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I Don't Like Your Tie

@dontlikeyourtie.bsky.social

The story of George Martin's tie refracted through 100 different prisms. BOOK OUT NOW amzn.eu/d/8eWHyLf

1,001 Followers  |  786 Following  |  589 Posts  |  Joined: 22.09.2023  |  1.7453

Latest posts by dontlikeyourtie.bsky.social on Bluesky

Preview
I don't give a tom tit (NEMS pt2 concludes!) - Bad Machinery The horror of Cilla Black’s robot intimidation regime is revealed, bringing part two to a close.

New comic: "I don’t give a tom tit" (NEMS pt2 concludes!) badmachinery.com/comic/2025-1...

30.10.2025 08:38 — 👍 47    🔁 9    💬 3    📌 1

BEEN LOOKIN' THROUGH MY NOSE

29.10.2025 14:43 — 👍 2    🔁 0    💬 0    📌 0
Preview
Stuart Maconie x Nothing Is Real | Tue 4 Nov, 8pm - Pavilion Theatre Join bestselling writer, broadcaster and BBC Radio 6 DJ Stuart Maconie with Jason Carty and Steven Cockcroft - hosts of the #1 Beatles podcast Nothing Is Real - as they discuss the supporting cast who helped four boys from Liverpool to change everything.

NEXT TUESDAY!!

www.paviliontheatre.ie/events...

29.10.2025 12:24 — 👍 12    🔁 4    💬 0    📌 1
PAUL McCARTNEY: In the early days I used to treat George a bit like a kid brother. ‘Pipe down son, the grown-ups are talking’, y’know? That all changed when George made his famous joke about George Martin’s tie. That moment was just like…’Wow’, y’know? To take such a tense situation, at the end of a session which maybe hadn’t been great in all honesty and turn it around like that? I saw George in a new light after that, and I know John did too. For years after, whenever he got on my nerves a bit or wanted to do something I wasn’t keen on, a voice inside me would say ‘If George was right about the tie joke, what else might he be right about?’ It’s like, I wasn’t all that keen on putting Isn’t It A Pity on Revolver at first, but then that voice kicked in: ‘He knows what he’s doing.’ So on it went, closing track, and was a great success. A few years later I had this song, Hey Jude. I thought it was great but George wasn’t convinced so we ditched it. Things were getting towards the end by then of course. I still think that final album All Things Must Pass holds up pretty well – I was pleased to get a couple of songs on there alongside George’s; Teddy Boy’s always been a great favourite of mine.

PAUL McCARTNEY: In the early days I used to treat George a bit like a kid brother. ‘Pipe down son, the grown-ups are talking’, y’know? That all changed when George made his famous joke about George Martin’s tie. That moment was just like…’Wow’, y’know? To take such a tense situation, at the end of a session which maybe hadn’t been great in all honesty and turn it around like that? I saw George in a new light after that, and I know John did too. For years after, whenever he got on my nerves a bit or wanted to do something I wasn’t keen on, a voice inside me would say ‘If George was right about the tie joke, what else might he be right about?’ It’s like, I wasn’t all that keen on putting Isn’t It A Pity on Revolver at first, but then that voice kicked in: ‘He knows what he’s doing.’ So on it went, closing track, and was a great success. A few years later I had this song, Hey Jude. I thought it was great but George wasn’t convinced so we ditched it. Things were getting towards the end by then of course. I still think that final album All Things Must Pass holds up pretty well – I was pleased to get a couple of songs on there alongside George’s; Teddy Boy’s always been a great favourite of mine.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

29.10.2025 09:27 — 👍 11    🔁 1    💬 0    📌 0
PAUL McCARTNEY: In the early days I used to treat George a bit like a kid brother. ‘Pipe down son, the grown-ups are talking’, y’know? That all changed when George made his famous joke about George Martin’s tie. That moment was just like…’Wow’, y’know? To take such a tense situation, at the end of a session which maybe hadn’t been great in all honesty and turn it around like that? I saw George in a new light after that, and I know John did too. For years after, whenever he got on my nerves a bit or wanted to do something I wasn’t keen on, a voice inside me would say ‘If George was right about the tie joke, what else might he be right about?’ It’s like, I wasn’t all that keen on putting Isn’t It A Pity on Revolver at first, but then that voice kicked in: ‘He knows what he’s doing.’ So on it went, closing track, and was a great success. A few years later I had this song, Hey Jude. I thought it was great but George wasn’t convinced so we ditched it. Things were getting towards the end by then of course. I still think that final album All Things Must Pass holds up pretty well – I was pleased to get a couple of songs on there alongside George’s; Teddy Boy’s always been a great favourite of mine.

