My Favourite Beatles Song
My Favourite Beatles Song
The End – Simon Halfon
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Art director and filmmaker Simon Halfon discusses The End, from Abbey Road, picking out the three guitar solos Paul, George, and John played live in one take, Ringo's only drum solo, and the closing line that makes such a perfect sign-off. He also talks about 1967: The World of Brian Epstein and The Beatles, the book he made with Gary Kemp from Epstein's last address book.
Guest links
- 1967: The World of Brian Epstein and The Beatles, by Gary Kemp and Simon Halfon – book and live events: https://kempandhalfon.lnk.to/1967book
- Instagram: https://www.instagram.com/simonhalfon_nemperor/
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Original music by Joe Kane
Logo design by Mark Cunningham
Welcome to my favourite Beatles Song, the podcast where we celebrate the music of the Beatles with a distinguished guest. I'm Tim Tucker, and with me today is art director and filmmaker Simon Halfan. Welcome, Simon.
SPEAKER_03Oh, lovely to be here. Thank you very much for having me.
SPEAKER_00Now we're going to talk about your role in the book 1967, The World of Brian Epstein and the Beatles, later in this podcast. But before I get into all that, first tell us what your earliest memory of the Beatles is.
SPEAKER_03Well, my my memory of the Beatles goes back to when I was very little. And maybe not particularly aware of how massive they were, but they sort of resonated with me from a very early age. And um in fact my grandparents bought for me for my birthday the Beatles for Sale album. And um and I just poured over that album. I loved that album. I knew it inside out, and it was a kind of a big influence on me, not musically, but from a design point of view. I you know, I took so much from that uh the way that record was packaged and the typography and the layouts, and not knowingly at the time, but certainly you know, I've kind of borrowed from that many times over the years, and it's uh yeah, that was a hugely influential record. But the you know, the Beatles have never not been part of my life. I've never I didn't discover the Beatles. I think they sort of discovered me, or we bumped into each other, if you like. Um and that sort of passion at for just sort of everything about them, you know, has kind of grown over the years, which is you know quite an amazing thing in in and of itself, but but and never dipped.
SPEAKER_00The interesting cover to that album as well uh photo on the cover of that album, isn't it? As well, they it's been said that they look they look tired, but um, because it'd been I think Beatlemania had taken its toll a bit, but it had, but it was the it was the I think they kind of looked serious, you know.
SPEAKER_03I guess it looked serious on the cover of uh with the Beatles as well, but this kind of seemed almost a candid moment of it wasn't even though it was obviously posed, but it didn't seem posed, it just seemed like a kind of candid moment. Um, you know, and the typography was so minimal, and you know, Robert Freeman, who was the photographer of choice back then, I mean he was a remarkable photographer and captured, in fact, probably more so than any other photographer, captured the sort of Beatlemania side of them because you know it's not whether it was Hard Days Night, and he did the obviously the title sequence for the film Hard Days Night, but also correct me if I'm wrong, but he did uh rubber soul as well. So kind of it was leading up to to all of that, and so um yeah, there's just something magical about that, just not just the record, but the but the package, yeah. And many years later, I was you know very fortunate to be one of the producers on a film called uh sleuth, which was a remake of the kind of 1972 version with Lawrence Olivier and Michael Cain, and we made this version with um which Kenneth Brown had directed with Jude Law and Michael Cain, and we shot it at Twickenham Studios, and I spent all my sort of free moments because uh um Twickenham obviously was fame famously is where they ended up filming for for Let It Be, but they also shot the interiors of both Hard Day's Night and Help uh at Twickenham. Um but that picture uh from inside the Beatles for Sale album cover with that with them standing in front of that kind of collage of movie stars was taken at uh Twickenham. So I I you know I spent you know those sort of little lunch hour things just sort of peeking into closets to see if that still existed. So that's obviously uh disappeared into the midst of time, which is such a great you know, was such a great backdrop, and and for me it was just such an evocative image anyway, because I love movies and to see you know the Beatles standing in front of this this collage of all these old movie stars kind of sort of struck a nerve with me.
