Paul McCartney Never Performed This Iconic Beatles Song Live—but Why?
BY EM CASALENA
American Songwriter
UPDATED: AUGUST 30, 2024
The Beatles quit touring for good in 1966, and many of the songs from later releases never got a proper Fab Four performance. That being said, each respective member of The Beatles went on to perform a number of those post-Beatles songs during their solo runs. But surprisingly, there’s one hit track that never got a performance; not even from the man who wrote it.
That song would be “Martha My Dear” from the band’s 1968 self-titled album. The track was written by Paul McCartney and is a heartfelt tribute to his beloved sheepdog, Martha. Some have interpreted the song as a reference to his public breakup with Jane Asher, notably with the lyrics “Don’t forget me”. The lyrics “Help yourself to a bit of what is all around you” is seen as a dig at a potential alleged affair Asher had while McCartney was traveling with The Old Vic Theatre.
However, McCartney has never verified these claims. He’s also never performed the song live.
Why Paul McCartney Never Performed “Martha My Dear” Live?
“Martha My Dear” is a major fan-favorite among Beatles superfans and casual listeners alike. The band’s contemporaries and other artists love it too, with the likes of Brass, World Party, Phish, and more covering the track. It’s quite surprising that McCartney never played the song live with Wings or during his solo endeavors. Ironically, the song sounds as close to a Wings song as you can get.
However, the most likely reason behind McCartney never performing “Martha My Dear” live makes perfect sense.
“Martha My Dear” has quite a noticeable (and fantastic) brass accompaniment. That could be hard to reproduce. Just as well, quite a few professional pianists with years of experience have said that the piano part on “Martha My Dear” is incredibly hard. We imagine it’s even harder to play the piano bit while also singing. It’s quite likely that McCartney just couldn’t replicate it live, so he avoided performing the song for years.
McCartney has not confirmed this notion nor has he spoken about it. But if it’s true that he just couldn’t play the song, we understand. Even the best musicians avoid certain songs if they know it could hamper their set. At the very least, we can enjoy everyone’s favorite song about a dog with the recorded version.
Decades after his sad passing, John Lennon still impacts our world like a legend. But have you thought about how much his empire is worth? When he died in 1980, John Lennon had around $200 million. That’s like having $620 million today1.
This fortune included real estate, artwork, and song royalties. Yoko Ono, his wife, inherited it and now has about $700 million2. This piece explores Lennon’s wealth and how Yoko Ono and their son, Sean, helped it grow. Lennon’s legacy mixes music with financial savvy, making his story fascinating.
Key Takeaways:
Lennon’s net worth at the time of his passing equated to about $620 million in today’s currency1.
Yoko Ono expertly managed and grew Lennon’s estate, now estimated to be over $700 million2.
Key assets include solo album sales, number-one singles, and The Beatles’ groundbreaking catalogue1.
Estate value is also tied to historical Beatles phenomena like ‘Beatlemania’ and Lennon’s controversial statements1.
Legal battles following Lennon’s death, and the eventual settlements, reveal the complexities of managing an icon’s estate3.
John Lennon’s Net Worth and Legacy
John Lennon was more than a musician; he left a mark that’s still felt today. He was born in Liverpool and achieved worldwide fame. His work in music, film, and writing showed he was a true artist at heart
The Impact of The Beatles on Lennon’s Wealth
The Beatles changed music forever, and John Lennon was key to their success. He helped the band sell over 600 million records across the globe4. John’s share from the band’s earnings made him very wealthy during and after his time with The Beatles54.
Songwriting Royalties and Solo Endeavors
John Lennon’s song “Imagine” is a powerful message of peace5. Going solo, he released albums like “John Lennon/Plastic Ono Band” in 1970, which grew his wealth5. His smart business moves ensured his music would always make money4.
Michael Jackson’s purchase of the ATV catalog, including Beatles songs, was a smart business move. This deal still brings in a lot of money, proving Lennon’s lasting impact on music4.
John Lennon’s influence comes from his Beatles days and his solo career. His genius in songwriting and business made a legacy that supports his family and pleases fans even now4.
