, Past Masters, and the Red and Blue greatest-hits albums were made available on iTunes. In 2012, EMI's recorded music operations were sold to. In order for Universal Music to acquire EMI, the, for reasons, forced EMI to spin off assets including Parlophone. Universal was allowed to keep the Beatles' recorded music catalogue, managed by under its division. Also in 2012, the entire original Beatles album catalogue was reissued on vinyl, available either individually or as a box set.

In 2013, a second volume of BBC recordings entitled was released. December of that year saw the release of another 59 Beatles recordings on iTunes. The set, titled, had the opportunity to gain a 70-year copyright extension conditional on the songs being published at least once before the end of 2013.

Apple Records released the recordings on 17 December to prevent them from going into the public domain and had them taken down from iTunes later that same day. Fan reactions to the release were mixed, with one blogger saying 'the hardcore Beatles collectors who are trying to obtain everything will already have these.' On 26 January 2014, Paul McCartney and Ringo Starr performed McCartney's ' in at the, held at the in. The following day, television special was taped in the 's West Hall. It aired on 9 February, the exact date of – and at the same time, and on the same network as – the original broadcast of the Beatles' first US television appearance on The Ed Sullivan Show, 50 years earlier. The special included performances of Beatles songs by current artists as well as by McCartney and Starr, archival footage, and Paul and Ringo being interviewed by at the, site of The Ed Sullivan Show. In December 2015, the Beatles released their catalogue for streaming on various streaming music services.

On 18 May 2017, launched a 24/7 radio channel, The Beatles Channel. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued with new stereo mixes and unreleased material for the album's 50th anniversary. The reissue is available in five different formats – digital format, a single CD, a double CD set, a double vinyl set, and a six-CD deluxe edition box set. Musical style and development. See also: In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution: In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts.

Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including,,, and, without sacrificing the effortless mass appeal of their early work. In The Beatles as Musicians, describes Lennon and McCartney's contrasting motivations and approaches to composition: 'McCartney may be said to have constantly developed – as a means to entertain – a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility.'

Ian MacDonald describes McCartney as 'a natural melodist – a creator of tunes capable of existing apart from their harmony'. His melody lines are characterised as primarily 'vertical', employing wide, intervals which express his 'extrovert energy and optimism'. Conversely, Lennon's 'sedentary, ironic personality' is reflected in a 'horizontal' approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: 'Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own.' MacDonald praises Harrison's lead guitar work for the role his 'characterful lines and textural colourings' play in supporting Lennon and McCartney's parts, and describes Starr as 'the father of modern pop/rock drumming'. Influences The band's earliest influences include,, and.

During the Beatles' co-residency with Little Richard at the in Hamburg, from April to May 1962, he advised them on the proper technique for performing his songs. Of Presley, Lennon said, 'Nothing really affected me until I heard Elvis. If there hadn't been Elvis, there would not have been the Beatles.' Other early influences include,, and. The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries, including,,,, and, whose 1966 album amazed and inspired McCartney.

Referring to the Beach Boys' creative leader, Martin later stated: 'No one made a greater impact on the Beatles than Brian [Wilson].' Ravi Shankar, with whom Harrison studied for six weeks in India in late 1966, had a significant effect on his musical development during the band's later years. Genres Originating as a skiffle group, the Beatles quickly embraced 1950s rock and roll and helped pioneer the Merseybeat genre, and their repertoire ultimately expanded to include a broad variety of pop music. Reflecting the range of styles they explored, Lennon said of Beatles for Sale, 'You could call our new one a Beatles country-and-western LP', while Gould credits Rubber Soul as 'the instrument by which legions of folk-music enthusiasts were coaxed into the camp of pop'. See also: Making innovative use of technology while expanding the possibilities of recorded music, the Beatles urged experimentation by Martin and his recording engineers. Seeking ways to put chance occurrences to creative use, accidental guitar feedback, a resonating glass bottle, a tape loaded the wrong way round so that it played backwards – any of these might be incorporated into their music.

Their desire to create new sounds on every new recording, combined with Martin's arranging abilities and the studio expertise of EMI staff engineers Norman Smith, and Geoff Emerick, all contributed significantly to their records from Rubber Soul and, especially, Revolver onwards. Along with innovative studio techniques such as, unconventional microphone placements, tape loops, and recording, the Beatles augmented their songs with instruments that were unconventional in rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar in 'Norwegian Wood' and the in 'Strawberry Fields Forever'. They also used novel electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the 'Strawberry Fields Forever' intro, and the, an electronic keyboard that created the unusual oboe-like sound on '. The Beatles Monument in, Former Rolling Stone associate editor compared the Beatles to, as 'artists who broke through the constraints of their time period to come up with something that was unique and original.

