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Abbey Road zebra crossing repainted in coronavirus lockdown

Council workers take advantage of the empty streets to spruce up the crossing featured on the cover of the Beatles 1969 album

The iconic Abbey Road zebra crossing made famous by the 1969 Beatles album of the same name has been repainted while the streets of London are empty because of the coronavirus pandemic.

A highways maintenance crew quietly repainted the normally busy zebra crossing on 24 March, the day after the prime minister ordered Britain to go on lockdown in an attempt to stem the spread of the virus.

A spokesperson for Westminster City Council said: This is a very busy zebra crossing and we repainted the line markings to ensure visibility and increased safety for drivers and pedestrians. Our contractors follow government advice on limiting the spread of covid-19, including social distancing and hand washing.

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A site of national importance … the album cover for Abbey Road. Photograph: Pictorial Press/Alamy Stock Photo

The brightened markings can be seen in action on the Abbey Road webcam.

The government designated the crossing a site of national importance in 2010 and it can be altered only with the approval of local authorities. This London zebra crossing is no castle or cathedral but, thanks to the Beatles and a 10-minute photoshoot one August morning in 1969, it has just as strong a claim as any to be seen as part of our heritage, John Penrose, minister for tourism and heritage said at the time.

The remaining Beatles, Paul McCartney and Ringo Starr, celebrated the 50th anniversary of the Abbey Road album with a deluxe reissue last September. In January, it was announced as the biggest selling vinyl record of the 2010s in the US. It came eighth in the UK, with British Beatles fans apparently preferring Sgt Peppers Lonely Hearts Club Band.

The cover for Abbey Road was shot at 11.35am on 8 August 1969, as John Lennon, George Harrison and Ringo Starr took a break from completing I Want You (Shes So Heavy) and The End, and Paul McCartney paused work on Oh! Darling. Standing on a step ladder in the middle of the road, photographer Iain Macmillan only had time to shoot six photographs on his Hasselblad camera given the oncoming traffic. McCartney selected the fourth image as the cover shot.

Repainting
Repainting the famous crossing. Photograph: Leon Neal/Getty Images

On the albums release, fans became convinced that McCartneys barefoot appearance related to the conspiracy theory that he had died two years earlier and been replaced by a ringer. He had in fact kicked off his sandals because it was hot.

On Abbey Road we were wearing our ordinary clothes. I was walking barefoot because it was a hot day, McCartney told Life magazine later that year. Can you spread it around that I am just an ordinary person and want to live in peace?

He parodied the theory on the cover of his 1993 live album, Paul Is Live, posing with a dog on the crossing. Pop cultural figures from the Simpsons to the Red Hot Chili Peppers and Doctor Who have also re-enacted the image.

Read more: https://www.theguardian.com/music/2020/mar/27/abbey-road-crossing-repainted-coronavirus-lockdown-beatles-album

‘This tape rewrites everything we knew about the Beatles’

Mark Lewisohn knows the Fab Four better than they knew themselves. The experts tapes of their tense final meetings shed new light on Abbey Road and inspired a new stage show

The Beatles werent a group much given to squabbling, says Mark Lewisohn, who probably knows more about them than they knew about themselves. But then he plays me the tape of a meeting held 50 years ago this month on 8 September 1969 containing a disagreement that sheds new light on their breakup.

Theyve wrapped up the recording of Abbey Road, which would turn out to be their last studio album, and are awaiting its release in two weeks time. Ringo Starr is in hospital, undergoing tests for an intestinal complaint. In his absence, John Lennon, Paul McCartney and George Harrison convene at Apples HQ in Savile Row. John has brought a portable tape recorder. He puts it on the table, switches it on and says: Ringo you cant be here, but this is so you can hear what were discussing.

Challenging
Challenging conventional wisdom Fab Four writer-historian Mark Lewisohn

What they talk about is the plan to make another album and perhaps a single for release in time for Christmas, a commercial strategy going back to the earliest days of Beatlemania. Its a revelation, Lewisohn says. The books have always told us that they knew Abbey Road was their last album and they wanted to go out on an artistic high. But no theyre discussing the next album. And you think that John is the one who wanted to break them up but, when you hear this, he isnt. Doesnt that rewrite pretty much everything we thought we knew?

Lewisohn turns the tape back on, and we hear John suggesting that each of them should bring in songs as candidates for the single. He also proposes a new formula for assembling their next album: four songs apiece from Paul, George and himself, and two from Ringo If he wants them. John refers to the Lennon-and-McCartney myth, clearly indicating that the authorship of their songs, hitherto presented to the public as a sacrosanct partnership, should at last be individually credited.

Then Paul sounding, shall we say, relaxed responds to the news that George now has equal standing as a composer with John and himself by muttering something mildly provocative. I thought until this album that Georges songs werent that good, he says, which is a pretty double-edged compliment since the earlier compositions hes implicitly disparaging include Taxman and While My Guitar Gently Weeps. Theres a nettled rejoinder from George: Thats a matter of taste. All down the line, people have liked my songs.