PAUL McCARTNEY: In the early days I used to treat George a bit like a kid brother. ‘Pipe down son, the grown-ups are talking’, y’know? That all changed when George made his famous joke about George Martin’s tie. That moment was just like…’Wow’, y’know? To take such a tense situation, at the end of a session which maybe hadn’t been great in all honesty and turn it around like that? I saw George in a new light after that, and I know John did too. For years after, whenever he got on my nerves a bit or wanted to do something I wasn’t keen on, a voice inside me would say ‘If George was right about the tie joke, what else might he be right about?’ It’s like, I wasn’t all that keen on putting Isn’t It A Pity on Revolver at first, but then that voice kicked in: ‘He knows what he’s doing.’ So on it went, closing track, and was a great success. A few years later I had this song, Hey Jude. I thought it was great but George wasn’t convinced so we ditched it. Things were getting towards the end by then of course. I still think that final album All Things Must Pass holds up pretty well – I was pleased to get a couple of songs on there alongside George’s; Teddy Boy’s always been a great favourite of mine.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

29.10.2025 09:27 — 👍 11    🔁 1    💬 0    📌 0

Beautiful!

27.10.2025 16:18 — 👍 1    🔁 0    💬 0    📌 0
Preview
Preliminary Anthologies Leaked, confidential EMI documents have come to light, revealing early stages of the development of the three Anthology albums. Star-Club tracks were initially planned before they were eventually s…

Fascinating post about what was planned for, and left off, Anthology...

webgrafikk.com/blog/news/pr...

27.10.2025 10:37 — 👍 7    🔁 2    💬 0    📌 0
Preview
a man in a suit and tie is smiling and says space ! ALT: a man in a suit and tie is smiling and says space !

Good news!

Be Funny Or Die - How Comedy Works And Why It Matters - will live again.

E-book out soon. We should be able to turn that around pretty fast, fingers crossed.

Then a new revised edition, in paperback, with additional material. Which is exciting…

WATCH THIS SPACE.

24.10.2025 07:22 — 👍 178    🔁 20    💬 5    📌 4
JOHN LENNON: I always remember Pepper as a good time, you know. For most of that period I was staying with Paul at Cavendish Avenue; we’d be in and out of the studio at all hours. It felt like now we were off the treadmill of touring and all the rest of it we could really work on making good records, you know? There was just one evening I remember when things went a bit off. We were a few months into the sessions, must’ve been end of February, early March. I’d brought in a song based on a drawing Julian had done of some kid in his class – you’ll have heard the story a thousand times. Anyway, I’m running through it and I get to the last verse and George puts his hand up. I’m so surprised I stop playing. I mean, we didn’t do this, you know? “Yes George, what is it?” He looks at me. “I don’t like ‘looking-glass ties’.” I wonder if he thought that having pitched in on She Said, She Said on the last album it was open season or something. So just to be nice I say ‘Perhaps I’ll take that out.’ But then Paul jumps in ‘You won’t, you know – that’s the best line in it.’ I never forgot that.

JOHN LENNON: I always remember Pepper as a good time, you know. For most of that period I was staying with Paul at Cavendish Avenue; we’d be in and out of the studio at all hours. It felt like now we were off the treadmill of touring and all the rest of it we could really work on making good records, you know? There was just one evening I remember when things went a bit off. We were a few months into the sessions, must’ve been end of February, early March. I’d brought in a song based on a drawing Julian had done of some kid in his class – you’ll have heard the story a thousand times. Anyway, I’m running through it and I get to the last verse and George puts his hand up. I’m so surprised I stop playing. I mean, we didn’t do this, you know? “Yes George, what is it?” He looks at me. “I don’t like ‘looking-glass ties’.” I wonder if he thought that having pitched in on She Said, She Said on the last album it was open season or something. So just to be nice I say ‘Perhaps I’ll take that out.’ But then Paul jumps in ‘You won’t, you know – that’s the best line in it.’ I never forgot that.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

