Paul McCartney à Paris

 French and British flags flying at Paul's Paris show.(2016)





www.lejsl.com
Paul McCartney à Paris : cinq choses que vous ignorez sur l'ex-Beatles
L'ex-chanteur des Beatles donne un concert ce mercredi à Paris (La Défense Arena). L'occasion de revenir sur cinq secrets du chanteur de légende.
lejournal
Le 28/11/2018





Paul McCartney, 76 ans, a connu le succès planétaire en tant que membre des Beatles. Le chanteur britannique donne ce mercredi un concert à Paris. On vous dit cinq choses que vous ne savez (peut-être) pas sur lui.

1. Il a le nom d'un astéroïde
En 1990, un astéroïde découvert en 1983 par l'astronome Edward L. G. Bowell est baptisé McCartney en son honneur.

2. Un secret de groupe
Dans la chanson Hey Jude, il n’y a pas de batterie pendant les 50 premières secondes… Ringo Starr était parti aux toilettes pendant l’enregistrement… Les autres, dont le chanteur Paul McCartney qui a commencé à chanter, ne l’ont pas vu partir. Lorsque Ringo Starr est revenu, il s’est installé discrètement, et a commencé à jouer à la fin du couplet… Qu’importe : les Beatles ont choisi de conserver l’enregistrement tel quel. Et cette introduction, très mélodieuse, a fait le succès de ce tube.

3. Fidèle aux Beatles
En 1969, Paul McCartney a décliné l'offre d'être le bassiste d'un nouveau groupe formé de Jimi Hendrix, Miles Davis et Tony Williams.

4. Battu à son propre jeu
Paul McCartney a été battu à son propre jeu vidéo, « The Beatles : Rock Band »… par ses petits-enfants. C’est pourtant un jeu où il faut jouer « comme » les Beatles… A ce propos, il a déclaré au New York Times "Mes petits-enfants me battent à Rock Band. Et je leur dis, 'vous pouvez me battre à Rock Band, mais j'ai écrit la chanson originale donc vous pouvez la fermer ! »

5. Marié trois fois et taclé par son ex-femme
Une de ses ex-femmes (il s’est marié trois fois) n’a pas été tendre avec lui : selon elle, il n’a pas la cote chez les jeunes, qui ne le connaissent pas : « La plupart d'entre eux ne sait même pas qui il est, c'est pour cela qu'il doit faire ces chansons avec Rihanna et Kanye West, pour que les gens se souviennent. »




Paul McCartney in Paris: Five things you do not know about the ex-Beatles

The former singer of the Beatles gives a concert this Wednesday in Paris (La Défense Arena). The opportunity to revisit five secrets of the legendary singer.


Paul McCartney, 76, has enjoyed worldwide success as a member of The Beatles. The British singer gives this Wednesday a concert in Paris. You are told five things that you do not know (maybe) about him.



1. It has the name of an asteroid

In 1990, an asteroid discovered in 1983 by astronomer Edward L. G. Bowell was christened McCartney in his honor.



2. A group secret

In the song Hey Jude, there is no battery for the first 50 seconds ... Ringo Starr went to the bathroom during the recording ... Others, including singer Paul McCartney who started singing, did not seen leaving. When Ringo Starr came back, he settled quietly, and started playing at the end of the verse ... No matter: The Beatles chose to keep the recording as is. And this introduction, very melodious, made the success of this tube.

3. True to the Beatles

In 1969, Paul McCartney declined the offer to be the bassist of a new group formed by Jimi Hendrix, Miles Davis and Tony Williams.



4. Beat at his own game

Paul McCartney was beaten at his own video game, "The Beatles: Rock Band" ... by his grandchildren. It's a game where you have to play "like" the Beatles ... By the way, he told the New York Times, "My grandchildren beat me at Rock Band, and I tell them, 'you can beat me in Rock Band, but I wrote the original song so you can close it! "



5. Married three times and teased by his ex-wife

One of his ex-wives (he has married three times) has not been tender with him: according to her, he is not popular among young people, who do not know him: "Most of they do not even know who he is, that's why he has to do these songs with Rihanna and Kanye West, so people can remember. "

Paul McCartney to play charity concert for the homeless in Dublin

 Dublin, 20th of December, 2009.




www.dublinlive.ie
Paul McCartney to play charity concert for the homeless in Dublin
Macca hasn't played in the capital since 2009
By Aakanksha Surve
26 NOV 2018


INDIO, CA - OCTOBER 15: Musician Paul McCartney performs during Desert Trip at the Empire Polo Field on October 15, 2016 in Indio, California. (Photo by Kevin Winter/Getty Images)

Paul McCartney has agreed to do his first Irish gig in nearly 10 years.