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The Beatles Abbey Road album Photograph: Pictorial Press/Alamy

John reacts by telling Paul that nobody else in the group dug his Maxwells Silver Hammer, a song theyve just recorded for Abbey Road, and that it might be a good idea if he gave songs of that kind which, John suggests, he probably didnt even dig himself to outside artists in whom he had an interest, such as Mary Hopkin, the Welsh folk singer. I recorded it, a drowsy Paul says, because I liked it.

A mapping of the tensions that would lead to the dissolution of the most famous and influential pop group in history is part of Hornsey Road, a teasingly titled stage show in which Lewisohn uses tape, film, photographs, new audio mixes of the music and his own matchless fund of anecdotes and memorabilia to tell the story of Abbey Road, that final burst of collective invention.

The album is now so mythologised that the humdrum zebra crossing featured on its celebrated cover picture is now officially listed as site of special historic interest; a webcam is trained on it 24 hours a day, observing the comings and goings of fans from every corner of the world, infuriating passing motorists as these visitors pause to take selfies, often in groups of four, some going barefoot in imitation of Pauls enigmatic gesture that August morning in 1969.

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George Harrison and John Lennon recording Let It Be. Photograph: Daily Sketch/Rex/Shutterstock

Its a story of the people, the art, the people around them, the lives they were leading, and the break-up, Lewisohn says. The show comes midway through his writing of The Beatles: All These Years, a magnum opus aiming to tell the whole story in its definitive version. The first volume, Tune In, was published six years ago, its mammoth 390,000-word narrative ending just before their first hit. (All the heft of the Old Testament, the Observers Kitty Empire wrote, with greater forensic rigour.)

Constant demands to know when Turn On (covering 1963-66) and Drop Out (1967-69) might appear are met with a sigh: Im 61, and Ive got 14 or 15 years left on these books. Ill be in my mid-70s when I finish. Time is of the essence, he adds, perhaps thinking of the late John Richardsons uncompleted multi-volume Picasso biography. This two-hour show is a way of buying the time for him to dive back into the project.

For 30 years, Lewisohn has been the man to call when you needed to know what any of the Fab Four was doing on almost any day of their lives, and with whom they were doing it. His books include a history of their sessions at what were then known as the EMI Recording Studios in Abbey Road, and he worked on the vast Anthology project in the 90s.

The idea for a stage show was inspired by an invitation from a university in New Jersey to be the keynote speaker at a three-day symposium on the Beatles White Album, then celebrating its golden jubilee. His presentation, called Double Lives, juxtaposed the making of the album and the lives they were leading as individuals outside the studio. It took several weeks to put together, and I thought, This is mad I should be doing this more than once to get more people to see it.

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Ringo Starr and Paul McCartney in the studio. Photograph: PictureLux/The Hollywood Archive/Alamy

The next anniversary to present itself was that of Abbey Road, which took place during a crowded year in which Paul married Linda Eastman, John and Yoko went off on their bed-ins for peace, Georges marriage to Pattie Boyd was breaking up, and they were all involved in side projects. John had released Give Peace a Chance as the Plastic Ono Band and George had been spending time in Woodstock with Bob Dylan.

John also took Yoko and their two children, Kyoko and Julian, on a sentimental road trip to childhood haunts in Liverpool, Wales and the north of Scotland, ending when he drove their Austin Maxi into a ditch while trying to avoid another car. Brian Epstein, their manager, had died the previous year and the idealism that had fuelled the founding of their Apple company Its like a top, John said. We set it going and hope for the best was starting to fray badly. Other business concerns such as their song-publishing copyrights, which had been sold without their knowledge led to a war between Allen Klein, the hard-boiled New York record industry veteran invited by John to sort it out, and John Eastman, Lindas father, a top lawyer brought in by Paul to safeguard his interests.

Lewisohn has the minutes of another business meeting, this time at Olympic Studios, where the decision to ratify Kleins appointment was approved by three votes to one (Paul), the first time the Beatles had not spoken with unanimity. It was the crack in the Liberty Bell, Paul said. It never came back together after that one. Ringo and George just said, whatever John does, were going with. I was actually trying, in my mind, to save our future.

And yet Lewisohn challenges the conventional wisdom that 1969 was the year in which they were at each others throats, storming out of the recording sessions filmed by Michael Lindsay-Hogg for the verit-style movie Let It Be, and barely on speaking terms. During the making of Abbey Road, says Lewisohn, they were in an almost entirely positive frame of mind. They had this uncanny ability to leave their problems at the studio door not entirely, but almost.

In fact, Abbey Road was not the only recording location for the album: earlier sessions were held at Olympic in Barnes and Trident in Soho. And Lewisohns creation is called Hornsey Road because that, in other circumstances, is what the album might have been titled, had EMI not abandoned its plans to turn a converted cinema in that rather grittier part of north London into its venue for pop recording.

The show, Lewisohn believes, is the first time an album has been treated to this format. People will be able to listen with more layers and levels of understanding, he says. When you go to an art gallery, you hope that someone, an expert, will tell you what was happening when the artist painted a particular picture. With these songs, Im going to show the stories behind them and the people who made them, and what they were going through at the time. Certainly, no one who sees this show will ever hear Abbey Road in the same way again.

