Archive for the ‘60s’ Category

Beatles take top 5 positions in Billboard 100 chart

Beatles take top 5 positions in Billboard 100 chart

It was fifty-one years ago today, give or take a few days. In the week of 4 April 1964, The Beatles  were solidly encamped at the top of the US Billboard Hot 100. They occupied slots #1 – #5 with a further seven songs scattered lower down the chart. Can’t Buy Me Love was their third consecutive US No. 1,  a feat which remains unique in the history of the chart. The following week, two more Beatles singles entered the list.

On April 5th Billboard   ran a story “Chart  crawls with Beatles”. Written  by Jack Maher and Tom Noonan (who  had launched the Hot 100 six years earlier) its opening words were “Just about everyone. is tired of the Beatles.” 

crawling with beatles

“Disk jockeys are tired of playing the hit group. The writers of trade and consumer publication articles are tired of writing about them and the manufacturers of product other than the Beatles are tired of hearing about them. Everyone’s tired of the Beatles – except the listening and buying public.”

I remember that time very well. Like many another Beatle-inspired teenager I’d been given a guitar for my fourteenth birthday and was learning to play it. It was an old acoustic finished in shiny red lacquer. Its metal strings cut my fingertips to pieces, but the pain was nothing compared to the pleasure of being able, after laborious   practice, to shape chords, change from one to another without long pauses in between and hold each in turn   down long enough to strum a semblance of a Beatles song.  

Here are the songs that so delighted us half a century ago.  Click the labels to hear them.









i want to hold your hand


The famous opening chord of A Hard Day’s Night

The famous opening chord of A Hard Day’s Night

George was playing his  Rickenbacker 360 12-string. John was on a Gibson J-160 6-string acoustic. Paul used his Hofner violin bass. The notes they struck simultaneously from these three instruments became one of the most instantly recognisable     sounds   in rock music: the mysterious opening chord   of A Hard Day’s Night..

‘We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning. The strident guitar chord was the perfect launch.’ GEORGE MARTIN

A chord struck fifty years ago, and people are still arguing about what it was.

Many quote  Dominic Pedler’s 800 page The Songwriting Secrets of The Beatles  which lists   21 possibilities, these being but  a few   of the exotic and extravagant ideas he encountered during  his research. Here’s an attempt to reconstruct some of them. The mistakes are mine, the guitar is a Gittler.

“A dominant 9th of F”?






“C-Bb-D-F-G-C in the key of C”?


“A polytriad ii7/V in Ab major”?


or ??


“G7sus4” (open position)?


or 2nd positionG7sus4-2

“D7sus4 (open position)”?


“G7 with added 9th and suspended 4th”?


“A superimposition of Dm, F, and G”?








“Dm11 with no 9th”?






My own guess (no idea what you’d call it)


Joe’s chord F6/9


Thanks to Joe Atkinson and everyone else who commented and offered suggestions.

Professional musician and educator David Wilkens (,  in a long discussion of the chord, mentions that in 2008  a mathematician, Jason Brown, tried to obtain an accurate transcript of the notes using a   Fourier analysis   (basically a set of waveforms).

However the  frequencies thus obtained  didn’t match the instruments   known to have been played on the song.  Brown hypothesised that   George Martin had  played some notes on   the studio’s Steinway grand, these accounting for the anomalous Fourier frequencies.

According to Brown,  George Harrison’s  12 string contributed  a2, a3, d3, d4, g3, g4, c4, and another c4; Paul McCartney bass added a d3,  George Martin struck  d3, f3, d5, g5, and e6 on the piano, while Lennon ‘played a loud c5′ on his Gibson J-60’.

Wilkens says, ‘For fun I took the pitches in this chord and used them to compose a melody and then wrote a short fugue using that melody as a subject (because composing fugues are what I do for fun). It’s in the style of Hindemith, not a baroque style fugue, so I had some fun with dissonance.   Listen for the Beatles quote near the end.’

[Thanks to Dave Wilkens for this material, for his full account of the magic chord, visit his article.]

Here’s a video which  appears to illustrate Brown’s Fourier analysis:



Why am I not convinced?

Perhaps because Randy Bachman (remember Bachman Turner Overdrive) got a listen to the original sounds. The video below tells his story of being invited to the Abbey Road studio by George Martin’s son, Giles, who offered to play him any Beatles track he wanted to hear.

According to Randy (all this is on the video below) Paul played a D note while John played a Dsus4, and as for George with the all-important 12-string, ‘it’s an F chord but you put a G on top and you put a G on the bottom and you put C next to that G’.

This last chord is  beyond me. As far as I can tell it would be pretty much impossible for anyone with fewer than six fingers, especially on a 12-string. If you know better, please tell me how. (Chord below has   impossible C in  green.)

“Randy Bachman chord”


Randy and his friends try  putting all this together   and  presto, the magic chord hangs   shimmering in the air. But listen   for yourself. 