SPEAKER_00And and do you have a favourite Beatles period from either the early, mid or late periods?
SPEAKER_03Oh gosh, it's you know, depends what time of day you ask me, you know. It's uh you know, I get fascinated by any period at any given time. It's almost like I think it's when you're presented with it, you kind of oh, I'll listen to that again. And you say, Oh my gosh, uh really, this is amazing. You know, I'm sorry, I'm hearing things or seeing things that I didn't see first time around. And when you kind of know the stories as we we do, um, like the you know, sort of the backstories of what was going on in their lives, it kind of you know further completes the picture, if you like. So, um really I mean at the moment, um, because you know, just due to do this, I sort of you know, Abbey Road. I never you know stray far from Abbey Road as an album. So um, and it wasn't an album, you know, when I was a kid, and in sort of my younger years, it would have been the earlier albums, whether it's Beatles for Sale or Oh Hard Day's Night or Help, those are the albums that really resonated with me when I was a kid and a teenager, and then you know, then you sort of find yourself in the middle of the white album and pepper and you know, and so on and so forth. So, but at the moment it's something quite raw and beautiful about Abbey Road as as as an entire album.
SPEAKER_00Have you met any of the Beatles or their entourage?
SPEAKER_03I have I've met um I didn't meet John, um, although my brother was living in New York um in the late 70s, so I would go out and visit him and I did spend a little bit of time outside the Dakota because his my brother was living in the apartment building literally two or three doors down. Um my brother saw him, but I I I never did. Um so you know, every time I'd come walk back to my brother's apartment, I'd kind of loiter for five or ten minutes outside the Dakotas, but I never saw him. Paul I've had the good fortune of meeting two or three times. Um Ringo, um I've got a sort of funny story about, and um George I actually saw in the street, which must have been in the early eighties or something, in South Morton Street. And um he I thought, oh my god, that's George Harrison. It was a sort of a grey day, but he was wearing these big shades, and I thought, oh my god, so I went into a shop and I tried to you know, can I have a bit of paper? Can I have a pen, please? And so I got that and I went over and said, Oh god, you know, can I have your autograph, please, lovely to meet you, kind of thing. And he was very polite, but he just said to me, Oh, I'm sorry I don't do that sort of thing anymore, it attracts too much attention. But but nice to meet you, you know. And so I sort of came away from that thinking, oh well that's fair enough. You know, I didn't wasn't like, oh you know, what's like you know, I came away with a positive out of that because I thought I mean because it kind of made you think, oh hold on, yeah, maybe that is you know, that is that's a simple way to do it as well, isn't it?
SPEAKER_00Yeah, rather than just saying no. Yeah, um would you mind sharing your funny Ringo story?