The Inheritance and Executors: Yoko Ono and Sean Lennon
After John Lennon died, Yoko Ono became the main person in charge of his wealth. This role also gave her total power over his songs and assets, with a link to more info here67. Along with their son, Sean Lennon, they received most of Lennon’s vast and still profitable legacy.
Yoko Ono has skillfully increased the estate’s value through inheritance, permits, and music rights. Her commitment shines as she protects Lennon’s work and peace ideals.
The value of John Lennon’s estate is roughly between $400 and $800 million. It keeps growing because of smart decisions and his lasting fame6.
Every year, John Lennon’s estate earns about $12 million78.
“WE ARE PRESERVING JOHN’S LEGACY WITH LOVE AND RESPECT, ENSURING HIS MESSAGE OF PEACE IS RELATABLE TO EVERY NEW GENERATION,” SAYS YOKO ONO.
Handling the estate of someone as famous as John Lennon was challenging. Yet, Yoko Ono and Sean Lennon have been united and effective. They’ve not only managed his assets well but also continue to spread his vision of peace.
Valuation of John Lennon’s Assets Over Time
Since John Lennon’s death in 1980, his assets have greatly increased in value. This growth shows his lasting impact and the smart choices made in managing his estate. The growth is due to music royalties and smart investments in real estate and art, all carefully managed by Yoko Ono.
Estate Growth Factors Since 1980
John Lennon’s memorabilia keeps going up in value. One notable instance is when his guitar sold for $2.9 million at auction, way above the expected $800,0009. This guitar, important in Beatles’ history, was among items that show high asset valuation for Lennon’s possessions9.
Real Estate and Artwork Among Lennon’s Holdings
Real estate plays a big role in Lennon’s estate. His Manhattan townhouse and the Dakota building apartment are keys. The townhouse sold for $13 million, showing the high value of properties linked to Lennon10. The “Lost Weekend” penthouse got $7 million, proving the strong market for celebrity properties10.
Yoko Ono living in the Dakota shows smart estate management. It keeps these properties as key parts of the family’s wealth growth and estate growth.
Lennon’s estate is a prime example of effective estate management. It shows the significance of celebrity history in asset valuation. For more on how celebrity estates handle asset management and legacy, see the discussion on unauthorized uses of celebrity estateshere.
The Beatles Catalog Sale and Estate Management
The sale of The Beatles catalog was a big moment in music history. The deal that included a 10% stake in Sony/ATV Music Publishing is notable. It involves many Beatles’ songs. This transaction was for a huge $350 million. It shows how valuable The Beatles catalog is. It also highlights how well Yoko Ono and Sean Lennon manage the estate.
Sony/ATV Music Publishing has led the way in handling The Beatles’ songs. This began when Michael Jackson sold half of ATV’s 4,000-song catalog to Sony in 1995. The price was about $100 million11. In 2016, Sony decided to buy the remaining 50% from the Jackson estate. The price was $750 million11. This move showed Sony’s dedication to these famous songs.
Managing estates is key in keeping a legacy alive and adjusting to law and market changes. Paul McCartney’s move to get back 32 songs in 2018 shows this well. He used the US Copyright Act of 197612. This law lets songwriters get back their publisher’s share on their songs from before 1978 after 56 years.
The complex deals made for The Beatles’ music have a big impact on the industry. RouteNote Publishing’s way of handling worldwide publishing royalties is clever. It lets users keep 85% of their earnings. This model is good for the estates. It helps them make the most from The Beatles catalog12.
Dick James’ creation of Northern Songs was a key point. Lennon and McCartney initially had big shares there12.
Their shares went down over time, and ATV finally bought the company. This shows how control over these famous songs changed12.
The way The Beatles’ catalog is managed by Sony/ATV Music Publishing and others is a lesson in good estate management. It doesn’t only keep the legacy going. It also greatly increases the value of the estate financially and culturally. Because of this, The Beatles’ impact on music stays strong for new fans.
Legal Battles and Settlements within the Lennon Estate
John Lennon, a legendary musician, left behind a legacy filled with estate litigation. His estate, worth 220 million pounds, led to family disputes especially the disinheritance of Julian Lennon13.