Finally, here’s what George Harrison himself had to say during an online chat on 15 February 2001:

Q: Mr Harrison, what is the opening chord you used for A Hard Day’s Night?

A: It is F with a G on top, but you’ll have to ask Paul about the bass note to get the proper story. (According to The Beatles Bible, ‘Paul added a D note, played on the fifth fret of the A string on his Hofner violin bass. This note is an octave lower than an open D string on a six-string guitar, and had a crucial effect on the overall sound of the chord.’)

Nowhere, note, does he mention Bachman’s bottom G nor the C next to it .


“George’s chord,   Fadd9”


Note added Feb 26:

Just found this video of the Beatles playing the song live in 1964. Very blurry as with most of the surviving footage from those days, but John clearly kicks the song off with the chord described by George, the Fadd9. He is using his thumb to play the bottom F.




The following information is courtesy of The Beatles Bible (Not Quite As Popular As Jesus).

Recorded: 16 April 1964
Producer: George Martin
Engineer: Norman Smith
George Harrison: Rickenbacker 360/12 guitar
John Lennon: Gibson J-160 6-string acoustic guitar
Paul McCartney: Hofner violin bass
Ringo Starr: snare drum, cymbal (in there somewhere)
George Martin: Steinway grand piano
Norman Smith: bongos
Released: 10 July 1964 (UK), 26 June 1964 (US)

A Hard Day’s Night was recorded at EMI Studios in a session taking place from 7-10pm. It took nine takes to record, and completed the number of songs needed for the film soundtrack.

The backing track – two rhythm guitars, bass guitar and drums – was recorded onto track one of the four-track tape, and Lennon and McCartney’s lead vocal were recorded live on track two. They added more vocals on three, along with percussion, more drums and acoustic guitar; and George Martin’s piano and the jangling guitar that ended the song were on track four.

Just five of the nine attempts were complete performances. Take one was complete, and had slightly different lyrics (“Feeling you holding me tight/All through the night”). However, it was unusable due to mistakes in the bass guitar part during the second bridge.

Takes two and three were both false starts, but take four – began before engineer Norman Smith could announce it on the talkback – was complete. However, George Harrison’s guitar solo was poor, and it was decided that he would overdub it once the backing track was complete.

Take five, wrongly announced as take four, was also complete, but six broke down during the third verse. Paul McCartney was the culprit, getting some bass notes wrong. Some studio chatter followed in which Ringo Starr was told to tap a beat on the hi-hat between the opening chord and the first verse.

Take seven was complete, but John Lennon broke a guitar string during the performance and McCartney was still having trouble in the middle section.

Lennon counted in take eight, but McCartney put a stop to it in order to practice the middle eight once more. There followed take nine, which was perfect, and became the basis for the released song.

Track three of the four-track tape was filled with acoustic guitar, bongos played by Norman Smith, more vocals by Lennon and McCartney, and cowbell. The recording was finished with a solo, played by George Martin on piano and George Harrison on guitar, on track four, plus an extra bass guitar part after the solo, underneath the line “so why on earth should I moan”.




Gittler Instruments [more on this coming soon]

60s pop group squinty man with toothbrush moustache

60s pop group squinty man with toothbrush moustache

In my piece    about Paper Sun, Traffic’s debut single from May 1967, I noted that the song might have climbed higher than #5 had it not been for Procol Harum’s A Whiter Shade of Pale, which hogged the top spot for several weeks and could not be budged.

As part of my Paper Sun research I looked for Procol Harum’s original performance on Top of the Pops.

Watching this old black and white footage, a faint and disturbing memory stirred: another group of the era, late sixties or early seventies (despite Sergeant Pepper, this was before groups started being called ‘bands’). Probably, like Procol Harum, they had been pushed into the limelight by an unexpected success, because I only remember seeing them on TOTP  once or twice.

I couldn’t name the group, nor the song. What I remembered about them was not their standard shaggy haircuts and pop star flamboyance, but their keyboard player: a gaunt man with a strange little toothbrush moustache and slicked back hair. He wore trousers hitched well above the waist,  a white  shirt and tie, and apart for his hands on the keys never moved at all. He  stared  straight ahead, oblivious to the beat and the capering of his band mates. Whenever the cameras found him he would give the TV audience a creepy leer.

Who was he and what was the group? I asked my wife if she remembered anything like that. It rang  a bell, she said: someone who looked as if he had stepped out of a Monty Python sketch.  Why didn’t I look on the internet. Yes, but where to begin?

This note takes its title from the search terms I typed into Google – 60s pop group squinty man with toothbrush moustache.  



This brought up a great many references to Hitler, Charlie Chaplin and moustaches.  I tried an image search. Bingo! 


My man was   in five of  the first fifteen images! His name is Ron Mael. He and his brother Russell founded the band Sparks.  The song was This Town Ain’t Big Enough For Both  of Us, written by Ron and sung by Russell. It was #2 on the UK singles chart  on   5th May 1974. Here  they are  as I remember them   off the telly.