The rock legend will be raising money for the homeless through an exclusive concert at Vicar Street in Dublin.

Macca, who last played here at the then 02 Arena in December 2009, was inspired by the recent unveiling of a plaque commemorating The Beatles’ two concerts in Dublin1963.




Vicar Street owner Harry Crosbie said: “I sent him a photo of the plaque and I got an answer back saying he was absolutely delighted.”

Crosbie added McCartney, 76, often does “guerilla gigs” and added: “He came back to me and said Vicar Street is top of the list for the next one.”

Instead of selling tickets, guests will be asked for donations and all proceeds will be used to help the homeless. No date has been for the gig yet, but Mr Crosbie said he could get a call from the musician at any moment “because that’s the way he works”.

He also told the Sunday World how the idea came to him when he bumped into Paul’s daughter at a social gathering.

Mr Crosbie said: “I met Stella McCartney at a party in our artist friend’s London home.

“We discussed The Beatles’ connection with Dublin and the homeless situation in Ireland and the possibility of Paul doing a gig at Vicar Street with all proceeds going to help people on the streets.”

Mr Crosbie also revealed Gay Byrne, 84, has agreed to be MC at the Vicar Street gig as he was the first man to interview The Beatles on TV in the 60s.

Peter Brennan, founder and president of Beatles Ireland, said yesterday: “For Paul McCartney to play in Ireland it will be a major surprise to most Beatles fans that this will take place.”



Paul with a fan in Northern Ireland 1963

Paul about 'Red Rose Speedway'

www.PaulMcCartney.com

NOV

26

2018

You Gave Me The Answer' - 'Red Rose Speedway' Special

If you think about the skills you have – playing the piano, riding a bike, baking cookies – you had to practice, practice, practice to get good. Practicing and getting good at something is the thinking behind hashtags like #MotivationalMonday. It’s the idea behind the lyrics for Beyonce’s ‘***Flawless’, Drake’s ‘Started From The Bottom’, even Journey’s ‘Don’t Stop Believin’’. 

Malcolm Gladwell famously wrote that The Beatles had to play for over 10,000 hours to master their craft. So how did Wings get from the rough and tumble of their debut Wild Life to their more polished follow up? As Paul points out in the forthcoming reissue of Red Rose Speedway: Wings had to make their mistakes in public. But they did it in a very cool and punk way. 

Getting in their van in London, the band drove around the country stopping off at student unions and offered to play. Word got out about the shows, but it was also a fun exercise of the five-piece learning how to be a band. With the tour under their belt, Wings headed back into the studio to begin work on their follow up album – still only around eight months old as a band! 

In last month’s ‘You Gave Me The Answer’, Paul talked us through the starting point for Wings: Wild Life. This month Paul picks up that conversation to tell us about the follow up: Red Rose Speedway. The conversation took place during the remastering sessions for both releases at Abbey Road Studios. 

PM.com: So after the University Tour and you started to gel as a band, was there a different approach to writing and recording Red Rose Speedway?

Paul: Yeah, it sounds more professional to me. It sounds like it’s putting in more effort, but it’s less rebellious than Wild Life. 

PM.com: And listening back to the album today as you’ve been remastering it, are there any specific songs that stand out?

Paul: I’m very proud of ‘My Love’. This was early days for me and Linda, so it’s a love song to her really. One of the things I was proud of, funnily enough, was that it charted. It sort of did very well. [The ‘My Love’ single reached number one in the US!]

And the other story about the song was Henry McCullough’s guitar solo. We sat downstairs here at Abbey Road to do the take. It was all worked out. We were going to do it live with the orchestra, which was a little unusual, you know – you normally overdub the orchestra. But in the old days Sinatra used to record live with the orchestra. So, we were sitting around, I’m on piano and Henry’s over there in a corner somewhere, and the orchestra’s ready to go. So I’m just about to start. We’d rehearsed and the engineers had got “the sound”. And Henry just sort of wanders over to me and whispers in my ear: ‘I’ve got an idea for the guitar solo. Do you mind if I try it?’ And my mind goes, ‘No!! We’ve got an arrangement! They’re all here ready to go. It could be crap!’ [Laughs] But something just told me to sort of say, ‘Yeah, okay. Go for it!’ And he plays this really signature beautiful solo. So I was glad I said yes! But it was quite the moment, you know. It was like: well, here goes nothing! Then we do the take and I was amazed. I had never heard this solo, it was just something he’d come up with. And it was fabulous. 