Hornsey Road is at the Royal and Derngate, Northampton, on 18 September and touring until 4 December.

Read more: https://www.theguardian.com/music/2019/sep/11/the-beatles-break-up-mark-lewisohn-abbey-road-hornsey-road

In defence of Ringo Starr a masterful drummer and the Beatles’ unsung genius

He may have lacked precision and showmanship and he did write Octopuss Garden. But those who dismiss Ringo as a journeyman who got lucky wildly underestimate a rhythmic powerhouse

In 1983, the British comedian Jasper Carrott made an unhelpful contribution to Beatles legend when he coined a joke that would go down in history: Ringo isnt the best drummer in the world, he quipped. He isnt even the best drummer in the Beatles.

It resonated, to the extent that it entered into Beatles lore as the wisdom of John Lennon. That was eventually debunked by Beatles expert Mark Lewisohn but the misrepresentation says a great deal about the publics perception of Ringo Starr: a non-musician who got lucky, a journeyman alongside three musical geniuses.

This is total nonsense. Ringo, whose new album Give More Love has just come out, wasnt just the funniest Beatle, the life and soul of those early press conferences; and he wasnt just the best drummer in the Beatles. He was the best drummer for the Beatles.

This is a vital distinction to make. His beats may not have had the furious technical clarity of Led Zeppelins John Bonham, say, or the phenomenal precision of James Browns drummer, Clyde Stubblefield. But what he had was perfect for the Beatles, where Bonham would have been too showy and Stubblefield too tight.

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Ringo Starr, centre, with the Beatles. Photograph: CBS Photo Archive/Getty Images

Most drummers recognise this. Define best drummer in the world, Dave Grohl said in a tribute video for Starrs Rock & Roll Hall of Fame presentation. Is it someone thats technically proficient? Or is it someone that sits in the song with their own feel? Ringo was the king of feel.

What this means is that many of Ringos best performances go unnoticed. These are beats designed to enhance the song rather than show off the drummers abilities. Take She Loves You, the song that kicked off Beatlemania. Ringos brief introductory tom roll is the shot of adrenaline that gets the heart of the song thumping; it is teen mania in sound, and one of the most important drum rolls in recorded music history.

On Cant Buy Me Love, Ringos drumming is the primal force that drives the songs hormonal energy, all whipcrack snare and floor-tom bombast, wrapped up in Ringos signature sound: a wall-of-sound hi-hat thrash that sounds like five drummers at once. His drumming here is not complicated but as numerous live versions of the song attest it is lethally exact with not a note out of place, giving the lie to the notion, repeated by John Lennon in a 1980 Playboy interview, that Ringo was not technically good as a drummer.

Another criticism of Ringo is that he wasnt a creative god like the other Beatles. He didnt write the songs and he wasnt a studio genius like producer George Martin, who helped to mould Lennon, McCartney and Harrisons tunes into something spectacular. Again, this is nonsense. Octopuss Garden may not put Ringo into the songwriters hall of fame, but his drumming helped to shape countless Beatles classics, bringing personality and life to them.

Consider Tomorrow Never Knows, one of the most influential Beatles songs. How would it sound without Ringos beautifully lopsided breakbeat, his unexpected twitching snare pattern emphasising the songs feel of psychedelic discombobulation? How would Strawberry Fields Forever feel without Ringos fantastically weary tom fills, which seems to drag the listener down into Lennons nostalgia?

Some people consider Ringo to be a terrible drummer because he doesnt play solos. But who, apart from other drummers, really enjoys a solo? Ringo knew this and for years resisted all attempts to get him to play them, eventually giving in for the 15-second break on Abbey Roads The End. Its not flashy or difficult, but it has an understated funky charm and when it turned up on Beastie Boys The Sounds of Science 20 years later, it was hard to resist a smile.

In fact The Sounds of Science, which also borrows Ringos strident drum beat from Sgt Peppers Lonely Hearts Club Band (Reprise), shows just how funky Ringos drums could be when recontextualised. One producer who understood this well was Danger Mouse, whose 2004 release The Grey Album married Jay-Zs The Black Album to the Beatles LP The Beatles to wonderful effect. Ringos breakbeats are a key tool in making the album fly, whether chopped up for their unique timbre or used straight for their head-down funk.

The Chemical Brothers also borrowed the shape of the Tomorrow Never Knows beat for both Setting Sun and Let Forever Be, while J Dilla sampled Starrs 1974 solo song Occapella on In the Streets. Other Ringo solo songs that prove the funk didnt end when the Beatles split include the lolling glam funk of Back Off Boogaloo, the irresistible disco-ish stomp of Oh My My and the rolling percussive waves of It Dont Come Easy, which has the added bonus of supporting an absolutely fantastic tune.

At 77, being the butt of drumming jokes is certainly not going to faze the famously phlegmatic Ringo Starr. But underestimate him at your peril. Because if you dont get Ringo Starr, then youre only getting three quarters of the Beatles and thats no laughing matter.

Read more: https://www.theguardian.com/music/2017/sep/19/ringo-starr-great-drummer-the-beatles-genius