[I]n the form of popular music, no one will ever be more revolutionary, more creative and more distinctive.' The British poet described their work as 'an enchanting and intoxicating hybrid of Negro rock-and-roĺl with their own adolescent romanticism', and 'the first advance in popular music since the War'. They not only sparked the British Invasion of the US, they became a globally influential phenomenon as well.

From the 1920s, the United States had dominated popular entertainment culture throughout much of the world, via movies,, the music of Broadway and and, later, the rock and roll that first emerged in. The Beatles are regarded as British cultural icons, with young adults from abroad naming the band among a group of people that they most associated with. Their musical innovations and commercial success inspired musicians worldwide. Many artists have acknowledged the Beatles' influence and enjoyed chart success with. On radio, their arrival marked the beginning of a new era; in 1968 the programme director of New York's radio station forbade his DJs from playing any 'pre-Beatles' music, marking the defining line of what would be considered on American radio. They helped to redefine the album as something more than just a few hits padded out with ', and they were primary innovators of the modern music video.

The Shea Stadium show with which they opened their attracted an estimated 55,600 people, then the largest audience in concert history; Spitz describes the event as a 'major breakthrough. A giant step toward reshaping the concert business'. Emulation of their clothing and especially their hairstyles, which became a mark of rebellion, had a global impact on fashion. According to Gould, the Beatles changed the way people listened to popular music and experienced its role in their lives.

From what began as the Beatlemania fad, the group's popularity grew into what was seen as an embodiment of sociocultural movements of the decade. As icons of the, Gould continues, they became a catalyst for and activism in various social and political arenas, fuelling movements such as, and. According to Peter Lavezzoli, after the 'more popular than Jesus' controversy in 1966, the Beatles felt considerable pressure to say the right things and 'began a concerted effort to spread a message of wisdom and higher consciousness'. Awards and achievements. See also: In 1965, Queen Elizabeth II appointed Lennon, McCartney, Harrison and Starr.

The film Let It Be (1970) won the 1971 Academy Award for. The recipients of seven Grammy Awards and fifteen, the Beatles have been awarded six, as well as 24, 39 and 45 in the United States. In the UK, the Beatles have four, four, eight and one. They were inducted into the in 1988. The in history, the Beatles have sold more than 800 million physical and digital albums as of 2013. They have had more, fifteen, and sold more singles in the UK, 21.9 million, than any other act. In 2004, Rolling Stone ranked the Beatles as the best artist of all time.

They ranked number one on magazine's list of the all-time most successful Hot 100 artists, released in 2008 to celebrate the US singles chart's 50th anniversary. As of 2017, they hold the record for most number-one hits on the Billboard Hot 100, with twenty. The certifies that the Beatles have sold 178 million units in the US, more than any other artist. They were collectively included in magazine's compilation of. In 2014, they received the. Further information: and • (1963) • (1963) • (1964) • (1964) • (1965) • (1965) • (1966) • (1967) • ('The White Album', 1968) • (1969) • (1969) • (1970) When the above albums were reissued on CD in 1988, the American album (1967) and the double-CD compilation set were included so that the full set would contain every track commercially released in the band's lifetime. See also • • • • • Song catalogue Through 1969, the Beatles' catalogue was published almost exclusively by, a company formed in February 1963 by music publisher specifically for Lennon and McCartney, though it later acquired songs by other artists.

The company was organised with James and his partner, Emmanuel Silver, owning a controlling interest, variously described as 51% or 50% plus one share. McCartney had 20%. Reports again vary concerning Lennon's portion – 19 or 20% – and Brian Epstein's – 9 or 10% – which he received in lieu of a 25% band management fee. In 1965, the company went public. Five million shares were created, of which the original principals retained 3.75 million. James and Silver each received 937,500 shares (18.75% of 5 million); Lennon and McCartney each received 750,000 shares (15%); and Epstein's management company, NEMS Enterprises, received 375,000 shares (7.5%).