So, other songs on the album? ‘One More Kiss’. Mary was three or four around this time, so just a little kid. And you know how fathers often fuss over their kids? So I was fussing over her, she was a really cute baby. And I’m fussing away going, ‘Give me a kiss. Come on, give me a kiss!’ And she’d get fed up with me and sort of go: ‘Dad. Alright. But only one more kiss.’ So I got one more kiss… and a song! It suggested a country and western thing. And I was thinking that when we just listened back to it. A country singer should cover it!

PM.com: Do you remember where something like ‘Loup (1^stIndian On The Moon)’ came from? It’s so different from everything else on the album.

Paul: Because it’s an album track we had a bit more room to manoeuvre. And I think it’s the rebellious aspect of Wild Life coming back in. So you’ve got ‘My Love’, and that’s a proper song. You’ve got some other proper songs on the album. But then we’ve got something like ‘Loup’, where it was sort of a bit of fun for us. It’s pretty experimental. But we didn’t ever play it live, it was just something fun that only existed in the studio.

PM.com: And then the album closes with this amazing 11-minute medley. Do you remember how that was written?

Paul: Well, I kinda like the idea of medleys, as it’s structured. It’s sort of operatic, you know. And it’s good fun putting things like this together, finding little links and ways to go from this to that. We had done it on the Abbey Road album, at the end. And what we’d done there was John and I both had bits of songs that we hadn’t finished. So we put them into a medley and it worked. So this was me doing it again.

PM.com: Then shortly after 'Red Rose Speedway', you do a similar thing on the song ‘Band on the Run’, which is two or three songs in one?

Paul:Yeah, that is true. I started medleying within the song more around that time. It’s just interesting finding new ways to write a song - especially when you write as many as I do. I mean, I notice looking back at The Beatles, that we never really did the same song twice. It’s interesting, you’ve got ‘Please Please Me’, and then we don’t do another ‘Please Please Me’. Our next song changes, and then the next changes again. And that happened with all the singles. Whereas, other bands like The Supremes, it was a bit of a formula: ‘Stop! In The Name Of Love’, ‘Baby Love’. You know, it was a conscious decision to avoid the formula thing. And so if you do that you have to look for new ways of writing songs.

And with that, Paul finished the remastering of Wild Life and Red Rose Speedway and left Abbey Road Studios… to go work on ‘Despite Repeated Warnings’, another medley song that can be found on his recent number one album Egypt Station!

Fans can learn much more about Red Rose Speedway in Amanda Petrusich’s 128-page essay that accompanies the Deluxe Edition;

Pre-order Wild Life by clicking HERE!
Pre-order Red Rose Speedway by clicking HERE!
Pre-order Wings 1971-73 ***SOLD OUT***

What are your favourite songs from Red Rose Speedway? Let us know in the comments below!

Paul McCartney Found Collaborative, First-Take Genius Again With ‘Electric Arguments’

somethingelsereviews.com
Paul McCartney Found Collaborative, First-Take Genius Again With ‘Electric Arguments’
BY JIMMY NELSON
NOVEMBER 24, 2018

No, the Fireman projects don’t represent Paul McCartney’s first forays into experimental pop since the Beatles busted up. The difference between Electric Arguments – by far the most successful of a now three-part series – and, say, 1980’s McCartney II was that Paul had someone to bounce ideas off of. There was another voice in the room, much like John Lennon, to push him – and to pull him back.

Without that, McCartney’s outsider moments tend to exist more as unfocused vanity projects (Wild Life, II), self-involved noodlings (the closing sequence on Red Rose Speedway, that instrumental stuff on Back to the Egg, the interludes on Tug of War and Pipes of Peace) or simply half-finished demos (Paul’s debut solo recording, parts of Flaming Pie). There was a frisky, yet more controlled spontaneity to Electric Arguments, like what “Get Back” might have sounded like in the modern era.