Julian Lennon and Yoko Ono, Lennon’s widow, were at the center of the dispute. Julian was not included in his father’s will. This sparked a 16-year legal settlement ordeal14. Julian initially accepted the will but later fought for a bigger piece, causing a bitter fight14.
Contestations and Disinheritance Debates
Julian faced a tough battle over his disinheritance14. He eventually secured 20 million pounds to end his claims13. This fight highlights the emotional and legal challenges in estate litigation.
The Outcome of Julian Lennon’s Legal Actions
Julian’s settlement brought an end to the family conflict14. Despite this, the strain between Julian and Yoko Ono lingered, starting before John Lennon’s passing13. Thankfully, signs of healing emerged as family members began making public appearances together, hinting at reconciliation14.
Such cases teach us about disinheritance and show why it’s crucial to have clear wills. This can prevent long, painful legal fights and help families find peace sooner13.
Conclusion
John Lennon’s legacy shines not just in his songs but also in the rising value of his estate. The Beatles, with Lennon as a key member, changed music and culture15. After his death, his estate has grown, showing his lasting impact16. Lennon lived a life full of varied experiences, from performing in Hamburg to working with stars like Elton John and David Bowie. His estate reflects this variety, attracting both old and new fans1517.
Lennon’s music continues to be released after his death, showing his ongoing influence. His estate contributes to his legacy, reflecting his ideals of peace and justice. This careful management supports his family, charity, and keeps his message of peace alive.
When comparing to artists like Tupac Shakur, ashighlighted here, we see the importance of managing an artist’s estate well. John Lennon’s estate is an example of how to preserve and enhance an artist’s legacy. It shows how an artist’s influence can remain strong, impacting culture long after they’ve passed1516.
‘They’ve never let me down.’ Why Ringo Starr’s NC-made Ludwig drums mean so much to him
BY ADAM BELL
The Charlotte Observer
UPDATED AUGUST 28, 2024
Ask Ringo Starr about his decades-long love affair with Ludwig drums. Go ahead; we did. You’re guaranteed to smile.
What’s more, the Beatles drummer also gave two thumbs up (and playfully stuck out his tongue) when The Charlotte Observer asked about his instruments made in North Carolina — and nowhere else — for 40 years now.
So may we introduce to you the Beatle we’ve pursued for all these years, as he finally tells the Observer exactly what those drums mean to him.
Starr, now 84, also took questions from other U.S. and international reporters during a 50-minute Zoom press conference earlier this year from his home studio in L.A. The occasion was the kick-off of his latest All-Starr Band tour and on the heels of his new album, “Crooked Boy.” (That tour and Starr’s drums don’t have Charlotte on the itinerary.)
A relaxed, joking Starr was dressed all in black, with a small chain and silver peace sign pendant around his neck. During the Q & A, where his publicity team read him reporters’ questions, Starr also discussed his old mates, AI and keeping the vibes positive.
Ringo Starr answered a Charlotte Observer question about his long-standing love of his Ludwig drums, which have been made in Monroe for 40 years. It took the Observer nine years to connect with the Beatle. Melissa Melvin-Rodriguez mrodriguez@charlotteobserver.com
COME TOGETHER
Back in 2015, the Observer profiled Ludwig’s operations at its Monroe plant and has been seeking an interview with Starr ever since. We had to know why he sought these particular drums, out of all the drums out there.
Ludwig, which is owned by Conn Selmer, employs about 70 people in Monroe. The manufacturing plant last handled a custom job for Starr in 2019, according to the company.
So just what do Ludwig’s drums mean to him? We’ll let the man himself tell it.
One fateful day in April 1963, Starr and Beatles manager Brian Epstein were strolling down a London street when a music store display caught Starr’s eye.
“I went in and said, ‘Oh man, I want those drums.’ And the guy said, ‘Are you in a band, lad?’
“Yeah, we’re in a band.”
Starr wanted the Ludwig drum kit. “We were all into (anything) American” at the time, he recalled.