22.10.2025 09:06 — 👍 9    🔁 2    💬 0    📌 0
JOHN LENNON: I always remember Pepper as a good time, you know. For most of that period I was staying with Paul at Cavendish Avenue; we’d be in and out of the studio at all hours. It felt like now we were off the treadmill of touring and all the rest of it we could really work on making good records, you know? There was just one evening I remember when things went a bit off. We were a few months into the sessions, must’ve been end of February, early March. I’d brought in a song based on a drawing Julian had done of some kid in his class – you’ll have heard the story a thousand times. Anyway, I’m running through it and I get to the last verse and George puts his hand up. I’m so surprised I stop playing. I mean, we didn’t do this, you know? “Yes George, what is it?” He looks at me. “I don’t like ‘looking-glass ties’.” I wonder if he thought that having pitched in on She Said, She Said on the last album it was open season or something. So just to be nice I say ‘Perhaps I’ll take that out.’ But then Paul jumps in ‘You won’t, you know – that’s the best line in it.’ I never forgot that.

JOHN LENNON: I always remember Pepper as a good time, you know. For most of that period I was staying with Paul at Cavendish Avenue; we’d be in and out of the studio at all hours. It felt like now we were off the treadmill of touring and all the rest of it we could really work on making good records, you know? There was just one evening I remember when things went a bit off. We were a few months into the sessions, must’ve been end of February, early March. I’d brought in a song based on a drawing Julian had done of some kid in his class – you’ll have heard the story a thousand times. Anyway, I’m running through it and I get to the last verse and George puts his hand up. I’m so surprised I stop playing. I mean, we didn’t do this, you know? “Yes George, what is it?” He looks at me. “I don’t like ‘looking-glass ties’.” I wonder if he thought that having pitched in on She Said, She Said on the last album it was open season or something. So just to be nice I say ‘Perhaps I’ll take that out.’ But then Paul jumps in ‘You won’t, you know – that’s the best line in it.’ I never forgot that.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

22.10.2025 09:06 — 👍 9    🔁 2    💬 0    📌 0
As a child, when it came to art I was top of the class. At eighteen I get an interview at the Slade School of Fine Art. I’m in the tutor’s office and he’s looking through my work. Then I spot it. In the window behind him. A horse. Looking in from Gower Street. The tutor asks what my ambitions are. I start saying I want my art to bring people together, change the world, but all I can see is this horse looking in at me. Completely threw me. I ended up at Tooting College of Design. After that my first job was designing ceramics. At my desk on that first day all I could think of was that interview and how things could have been so different. I ended up working a horse into the design. Long story short, the client didn’t like my work and the agency ‘let me go’. Same thing kept happening. Seat designs for the tube. Wrapping paper for Woolworths. Kiddies wallpaper. Always horses. I wound up doing layout for cheap restaurant menus. Barely design at all. Stuck there almost thirty years. Then in 1954 a miracle; a chap I’d known at Tooting told me he’d just been appointed head of design at a big department store. He offered me a job. I bit his hand off. First day, I’m in the office, just off Regent St, and when I pick up the pencil all I can see is that horse again. But this time I find a way to make it work, interlocking it with another horse head, contrasting colours. It comes out really well. My boss isn’t sure. I say it could work, on a handkerchief or a tie. He’s not sure but says he’ll give it a go. It didn’t work out – they sold a handful over the next couple of months, then discontinued the line. So much for my dreams of changing the world.

As a child, when it came to art I was top of the class. At eighteen I get an interview at the Slade School of Fine Art. I’m in the tutor’s office and he’s looking through my work. Then I spot it. In the window behind him. A horse. Looking in from Gower Street. The tutor asks what my ambitions are. I start saying I want my art to bring people together, change the world, but all I can see is this horse looking in at me. Completely threw me. I ended up at Tooting College of Design. After that my first job was designing ceramics. At my desk on that first day all I could think of was that interview and how things could have been so different. I ended up working a horse into the design. Long story short, the client didn’t like my work and the agency ‘let me go’. Same thing kept happening. Seat designs for the tube. Wrapping paper for Woolworths. Kiddies wallpaper. Always horses. I wound up doing layout for cheap restaurant menus. Barely design at all. Stuck there almost thirty years. Then in 1954 a miracle; a chap I’d known at Tooting told me he’d just been appointed head of design at a big department store. He offered me a job. I bit his hand off. First day, I’m in the office, just off Regent St, and when I pick up the pencil all I can see is that horse again. But this time I find a way to make it work, interlocking it with another horse head, contrasting colours. It comes out really well. My boss isn’t sure. I say it could work, on a handkerchief or a tie. He’s not sure but says he’ll give it a go. It didn’t work out – they sold a handful over the next couple of months, then discontinued the line. So much for my dreams of changing the world.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