SPEAKER_03Oh yeah, it was a funny Ringo story. You know, in my dis you know, also sort of personally, but in my design uh world, um um I worked with George Michael, and George and I were you know, God bless him, he he he was genuinely one of the good guys, and uh we were living in Los Angeles together at the same time, and we would have lunch and dinner every day together. We both moved out there pretty much at the same time, and neither of us really knew anyone, so we sort of would see uh you know a great deal of each other. Anyway, one day we went out for lunch, there was about six of us, to a restaurant called The Ivy, which is sort of a very fancy restaurant out in Los Angeles, and we we were sort of regulars there. But anyhow, as we were sitting down eating, he sort of elbows me. He goes, Oh, you're not favourites just walked in. Um Ringo Starr walks in and sits down on the corner table. And I said, Oh, great, he can, you know, and they sort of they sort of did a nod to each other, so I said, Oh, you know, come on then, let's introduce me. And he goes, No, I'm not gonna do that. And I said all the way through the meal, and almost to sort of wind him up, and then he was winding me up, no, I'm not gonna do it, no, I'm not gonna do it. And I thought, oh that's charming, blah blah blah. And then halfway through the meal, Lionel Ritchie walks in. And he comes over to the table, gives George a big hug. And so I said, Oh, that's nice, yeah. Lionel Richie walks in, you give him a big hug, and I said, you know, and I kept on going on about the Ringo thing. So, anyhow, at the end of the meal, I thought I've got to get Ringo's autographed. So I thought I can't do it, you know, while George is watching. Because for some if for some horrible reason Ringo said no, I'd never live it down. So he um gets up from the table, he says, Oh, I've got to go over and say hi. I said I'd say hi to Lionel Richie before we we left. And this is no disrespect to email, by the way. Um, because George wasn't very good at that kind of show bizary, if you like. So he said, I've got to go and say hello to Lionel Richie. And I thought, great, that's my chance. So I went up and got Rengo's autograph, he was as nice as pie, went and sat back down. I had my camera with me. In those days, this is pro pre-mobile phones. I had my my little point and shoot. So George went to the back of the restaurant and he's chatting with Lionel, and I tapped him on and I went over to him and I tapped him on the shoulder and I said, Do you want me to take it now? So they both looked up at me, kind of like George had like a frozen grin on his face, saying, I can't believe you've just done that. Because it really looked like he said, Give me a couple of minutes over with Lionel, then come over and take a picture. So yeah, that was me getting my my own back. Yeah, and I and I sort of the pie esta resistance was I I sent that picture out to all his friends as a Christmas card that said Merry Christmas from the Michaels. So that's my Ringo, yeah. But the but the icing on the cake to that story was that George flew back from the south of France with Rink on the same happened to be on the same flight as Ringo, and he told Ringo that story.
SPEAKER_00Oh really?
SPEAKER_03Yeah, yeah.
SPEAKER_00I mean, it's good that you got his autograph because he stuck he publicly stopped giving it out, didn't he?
SPEAKER_03Yeah, very much, yeah. Yeah. After October the 31st.
SPEAKER_00I I'm taking it you've treasured that. It's it's in a safe place, isn't it?
SPEAKER_03It is in a safe place, much better in a safe place, yeah.
SPEAKER_00The song you've chosen to discuss is The End. It was recorded in July and August 1969 for the Abbey Road album, which was released in September 1969 in the UK and October in the US. It was a huge hit. Uh it spent a total of 17 weeks at number one in the UK and 11 weeks at number one in the US, and has gone on to sell millions of copies worldwide. So those are the facts. But tell us what led you to this song choice for today's podcast?
SPEAKER_03Well, that uh you know, um I mentioned earlier that I've kind of Abbey Rhodes, my sort of Beatles album of choice at the minute, and there's just something it's not just that track, but it's that sort of medley. I think it's like 16 minutes or something. There's just something magical about all the different flavours that you get in those 16 minutes, and the thing about the end, which I love that I didn't only I didn't realise till very recently, is that the I want to use the word dueling guitars, but it isn't dueling guitars, it's the each of them taking a turn with a guitar solo, and there's just something so kind of special about that, and the fact that then Ringo has his only drum solo uh in the entire Beatles canon. Well, there's no other um, I think he sort of had to be cajoled into it, and then ending on that sort of you know, even I think McCartney sort of references the fact that it's almost Shakespeare-y, and you know, and in the end the love you take is equal to the love you make, is such an amazing kind of sign-off. And I think, if I'm not mistaken, that it was the last thing, last song that they recorded all together.
SPEAKER_00Yeah, that's right, yeah.
SPEAKER_03Yeah, so that has so much, you know, you just think, wow, what a way to kind of sign off. Absolutely, yeah, it's so powerful. And the songs leading up to it, you know, she came through the bathroom window, is just uh sort of classic, I think, uh, you know, some some Courtney classic. And so for a band that many people thought were running out of steam, this is them running a full pelt.