Of the 1.25 million shares put up for sale, Harrison and Starr each acquired 40,000. At the time of the stock offering, Lennon and McCartney renewed their three-year publishing contracts, binding them to Northern Songs until 1973. Harrison created to represent his Beatles compositions, but signed a three-year contract with Northern Songs that gave it the copyright to his work through March 1968, which included ' and '. The songs on which Starr received co-writing credit before 1968, such as ' and ', were also Northern Songs copyrights. Harrison did not renew his contract with Northern Songs when it ended, signing instead with while retaining the copyright to his work from that point on. Harrisongs thus owns the rights to his later Beatles songs such as ' and 'Something'. That year, as well, Starr created, which holds the rights to his Beatles compositions, 'Don't Pass Me By' and '.

In March 1969, James arranged to sell his and his partner's shares of Northern Songs to the British broadcasting company (ATV), founded by impresario, without first informing the Beatles. The band then made a bid to gain controlling interest by attempting to work out a deal with a consortium of London brokerage firms that had accumulated a 14% holding. The deal collapsed over the objections of Lennon, who declared, 'I'm sick of being fucked about by men in suits sitting on their fat arses in the.' By the end of May, ATV had acquired a majority stake in Northern Songs, controlling nearly the entire Lennon–McCartney catalogue, as well as any future material until 1973. In frustration, Lennon and McCartney sold their shares to ATV in late October 1969. In 1981, financial losses by ATV's parent company, ACC, led it to attempt to sell its music division.

According to authors Brian Southall and Rupert Perry, Grade contacted McCartney, offering ATV Music and Northern Songs for $30 million. According to an account McCartney gave in 1995, he met with Grade and explained he was interested solely in the Northern Songs catalogue, if Grade were ever willing to 'separate off' that portion of ATV Music. Soon afterwards, Grade offered to sell him Northern Songs for £20 million, giving the ex-Beatle 'a week or so' to decide. By McCartney's account, he and Ono countered with a £5 million bid that was rejected. According to reports at the time, Grade refused to separate Northern Songs, and turned down an offer of £21–25 million from McCartney and Ono for ATV Music. In 1982, ACC as a whole was sold to Australian business magnate for £60 million. Three years later, purchased ATV for a reported $47.5 million.

The acquisition gave him control over the publishing rights to more than 200 Beatles songs, as well as 40,000 other copyrights. In 1995, in a deal that earned him a reported $110 million, Jackson merged his music publishing business with, creating a new company,, in which he held a 50% stake. The merger made the new company, then valued at over half a billion dollars, the third largest music publisher in the world. In 2016, Sony acquired Jackson's share of Sony/ATV from the Jackson estate for $750 million.

Despite the lack of publishing rights to most of their songs, Lennon's estate and McCartney continue to receive their respective shares of the writers' royalties, which together are 33⅓% of total commercial proceeds in the US and which vary elsewhere around the world between 50 and 55%. Two of Lennon and McCartney's earliest songs – 'Love Me Do' and 'P.S. I Love You' – were published by an EMI subsidiary, Ardmore & Beechwood, before they signed with James. McCartney acquired their publishing rights from Ardmore in the mid-1980s, and they are the only two Beatles songs owned by McCartney's company MPL Communications. On 18 January 2017, McCartney filed a suit in against seeking to reclaim ownership of his share of the song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights assigned to a publisher after 56 years. McCartney and Sony agreed to a confidential settlement in June 2017.

• It was ', by McCartney's post-Beatles band, that surpassed it in sales. • Vee-Jay company president resigned after it was disclosed he used company funds to cover gambling debts.

• Harrison's ringing 12-string inspired, who obtained his own Rickenbacker and used it to craft the trademark sound of. • During the same week in April 1964, a third American Beatles LP joined the two already in circulation; two of the three reached the first spot on the Billboard, the third peaked at number two. • Starr was briefly hospitalised after a, and sat in on drums for the first five dates.

• In September, the Beatles refused to play a show in Florida until the local promoter assured them that the audience would not be. • It was not until in 1967 that a Beatles album was released with identical track listings in both the UK and the US.

• It was speculated that he was concerned that the band might not renew his management contract, due to expire in October, over discontent with his supervision of business matters, particularly regarding, the company that handled their US merchandising rights. • The band unsuccessfully attempted to block the 1977 release of. The independently issued album compiled recordings made during the group's, taped on a basic recording machine using only one microphone. • Unterberger, Richie. Retrieved 5 July 2013. •, pp. 47–52.

•, pp. 93–99. •, p. 47;, p. 127. •, pp. 742–743.

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•, pp. 225–226, 228, 1118–1122. • CBS (16 January 2004)... Retrieved 28 June 2017. •, pp. 136, 350.

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Archived from on 29 March 2016. Retrieved 12 April 2016. • Hertsgaard, Mark (1995).

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