15.10.2025 08:27 — 👍 6    🔁 3    💬 0    📌 0
As a child, when it came to art I was top of the class. At eighteen I get an interview at the Slade School of Fine Art. I’m in the tutor’s office and he’s looking through my work. Then I spot it. In the window behind him. A horse. Looking in from Gower Street. The tutor asks what my ambitions are. I start saying I want my art to bring people together, change the world, but all I can see is this horse looking in at me. Completely threw me. I ended up at Tooting College of Design. After that my first job was designing ceramics. At my desk on that first day all I could think of was that interview and how things could have been so different. I ended up working a horse into the design. Long story short, the client didn’t like my work and the agency ‘let me go’. Same thing kept happening. Seat designs for the tube. Wrapping paper for Woolworths. Kiddies wallpaper. Always horses. I wound up doing layout for cheap restaurant menus. Barely design at all. Stuck there almost thirty years. Then in 1954 a miracle; a chap I’d known at Tooting told me he’d just been appointed head of design at a big department store. He offered me a job. I bit his hand off. First day, I’m in the office, just off Regent St, and when I pick up the pencil all I can see is that horse again. But this time I find a way to make it work, interlocking it with another horse head, contrasting colours. It comes out really well. My boss isn’t sure. I say it could work, on a handkerchief or a tie. He’s not sure but says he’ll give it a go. It didn’t work out – they sold a handful over the next couple of months, then discontinued the line. So much for my dreams of changing the world.

As a child, when it came to art I was top of the class. At eighteen I get an interview at the Slade School of Fine Art. I’m in the tutor’s office and he’s looking through my work. Then I spot it. In the window behind him. A horse. Looking in from Gower Street. The tutor asks what my ambitions are. I start saying I want my art to bring people together, change the world, but all I can see is this horse looking in at me. Completely threw me. I ended up at Tooting College of Design. After that my first job was designing ceramics. At my desk on that first day all I could think of was that interview and how things could have been so different. I ended up working a horse into the design. Long story short, the client didn’t like my work and the agency ‘let me go’. Same thing kept happening. Seat designs for the tube. Wrapping paper for Woolworths. Kiddies wallpaper. Always horses. I wound up doing layout for cheap restaurant menus. Barely design at all. Stuck there almost thirty years. Then in 1954 a miracle; a chap I’d known at Tooting told me he’d just been appointed head of design at a big department store. He offered me a job. I bit his hand off. First day, I’m in the office, just off Regent St, and when I pick up the pencil all I can see is that horse again. But this time I find a way to make it work, interlocking it with another horse head, contrasting colours. It comes out really well. My boss isn’t sure. I say it could work, on a handkerchief or a tie. He’s not sure but says he’ll give it a go. It didn’t work out – they sold a handful over the next couple of months, then discontinued the line. So much for my dreams of changing the world.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

15.10.2025 08:27 — 👍 6    🔁 3    💬 0    📌 0
Preview
Home | Matt Owen | Freelance Writer I offer a broad and diverse range of writing services. Get in touch!

If you could please do us a favour and RT (or whatever it is on here) my writing CV I would be extremely grateful. I am a very capable writer of words, mainly “humorous”’ and if you have some PROPER paid work for me, please DM me. Thank you for your time www.mathew-owen.co.uk

12.10.2025 15:56 — 👍 161    🔁 375    💬 3    📌 13
Preview
Super-smile beat combo - Bad Machinery Have you ever seen the Beatles’ pop video for Help? It seemingly precedes all other pop videos by such a distance, and is so effortlessly good, that it’s very difficult to understand why they weren’t ...

New comic: "Super-smile beat combo" badmachinery.com/comic/2025-1...

And a little nod to @dontlikeyourtie.bsky.social

10.10.2025 06:28 — 👍 46    🔁 7    💬 3    📌 1

LOVE it!!!

10.10.2025 08:13 — 👍 0    🔁 0    💬 0    📌 0
Video thumbnail

It's John Lennon's birthday. Here he is with The Beatles trying to get the opening of one of his songs right.

09.10.2025 14:10 — 👍 23    🔁 6    💬 1    📌 0

Loving this ep. So glad you guys are back!