The Drum City Ltd. salesman went to rip off the Ludwig logo on the drum front when Starr stopped him. “Leave it on,” Starr said. “It’s American, you know. It was just the kit for me.”
The Beatles on “The Ed Sullivan Show” on Feb. 9, 1964. Demand for Ludwig drums exploded after 73 million people in the U.S. watched the show, and Beatlemania was born. ZUMA/MCT
EIGHT DAYS A WEEK
Those drums also meant something to Ludwig, especially after 73 million people tuned in to “The Ed Sullivan Show” on Feb. 9, 1964, and saw the Beatles in America with Starr on his Ludwig Downbeat oyster black pearl drum kit.
For one thing, drum production ballooned from an eight-hour day, five days a week, to 24 hours a day, six day a week. Back then, Ludwig was still based in Chicago. Company leaders were grateful. Very, very grateful.
When The Beatles flew to Chicago in September 1964, Ludwig leaders presented their favorite drummer with a gold-plated Super Sensitive snare drum as thanks for choosing their brand.
“I met Mr. Ludwig, Mr. Ludwig and Mr. Ludwig, who was their granddad, the son and his son. I met all the boys,” Starr told the Observer.
On Sept. 5, 1964, ahead of a Beatles concert in Chicago, Ludwig Drums gave Ringo Starr a gold-plated snare drum as thanks for choosing the brand. Sales had exploded after the band appeared on “The Ed Sullivan Show” in February. Chicago was Ludwig’s headquarters at the time, and company President William Ludwig II, left, and marketing director Dick Schory presented the drum to Starr. Ludwig Drums
“I do have several kits now, but the first kit, we played all the time,” he added. “They’re (a) great sound for me.”
Starr also had plans with his drums so he wouldn’t be overshadowed by the other lads during their live shows.
“Usually the drum was on the floor, and you’d have to look around one of the frontmen to see me,” he said. “So I thought — not that I invented it — but I demanded a rostrum to put me up a bit, so I’d be more part of it.”
The Beatles in 1969, the year they performed a famed rooftop concert atop the Apple Corps headquarters in London. From left, George Harrison, John Lennon, Paul McCartney and Ringo Starr. Apple Corps Ltd. / EMI Music
LOVE ME DO
When the Observer visited the Ludwig shop nine years ago, employees spoke of the palpable excitement they felt whenever a special order comes in for Starr.
The feeling, most assuredly, remains mutual.
“Mainly, my heart swells when I look at my (drum) kit, you know, and I still love them,” Starr said. “I’m still using them all these years later. From ‘63, say, we started. And they’re still the drums for me...
“They’ve never let me down.”
Ringo Starr on his “Jelly Bean” drum kit, a Ludwig drum set comprised of individual drums from his kits of the last 15 years. Ludwig Drums
WITH A LITTLE HELP FROM MY FRIENDS
Starr also fielded non-North Carolina questions during the Q&A about his album.
▪ Linda Perry wrote and produced all the songs on the new album and had read up on how sickly Starr was as a child. But Starr insisted each song had to reflect some of his trademark optimism.
“(There’s) gotta be at least a glint of sunlight... I like to give it a positivity of, you know, peace and love,” Starr said.
“All my songs, they can be like, ‘The world’s gone mad and the grass won’t grow. But oh, there’s a flower in the corner. What do you know.’”
▪ Starr and fellow Beatle Paul McCartney continue to jam together whenever McCartney’s in town. “It’s always great to work with Paul. I love the man, and he’s my friend.”
▪ Starr still enjoys touring, and his fall schedule keeps him on the road throughout September. “I have a passion for playing. And you know, I’m the drummer, so I need a band in front of me... I still do it because I love it. And I still do it because I can.”
▪ Starr was asked about his motto, “Peace and Love,” something he also chants on his birthday July 7 and encourages his fans around the world to chant too. “ It’s just part of me now. You know, it came in in the ‘60s, thanks to the hippies. And we became hippies in our own way.”