Writing again with former Killing Joke bassist Martin Glover (aka “Youth”), Paul McCartney advanced the notions first explored on a previously released pair of ambient/electronica efforts (1994’s Strawberries Oceans Ships Forest and 1998’s Rushes) much deeper into the purity of first-take songcraft. Featuring a title said to be inspired by an Allen Ginsberg poem that Paul had read recently, Electric Arguments featured 13 tunes written over the course of 13 days, with each composed and recorded in one session – similar to his stripped-down oldies recording Run, Devil Run from 1999.



Importantly, Electric Arguments was also issued by an indie, the UK-based One Little Indian, after more established companies worked the first two Fireman efforts. Set free from the boundaries of his own fame, even from his own name, McCartney flourished. He and Youth ultimately discovered a new song-based sound that included vocals. This challenged Paul in ways that the duo’s more free-form predecessors never did.

The chugging and bluesy “Nothing Too Much Just Out of Sight” was, easily, the heaviest track Paul McCartney has attempted since the Beatles’ howling “Helter Skelter” decades back. That sounds right coming from Youth, who produced the Verve and the Orb but also Guns N Roses’ bootleg favorite Chinese Democracy. Yet Electric Arguments, issued on Nov. 24, 2008, also allowed for the mellow psychedelia of “Lifelong Passion.”

McCartney ruminated on a childlike wonder during “Sing the Changes.” And it’s there: With no release date, no glowering label big-wig and no expectations, McCartney found the wide-open spaces that characterize his best work as a songwriter. Just as importantly, however, he had new eyes to examine those ideas, and to provide the appropriate counterpoint.

Before, it was Lennon – who, for instance, completed the Beatles’ “We Can Work It Out” and “Getting Better” with deft and dark stanzas that balanced otherwise sunny pieces of hopeful confection. John also later convinced McCartney to keep a placeholder lyric, his brilliantly oblique line “the movement you need is on your shoulder,” as part of “Hey Jude.” Same here. “Sun Is Shining” sounded like your typical Paul McCartney song, after it’s been cuffed around some. “Sing the Changes” was Wings, with an echoing, modern spin.

McCartney needs both a governor and a kick start, and he got them from Youth. Together as the Fireman, I’d argue that they created one of the best – or, at the very least, most adventurous – Beatles solo releases ever. Mostly because it’s not a solo release at all.

Paul McCartney and The Cure now favourites for Glastonbury Festival headline

faroutmagazine.co.uk
Sir Paul McCartney and The Cure now favourites for Glastonbury Festival headline spots
Jack Whatley
November 22, 2018



The, what seems now national, pastime of predicting who will headline Glastonbury Festival has taken another turn with Betway slashing odds on Robert Smith’s The Cure and Sir Paul McCartney joining Stormzy as the headline acts for the 2019 festival.

Rumours have been surfacing online that The Cure, who are making their way across the world as part of a huge tour, alongside Sir Paul, who is doing the same, will be the next names confirmed for the festival at Worth Farm.

Other names which were previous favourites, including Liam Gallagjer, Arctic Monkeys and Elton John have slid down the pecking order, leaving The Cure and Macca as frontrunners.

Betway’s Alan Alger said: “With Stormzy confirmed and two even-money shots at the head of the market, we look close to having our Glastonbury headliners confirmed.

“The Cure and Paul McCartney have both been well-backed and are now clear of Liam Gallagher, 3/1, and Arctic Monkeys, 5/1, in the race to headline the Pyramid Stage.”

But if the announcement that Stormzy will headline Friday night’s festivities tells us anything is that we should always expect the unexpected when it comes to Glastonbury Festival.

Check out the odds for who will headline Glastonbury 2019 below.

Glastonbury Headline Act 2019:

Paul McCartney Evens
The Cure Evens
Liam Gallagher 3/1
Arctic Monkeys 5/1
Elton John 10/1




www.bristolpost.co.uk
Glastonbury 2019: The fake lineup poster naming Sir Paul McCartney and The Cure as headliners
Can you spot the mistake which gives it away?
By Robin Murray
21 NOV 2018

With Stormzy confirmed as the first headliner for Glastonbury Festival 2019, bookies and ticket-holders are now hard at work trying to predict who will join him.

The grime star will grace the legendary Pyramid Stage on Friday night and a host of major acts have been rumoured to do so on Saturday and Sunday, with the likes of The Cure, Paul McCartney and Arctic Monkeys among the potential bill-toppers.

But a line-up poster is already doing the rounds on social media which names the aforementioned former Beatles singer and The Cure as the other two headliners, as many are predicting.