09.10.2025 13:24 — 👍 0    🔁 0    💬 1    📌 0
It was a bright cold day in June and the EMI clock was striking thirteen. George Harrison, chin nuzzled into his breast, whipped by a vile wind, slipped through the glass doors of Victory Studios. The reception smelt of boiled cabbage and magnetic tape. Enormous at the end of the foyer was a poster. It bore that thin, handsome face, hair slicked back, the eyes seemingly following you around the room. And the familiar words: EMI IS WATCHING YOU. On the telescreen, a prim young woman recited the latest record production figures. Harrison’s job was oiling the versificators, ensuring that the steady flow of automatically generated, unremarkable sentimental songs continued through the telescreens. He noticed McCartney in the line for the stairway. They had both attended the same indoctrination centre. Once, Harrison had heard him singing on the stairway. A great, catchy, sweeping melody about a girl. Dangerous. McCartney caught his eye cautiously. They quickly looked away. From the telescreens, a great voice boomed: TIES ARE PEACE. OPEN COLLARS ARE SLAVERY SARTORIAL UNITY IS STRENGTH A cough behind him and George gasped to find himself face to face with Martin. His eyeline filled with a horse-patterned half Windsor, tightly knotted. “Harrison,” Martin said, speaking with a mild, almost regretful irony, “I’m aware that yesterday I gave you some very clear instructions on the maintenance of these versficators. I need your report.. Is there anything you’re not happy with?” At sight of that face, so intelligent, his heart seemed to turn over. He almost stretched out a hand and laid it on Martin's arm. The old feeling, that at bottom it did not matter whether Martin was a friend or an enemy, had come back. Martin was a person who could be talked to. In some sense that went deeper than friendship, they were intimates: somewhere or other, although the actual words might never be spoken, there was a place where they could meet and talk. O'Brien was looking down at him with a…

It was a bright cold day in June and the EMI clock was striking thirteen. George Harrison, chin nuzzled into his breast, whipped by a vile wind, slipped through the glass doors of Victory Studios. The reception smelt of boiled cabbage and magnetic tape. Enormous at the end of the foyer was a poster. It bore that thin, handsome face, hair slicked back, the eyes seemingly following you around the room. And the familiar words: EMI IS WATCHING YOU. On the telescreen, a prim young woman recited the latest record production figures. Harrison’s job was oiling the versificators, ensuring that the steady flow of automatically generated, unremarkable sentimental songs continued through the telescreens. He noticed McCartney in the line for the stairway. They had both attended the same indoctrination centre. Once, Harrison had heard him singing on the stairway. A great, catchy, sweeping melody about a girl. Dangerous. McCartney caught his eye cautiously. They quickly looked away. From the telescreens, a great voice boomed: TIES ARE PEACE. OPEN COLLARS ARE SLAVERY SARTORIAL UNITY IS STRENGTH A cough behind him and George gasped to find himself face to face with Martin. His eyeline filled with a horse-patterned half Windsor, tightly knotted. “Harrison,” Martin said, speaking with a mild, almost regretful irony, “I’m aware that yesterday I gave you some very clear instructions on the maintenance of these versficators. I need your report.. Is there anything you’re not happy with?” At sight of that face, so intelligent, his heart seemed to turn over. He almost stretched out a hand and laid it on Martin's arm. The old feeling, that at bottom it did not matter whether Martin was a friend or an enemy, had come back. Martin was a person who could be talked to. In some sense that went deeper than friendship, they were intimates: somewhere or other, although the actual words might never be spoken, there was a place where they could meet and talk. O'Brien was looking down at him with a…