Ringo Starr answered reporters’ questions during a live, virtual interview earlier this year. He also frequently flashed the peace sign, part of his “Peace and Love” mantra. Melissa Melvin-Rodriguez mrodriguez@charlotteobserver.com
▪ The press conference wrapped up with Starr being asked about AI. Starr marveled at how director Peter Jackson deployed AI to help isolate John Lennon’s vocals on an old demo tape from the late 1970s. Combine that with some George Harrison riffs from the 1990s, and Starr and McCartney vocals from a couple years ago, and you get last year’s release of The Beatles’ last song called “Now and Then.”
“John is there because of AI,” Starr said. “I know there’s a lot of fear out there that AI will steal your soul. But I won’t steal anybody’s soul, so you’re OK.”
And with that, the interview ended. Starr bade his audience one final “peace and love,” then signed off, with a Ludwig drum kit ensconced nearby.
Ringo Starr told The Charlotte Observer he was first interested in Ludwig drums in 1963 because they were made in America. “They’ve never let me down,” he said over 60 years later. Susan Pfannmuller McClatchy file photo
PAUL McCARTNEY INVITES YOU TO HIS BEATLE WORLD AT THE PORTLAND ART MUSEUM
NILOFER KHAN
The Phoblographer
LAST UPDATED ON 08/28/2024
The lead image is by Paul McCartney, Courtesy of Portland Art Museum. The Phoblographer has been permitted to use the photos.
The brilliance of photography is that anyone can be a photographer. Whether you are a salesman, a writer, a homemaker, or even a student, chances are we all know a connoisseur of the medium. While one relishes witnessing the fleeting moments in pictures, the delight gushes like an avalanche if it’s through the lens of prominent celebrities. Norman Reedus, Patti Smith, Jeff Bridges, Viggo Mortensen, Zendaya, and more such luminaries have dominated the entertainment world and captured the hearts of photography enthusiasts. But, amidst their spell-binding works, one person stands out the most: Paul McCartney.
A legendary musician who belonged to an iconic band, McCarntey’s photographs illustrate an intimate side of the band and their connection with one another. To honor and treasure this legacy, the National Portrait Gallery of London has organized a spectacular showcase, Paul McCartney Photographs 1963–64: Eyes of the Storm, at the Portland Art Museum. The exhibit commences on September 14, 2024, and continues until January 19, 2025.
The exhibition, which includes more than 250 immensely intimate photographs by Paul McCartney, witnesses The Beatles’ swift ascent from being Britain’s national treasure to conquering the hearts of millions, a feat that still remains untouched. The pictures and video clips, discovered recently, welcome viewers to an exclusive new world of the heartthrobs, concealed from the posed or paparazzi photographs. With each image, McCartney delves deep into what the stardom meant to the band, their experiences, their fans, and the Beatlemania splendor. To encapsulate, the showcase and archival material unveil the beginning of the “British invasion” that changed rock and roll music and charmed American society.
“Looking at these photos now, decades after they were taken, I find there’s a sort of innocence about them,” said Paul McCartney about the photographs. “Everything was new to us at this point. But I like to think I wouldn’t take them any differently today. They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that they will always fire my imagination.”
“I know several influencers who would probably say things like, ‘I could’ve shot this, why isn’t my work in a museum?’ The honest truth is that Paul shot from a place of emotional memory capture — not from a place of pleasing an algorithm.” — Chris Gampat, Founder and Editor-in-Chief, The Phoblographer.
As the title suggests, Paul McCartney captured these images in late 1963 and early 1964, crucial months for The Beatles. “And here is where you really want to get close: the details are masterfully printed. You can see things like blemishes on the faces of each individual member of the Beatles — reminding you that these are candid photographs made by a man who had immense trust in them,” our editor wrote in his review of the exhibit held at the Brooklyn Museum in May.
Paul McCartney Photographs 1963–64: Eyes of the Storm on display at the Brooklyn Museum until August 18th, 2024
As you go through the showcase, you will comprehend that McCartney has a keen visual sense, and his images reflect that through his aesthetics and understanding of the pop culture of that era. Ranging from portraiture of his fellow bandmates to landscapes to documentary photographs, the exhibit reveals McCartney’s love for every subject that graced his lens, touching his soul. At the same time, it highlights the formal styles of early 1960s photography.