Of course, the poster is not genuine, though. Firstly because the lineup is not traditionally released until spring time and secondly because the dates on it are incorrect.


The fake Glastonbury poster being shared on social media

Next year's festival will run from June 26 to 30, but the poster says it'll be from June 21 to 25. The dates they have used match those of Glastonbury 2017, suggesting the poster was made using a 2017 festival poster as a template.

Other big names on the fake poster include US-rapper Childish Gambino, sultry popstar Lana Del Ray and rock legend Liam Gallagher, who performed on The Other Stage in 2017.

There are also a number of other errors in the line-up, including the misspelling of Lily Allen's first name as 'Lilly'.

The poster also doesn't have a year on it, and instead just says '20', with the last two numbers edited out.

The first rule of creating a fake Glastonbury Festival line-up poster, is to use the correct date. pic.twitter.com/9KBw3DwSNj

— GlastoWatch (@GlastoWatch) 19 de noviembre de 2018

It's understood to have been created by a Twitter user who shared it as their own prediction of what the 2019 lineup might look like, reports The Daily Mail.

The speculative poster has received plenty of attention on Twitter, with fan account Glasto Watch sharing it along with the caption: “The first rule of creating a fake Glastonbury Festival line-up poster, is to use the correct date.”

So it looks like we’ll have to wait at least a few more months before learning the genuine lineup...



Paul McCartney Live At Glastonbury 2004

Beatles forged friendship with woman after passport help

www.bbc.com
Beatles forged friendship with woman after passport help
BBC News
November 21 2018


The band were allowed on a flight in 1958 when they didn't have their passports
SPECIAL AUCTION SERVICES

There aren't many happy stories which start with someone forgetting their passport before embarking on an important flight.

But when Doris Hall pulled strings to allow The Beatles to fly from London to Hamburg, her kindness forged a lasting relationship with the Fab Four.

John, Paul, George and Ringo never forgot her favour and thanked her with gifts of memorabilia and free tickets.

60 years on, the family's collection has been sold for more than £17,000.

At an auction on Tuesday people from around the globe bid on the items, which included a signed birthday card, an autograph book, signed photo and a signed programme.

Sue Hall, Mrs Hall's daughter, said her mother was working at London Airport, now known as Heathrow, in 1958 when she was asked to "help four passengers who were transferring to a flight to Germany".

There was one major problem though, the fresh-faced band's passports had been left back in their home city of Liverpool.

No passports? No problem


Sue Hall was invited as a teenager to the 1965 premier of the film HELP!
SPECIAL AUCTION SERVICES

"Air travel was simpler in those days," said Mrs Hall from Cippenham, Berkshire.

"My mother was able to get authority for them to fly on to Germany without passports on the promise that she would get the passports sent on the next flight, which she did."

From that moment on, Mrs Hall, a teenager at the time and fan of the Beatles, said the band "never forgot" her mum's help.

"We were always given seats in the front row which meant we could just about hear what they were singing," she added. "Further back, the screams tended to drown out the music."

"After the concert, we would be collected and taken to see them all in their dressing room to chat and to get my autograph book signed."



Sue Hall received a birthday card from The Beatles for her 16th birthday
SPECIAL AUCTION SERVICES

Mrs Hall "met and assisted" with family members of the band, including Paul McCartney's dad, Jim, who cooked her family a dinner of steak and black pudding in his Liverpool home.

She also attended to the world film premier of HELP in 1965 as a guest of the band and received a 16th birthday card.

Experts at Special Auction Services in Thatcham said they didn't think they would see a collection like Mrs Hall's ever again.



John Lennon's Passports

The Beatles White Album at 50: its avant garde eclecticism still inspires

The Beatles WHITE ALBUM 



theconversation.com
The Beatles White Album at 50: its avant garde eclecticism still inspires
The Conversation
November 20, 2018



For an LP with a plain white cover, the Beatles eponymous ninth studio album – more commonly referred to as the “White Album” – has generated a mass of symbolism since its release 50 years ago in November 1968.

With its glossy all-white gatefold cover, black inner sleeves and portraits of the Fab Four hidden inside the sleeve, the influence of the White Album can be traced across a huge range of cultural artefacts. For example, the author of New Journalism, Joan Didion, named her study of the end of the 1960s dream, The White Album. The starkness of the LP’s presentation seemed aligned to the collapse of post-war idealism documented by Didion’s book.