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

08.10.2025 09:02 — 👍 7    🔁 5    💬 1    📌 0
It was a bright cold day in June and the EMI clock was striking thirteen. George Harrison, chin nuzzled into his breast, whipped by a vile wind, slipped through the glass doors of Victory Studios. The reception smelt of boiled cabbage and magnetic tape. Enormous at the end of the foyer was a poster. It bore that thin, handsome face, hair slicked back, the eyes seemingly following you around the room. And the familiar words: EMI IS WATCHING YOU. On the telescreen, a prim young woman recited the latest record production figures. Harrison’s job was oiling the versificators, ensuring that the steady flow of automatically generated, unremarkable sentimental songs continued through the telescreens. He noticed McCartney in the line for the stairway. They had both attended the same indoctrination centre. Once, Harrison had heard him singing on the stairway. A great, catchy, sweeping melody about a girl. Dangerous. McCartney caught his eye cautiously. They quickly looked away. From the telescreens, a great voice boomed: TIES ARE PEACE. OPEN COLLARS ARE SLAVERY SARTORIAL UNITY IS STRENGTH A cough behind him and George gasped to find himself face to face with Martin. His eyeline filled with a horse-patterned half Windsor, tightly knotted. “Harrison,” Martin said, speaking with a mild, almost regretful irony, “I’m aware that yesterday I gave you some very clear instructions on the maintenance of these versficators. I need your report.. Is there anything you’re not happy with?” At sight of that face, so intelligent, his heart seemed to turn over. He almost stretched out a hand and laid it on Martin's arm. The old feeling, that at bottom it did not matter whether Martin was a friend or an enemy, had come back. Martin was a person who could be talked to. In some sense that went deeper than friendship, they were intimates: somewhere or other, although the actual words might never be spoken, there was a place where they could meet and talk. O'Brien was looking down at him with a…

It was a bright cold day in June and the EMI clock was striking thirteen. George Harrison, chin nuzzled into his breast, whipped by a vile wind, slipped through the glass doors of Victory Studios. The reception smelt of boiled cabbage and magnetic tape. Enormous at the end of the foyer was a poster. It bore that thin, handsome face, hair slicked back, the eyes seemingly following you around the room. And the familiar words: EMI IS WATCHING YOU. On the telescreen, a prim young woman recited the latest record production figures. Harrison’s job was oiling the versificators, ensuring that the steady flow of automatically generated, unremarkable sentimental songs continued through the telescreens. He noticed McCartney in the line for the stairway. They had both attended the same indoctrination centre. Once, Harrison had heard him singing on the stairway. A great, catchy, sweeping melody about a girl. Dangerous. McCartney caught his eye cautiously. They quickly looked away. From the telescreens, a great voice boomed: TIES ARE PEACE. OPEN COLLARS ARE SLAVERY SARTORIAL UNITY IS STRENGTH A cough behind him and George gasped to find himself face to face with Martin. His eyeline filled with a horse-patterned half Windsor, tightly knotted. “Harrison,” Martin said, speaking with a mild, almost regretful irony, “I’m aware that yesterday I gave you some very clear instructions on the maintenance of these versficators. I need your report.. Is there anything you’re not happy with?” At sight of that face, so intelligent, his heart seemed to turn over. He almost stretched out a hand and laid it on Martin's arm. The old feeling, that at bottom it did not matter whether Martin was a friend or an enemy, had come back. Martin was a person who could be talked to. In some sense that went deeper than friendship, they were intimates: somewhere or other, although the actual words might never be spoken, there was a place where they could meet and talk. O'Brien was looking down at him with a…

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

08.10.2025 09:02 — 👍 7    🔁 5    💬 1    📌 0

PG Wodehouse might have listened to Dark Side Of The Moon.

08.10.2025 08:16 — 👍 0    🔁 0    💬 0    📌 0
NORMAN SMITH: At the end of it all George Martin said to them ‘You’ve heard a lot from me. Is there anything you’re not happy with?’ After a pause George Harrison piped up. ‘Yes. I’m the youngest of four children which, while that’s meant I get the perks of being the ‘baby’ of the family, also means often feel ignored or side-lined.’ The other lads looked at each other, a little confused perhaps, but George Martin said ‘Go on?’ ‘My sister moved abroad a few years back’ continued Harrison. ‘I wouldn’t say we were particularly close, but the sudden absence of a sibling during a crucial developmental period…that’s got to have an effect surely?’ By now Harrison was leaning back in his chair, reclining almost. George Martin had started taking notes on his studio notepad. ‘And what about your professional life?’ he asked. ‘That can be a challenge too’ said Harrison. ‘I got deported during our engagement in Germany a while ago and had to come back home by myself.’ ‘So perhaps you felt…separated from your bandmates?’ ‘Yes, but it’s not just that. When we were solely a gigging band, I was one of three frontmen. Now the emphasis is shifting to songwriting, I’m starting to feel shut out.’ George Martin was nodding now. “Anything else coming to the surface?” ‘Yes’ Harrison said ‘I don’t like your tie.’