Paul McCartney Photographs 1963–64: Eyes of the Storm has been curated by McCartney in collaboration with MPL Communications Limited’s Sarah Brown and McCartney and the National Portrait Gallery’s (London) Rosie Broadley. Julia Dolan, Ph.D., the Minor White Senior Curator of Photography, has organized the exhibition at the Portland Art Museum.
While The Beatles were an experimental band that enjoyed pushing the boundaries of music, many consistencies exist within their discography. Some of the most obvious are harmony and melody; regardless of what Beatles album you’re listening to, whether in the early days of Help or the later more experimental movements in The White Album, you can guarantee the Fab Four will deliver sweet-sounding music.
The band’s aim was always to make something they liked the sound of and were happy to put their name on to. Though there were some creative differences within the band, the aim was always to make good music; it didn’t matter how that manifested itself.
Kiss once compared themselves to The Beatles because Gene Simmons believed they shared a similar mindset. “We also took pride in having the same freedom The Beatles had,” he said, “Their philosophy was, ‘No matter what kind of music we do, it’s still The Beatles’. That’s what was amazing about them… The Beatles were not trapped in that way. They could do music hall, psychedelia – anything – and they did. Yet somehow, it always sounded like The Beatles.”
Because they understood that they just wanted to make good music that people connected with, they had free rein to put forward whatever ideas they saw fit. While this allowed the band to expand themselves creatively and push the boundaries of music, it also led to some creative differences forming.
One of the things that made Paul McCartney and John Lennon such a good writing duo was that they had differences in how they approached songwriting. This meant they could overcome writer’s block and put together pieces of music that neither could do alone. However, combine these differences with complete creative freedom, and you eventually get friction, which is precisely what happened in the Beatles.
(Credits: Far Out / Parlophone)
One album that highlights their differences more than others is The White Album. This is a haphazard approach to making a consistent record. Granted, it’s still viewed as a classic, as some of the band’s best songs are on that record, but it also acts as a good example of the tension that was present within the band.
One of the main differences between Lennon and McCartney was that McCartney had an affinity for the single, which meant he liked to make sweet, snappy and catchy songs. That worked well for a period, but Lennon wanted to move away from it. When McCartney came forward with the track ‘Ob-La-Di Ob-La-Da’, while it had the qualities of a catchy single, Lennon (and the rest of the band) resented it.
“John Lennon came to the session really stoned, totally out of it on something or other, and he said, ‘All right, we’re gonna do ‘Ob-La-Di, Ob-La-Da’,” said engineer Richard Lush, recalling one of the WhiteAlbum recording sessions. “He went straight to the piano and smashed the keys with an almighty amount of volume, twice the speed of how they’d done it before, and said, ‘This is it! Come on!’ He was really aggravated.”
Lennon was starting to get bored with how McCartney wrote songs, which is best reflected in one of his offerings on the album, ‘Revolution 9’. Ironically, the song that took the longest time to record is barely a song, as Lennon put together an eight-minute clip that showed snippets from previous recordings and some spoken word over the top of it. It’s a tough listen that many fans didn’t take to. Now, knowing what we know about The Beatles during this period, it may also have been the product of John Lennon being petty.
The track couldn’t be more the antithesis to a pop song. There is no melody, no chorus to latch onto, and no consistent rhythm whatsoever. Even the most devout fans struggle to get through the whole thing, as Lennon admits that he was attempting to accurately represent a musical revolution.
When asked about the song, Lennon claimed that it was “an unconscious picture of what I actually think will happen when it happens; that was just like a drawing of revolution,” he said, “All the thing was made with loops, I had about thirty loops going, fed them onto one basic track. I was getting classical tapes, going upstairs and chopping them up, making it backwards and things like that, to get the sound effects.”
Lennon also said he believed this was “The future of music”. What you are more likely listening to is John Lennon being petty and rebelling against the kind of music that McCartney liked to make. ‘Revolution 9’ is very much a revolution but against his writing partner instead of against music as a whole.