For cult leader Charles Manson, the record contained a litany of hidden messages that only he and The Beatles understood. George Harrison’s Piggies and Paul McCartney’s (admittedly crazed) Helter Skelter foretold the chaos of a bloody race war, a new apocalypse that Manson was to instigate and alone survive.

In 2004 Brian Joseph Burton, AKA Danger Mouse, issued The Grey Album, a mash-up of The Beatles and rapper Jay-Z’s The Black Album.

And, as if the cultural and commercial importance of the White Album could be doubted, a re-issue of the record to coincide with its 50th anniversary went into the Billboard top 200 with a bullet at number six. Interestingly, of the 63,000 units sold in the week from November 9 to 16, 52,000 were in traditional album sales.

After Sgt Pepper’s
The album remains the Beatles’ most intriguing contribution to the art of sound. It’s hard to imagine in today’s landscape of remakes, sequels and parodies that the pop fans of the 1960s expected their favourite artists to keep moving forward and with each new recording to have developed something entirely fresh. So, the lush, psychedelic world of the previous LP Sgt. Pepper’s Lonely Hearts Club Band, with its iconic Peter Blake designed cover, was substituted by a stark minimalist aesthetic (albeit one created by another legendary British pop artist, Richard Hamilton).

The music inside Hamilton’s sleeve revealed a similar shift of gear. For practically the first time, Beatles songs appeared as solo efforts – some of the record’s 30 tracks had even been recorded by a single member of the band. This had occurred before (think of McCartney singing Yesterday accompanied by a string quartet or Harrison’s forays into Eastern mysticism) and yet for the first time the group was revealed as a collection of individuals rather than a well-oiled unit.

As the late Roy Carr, who co-wrote one of the best books on the group, The Beatles: an Illustrated Record, put it, “on this double LP they act as each other’s session men”. The individual characters of each group member were also laid bare: Lennon’s dark cynicism, McCartney’s eclectic optimism, Harrison’s mysticism and Starr’s love of country music. The collaborative aspect of a pop/rock group dynamic had begun to dissolve. The White Album in fact marks the clearest instance of the disintegration of the Beatles as a group and was thus the springboard for the various solo careers of the band, with tantalising glimpses – good and bad – of what was to come in the years following the split.

It is the sprawling mixture of music and ideas on the record that makes is so fascinating, especially in hindsight. For example, Revolution 9 is a tape collage put together by Lennon and Yoko Ono echoing the experiments in this field by RTF and GRM in France and the BBC Radiophonic Workshop in the UK and reviewed by the NME at the time as a “pretentious piece of old codswallop”. Birthday and Helter Skelter contain distorted blasts of guitar prefiguring Heavy Metal. McCartney was here trying to top The Who: “Pete Townshend said I Can See For Miles was the dirtiest, filthiest record ever, so we were trying to out-filth The Who.”

There is also Lennon and McCartney’s trademark virtuoso vocal performances set to new diverse means (I’m So Tired, Happiness is a Warm Gun and Martha My Dear) and moments of great beauty such as Lennon’s tribute to his deceased mother: Julia.

Growing pleasures
The Beatles’ closet allies though believed they had gone too far. Their producer, George Martin, probably recalling the perfection of albums such as “Revolver” (1966), famously declared on the Anthology documentary: “I thought we should probably have made a very, very good single album rather than a double,” while stalwart engineer Geoff Emerick described the LP as “unlistenable”.

Yet ultimately it is the messiness and eclecticism of the White Album that makes it so great – an aspect I tried to capture in my book of individual reflections on the songs on the LP by artists, poets, academics and performers. The White Album is perhaps the truest deconstruction of The Beatles as a unique group of musicians that we have.

And still the LP continues to fascinate. New York artist Rutherford Chang’s response to the record is an obsessive project. Since 2006, Chang has collected as many copies of the LP as he can, no matter the state of decay (he currently holds around 2,200 copies). In fact, it is the individual modifications (markings and collaging on the cover, and so on) that make the collection so unique. Chang has also sonically layered multiple copies of the LP one on top of another so that those so familiar songs become unrecognisable – a phased mush of noise.

This is precisely the kind of iconoclastic experimentation that the Beatles themselves hoped to achieve with the original 1968 project.

The White Album may have contained the first hints at the limits to the Beatles longevity as a group. But its avant garde eclecticism, or what Beatles biographer Barry Miles referred to as “multipurpose Beatle music”, is one of the very things that ensures their work continues to inspire and provoke creativity 50 years on.