NORMAN SMITH: At the end of it all George Martin said to them ‘You’ve heard a lot from me. Is there anything you’re not happy with?’ After a pause George Harrison piped up. ‘Yes. I’m the youngest of four children which, while that’s meant I get the perks of being the ‘baby’ of the family, also means often feel ignored or side-lined.’ The other lads looked at each other, a little confused perhaps, but George Martin said ‘Go on?’ ‘My sister moved abroad a few years back’ continued Harrison. ‘I wouldn’t say we were particularly close, but the sudden absence of a sibling during a crucial developmental period…that’s got to have an effect surely?’ By now Harrison was leaning back in his chair, reclining almost. George Martin had started taking notes on his studio notepad. ‘And what about your professional life?’ he asked. ‘That can be a challenge too’ said Harrison. ‘I got deported during our engagement in Germany a while ago and had to come back home by myself.’ ‘So perhaps you felt…separated from your bandmates?’ ‘Yes, but it’s not just that. When we were solely a gigging band, I was one of three frontmen. Now the emphasis is shifting to songwriting, I’m starting to feel shut out.’ George Martin was nodding now. “Anything else coming to the surface?” ‘Yes’ Harrison said ‘I don’t like your tie.’

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

01.10.2025 10:28 — 👍 11    🔁 2    💬 0    📌 0
NORMAN SMITH: At the end of it all George Martin said to them ‘You’ve heard a lot from me. Is there anything you’re not happy with?’ After a pause George Harrison piped up. ‘Yes. I’m the youngest of four children which, while that’s meant I get the perks of being the ‘baby’ of the family, also means often feel ignored or side-lined.’ The other lads looked at each other, a little confused perhaps, but George Martin said ‘Go on?’ ‘My sister moved abroad a few years back’ continued Harrison. ‘I wouldn’t say we were particularly close, but the sudden absence of a sibling during a crucial developmental period…that’s got to have an effect surely?’ By now Harrison was leaning back in his chair, reclining almost. George Martin had started taking notes on his studio notepad. ‘And what about your professional life?’ he asked. ‘That can be a challenge too’ said Harrison. ‘I got deported during our engagement in Germany a while ago and had to come back home by myself.’ ‘So perhaps you felt…separated from your bandmates?’ ‘Yes, but it’s not just that. When we were solely a gigging band, I was one of three frontmen. Now the emphasis is shifting to songwriting, I’m starting to feel shut out.’ George Martin was nodding now. “Anything else coming to the surface?” ‘Yes’ Harrison said ‘I don’t like your tie.’

NORMAN SMITH: At the end of it all George Martin said to them ‘You’ve heard a lot from me. Is there anything you’re not happy with?’ After a pause George Harrison piped up. ‘Yes. I’m the youngest of four children which, while that’s meant I get the perks of being the ‘baby’ of the family, also means often feel ignored or side-lined.’ The other lads looked at each other, a little confused perhaps, but George Martin said ‘Go on?’ ‘My sister moved abroad a few years back’ continued Harrison. ‘I wouldn’t say we were particularly close, but the sudden absence of a sibling during a crucial developmental period…that’s got to have an effect surely?’ By now Harrison was leaning back in his chair, reclining almost. George Martin had started taking notes on his studio notepad. ‘And what about your professional life?’ he asked. ‘That can be a challenge too’ said Harrison. ‘I got deported during our engagement in Germany a while ago and had to come back home by myself.’ ‘So perhaps you felt…separated from your bandmates?’ ‘Yes, but it’s not just that. When we were solely a gigging band, I was one of three frontmen. Now the emphasis is shifting to songwriting, I’m starting to feel shut out.’ George Martin was nodding now. “Anything else coming to the surface?” ‘Yes’ Harrison said ‘I don’t like your tie.’

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

01.10.2025 10:28 — 👍 11    🔁 2    💬 0    📌 0
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Wow! @marklewisohn.bsky.social and Obadiah Jones together on this week's episode of @gimmesometruthpod.bsky.social !
The two leading Beatles researchers in the world!
#Beatles

01.10.2025 06:09 — 👍 15    🔁 4    💬 1    📌 0
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Season 7 is officially GO.

First things first: George Harrison and John Lennon went on David Frost's show in 1967 to talk about their newfound practice of transcendental meditation, then came back next week and debated it with academics.

29.09.2025 13:16 — 👍 11    🔁 4    💬 1    📌 1
Preview
The Heist of Hollow London The Heist of Hollow London eBook : Robson, Eddie: Amazon.co.uk: Kindle Store

My new novel, The Heist Of Hollow London, is published TODAY. The hardback may not be out in the UK yet - it's listed for the end of October here - but the ebook is certainly available now. Here are some links but please feel free to buy wherever you can find it: amzn.to/3IOGJRw

30.09.2025 08:00 — 👍 110    🔁 61    💬 8    📌 7
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Back when Twitter was just about bearable I sent out a hopeful
Tweet asking for Lovely Beatles Moments.

Not songs or albums - just shards of Beatleness that make people happy.

I turned the responses into a little zine.

Here it is. Hope you like it.

29.09.2025 09:19 — 👍 121    🔁 22    💬 13    📌 5

NEW FROM OUR COLLEAGUE MIKE PROWSE!
In which he investigates THE WORST GUIDEBOOK IN THE WORLD: "How are things at walk? My lovely Lake District."

27.09.2025 09:21 — 👍 1    🔁 0    💬 0    📌 0
THE BEATLES REANIMATED COLLAB — PENNY LANE
YouTube video by Miscttake THE BEATLES REANIMATED COLLAB — PENNY LANE

www.youtube.com/watch?v=nZ-S...

22.09.2025 15:10 — 👍 4    🔁 3    💬 0    📌 0

That's what I think will happen.

18.09.2025 10:21 — 👍 1    🔁 0    💬 0    📌 0
GEORGE MARTIN: It was a great honour of course to be asked to host a segment of 2002’s Party At The Palace for the Queen’s Golden Jubilee. The organisers had booked a really first-rate line-up of acts, starting with Brian May playing his guitar up on the roof of the palace, an image I think no-one who saw it will ever forget! When it was time for me to make my appearance on stage, the ASM came up to me in the wings and said ‘Sir George…I don’t like your tie.’ Now, a lot of people have made this joke to me over the years, an awful lot of people in fact, but one tries to be tolerant so I smiled and did a little laugh. I turned to walk on stage but the fellow grabbed my arm and said it again. ‘I don’t like your tie.’ By this point I’d had just about enough of this, and ‘Handbags and Gladrags’ was finishing so I shrugged him off and strode out onto the stage. Only later did I learn that the fine-striped tie I’d chosen for the occasion strobed terribly on camera and the poor fellow had just been trying to warn me. Apparently the BBC received over eight hundred complaints about it, and two viewers reported that they’d been physically sick. I felt so bad for that poor ASM – I made enquiries and found out his name was Ben. In my next score, which turned out in fact to be my last, the string arrangement of While My Guitar Gently Weeps for the ‘Love’ show, I put in a little ostinato figure for the ‘cello, about two and a half minutes in. It’s Morse code, spelling out ‘S-O-R-R-Y-B-E-N’. I hope that made amends in some small way.

GEORGE MARTIN: It was a great honour of course to be asked to host a segment of 2002’s Party At The Palace for the Queen’s Golden Jubilee. The organisers had booked a really first-rate line-up of acts, starting with Brian May playing his guitar up on the roof of the palace, an image I think no-one who saw it will ever forget! When it was time for me to make my appearance on stage, the ASM came up to me in the wings and said ‘Sir George…I don’t like your tie.’ Now, a lot of people have made this joke to me over the years, an awful lot of people in fact, but one tries to be tolerant so I smiled and did a little laugh. I turned to walk on stage but the fellow grabbed my arm and said it again. ‘I don’t like your tie.’ By this point I’d had just about enough of this, and ‘Handbags and Gladrags’ was finishing so I shrugged him off and strode out onto the stage. Only later did I learn that the fine-striped tie I’d chosen for the occasion strobed terribly on camera and the poor fellow had just been trying to warn me. Apparently the BBC received over eight hundred complaints about it, and two viewers reported that they’d been physically sick. I felt so bad for that poor ASM – I made enquiries and found out his name was Ben. In my next score, which turned out in fact to be my last, the string arrangement of While My Guitar Gently Weeps for the ‘Love’ show, I put in a little ostinato figure for the ‘cello, about two and a half minutes in. It’s Morse code, spelling out ‘S-O-R-R-Y-B-E-N’. I hope that made amends in some small way.

UK: amzn.eu/d/8eWHyLf
US: a.co/d/0UDZgQd

17.09.2025 08:54 — 👍 11    🔁 7    💬 0    📌 0

@dontlikeyourtie is following 20 prominent accounts