SPEAKER_00It's it's amazing, isn't it? And uh it sounds like you know, we call it the suite or that you know on that side, and it sounds like a composed piece, but it is made up of little scraps of songs that each of them had. And actually, this song, the end, was the only part really that was specifically composed for that suite because they realized they didn't have an ending for it. Right.
SPEAKER_03And that's where Paul the ending for a while, wasn't it? That's right.
SPEAKER_00Yeah, it was labelled ending, yeah. Yeah, um, and and there's even a claim that, and and this seems unbelievable now because it's as you say, it has such kind of profundity, doesn't it? That um it feels like it's a a statement about the end of the Beatles, but apparently it wasn't even considered the end of the album when it when they recorded it. They thought it was going to end side one. Oh, I didn't know that. Yeah, originally that suite was going to take up slide one, and slide two would end with I Want You, She's So Heavy. So all it was first according to all of everyone involved, it was first conceived of as just the end of that suite.
SPEAKER_03Um how interesting.
SPEAKER_00Yeah, but now of course we see you know that that how um it became the last significance song on the last recorded album by the Beatles, doesn't it? So it has an even more resonance because as you said, it's called the end, it's got every one of them soloing, and we get Ringo's, as you said, he was had to be cajoled into that. He didn't want to do it. And if you listen to that, it's 17 minutes long, so you might want to skip the intro. But the drum solo in that is very similar to the one that Ringo plays in this.
SPEAKER_03Uh any credit that some years later in the golden age of I think sampling before you had to get permission, the Beastie Boys sampled that on a track on Paul's boutique, along with a kind of the sort of the guitar, the sort of rhythm guitar that leads into the kind of love you, love you thing. So um, I don't think they would have got permission for that in today's world, but back then I think you kind of it was very much you know, pick and mix and just help yourself.
SPEAKER_01Constantly on, constantly on, the fast you not robotized.
SPEAKER_03You know, as I mentioned, like the kind of the guitar playing, because you know, you you forget how what great musicians they all were. Sort of the standard of guitar playing there is just off the sc off the charts, I think. I think and it's and then the fact how it worked, they all work all different styles, yeah. They all work so well together and complement each other. I think it's genius.
SPEAKER_00That's that's incredible. Well, I don't know if you know the story, they left a big gap there, much like they had in Day in the Life, where they didn't know what to do with it, so they just jammed on the chords, and Paul said we'll figure out something later. And then they were in discussion, they said, Well, we could do a guitar solo, and then they they egged each other on to why don't we all do a guitar solo? And and finally, why don't we all do a guitar solo live? Uh and that was what happened. They put three amps out in the studio, all three of them went in there, and apparently, according to Jeff Emmerich, his book um about the Beatles, it was all done in one take.
SPEAKER_03Wow, I did that, I didn't realise. I mean, there's three amazing guitar solos, I had no idea it was in one take.
SPEAKER_00Wow, yeah, which is even more incredible. They had a little bit of rehearsal while they were sort of figuring it out, but yeah, so the order is, and I've dropped the the um relevant bits of audio in here. The order is Paul first, second comes George, and then John, and then obviously they alternate a few times.
SPEAKER_03Wow, and you wouldn't necessarily be able to you know do the Pepsi challenge on that, saying, Oh, that's John, that's Paul, that's George. So you know, yeah, I I had to be sort of had to be signposted for me, and then you kind of get it, you know, oh that's yeah, yeah, I get that, I get that. But I could I don't think I could pick them out of the lineup.
SPEAKER_00The fact that they did it live, I think helps, doesn't it? They're definitely bouncing off each other. Yeah. And Paul starts it because he said it's my song, so I'm gonna start the solos. Yeah, and John bags at the ending because he had it, he said, and I've got an idea for the ending, and I must admit I love that really raucous little bit he does to finish it off. You know, it's very John.
SPEAKER_03The the rest of the lyrics are just love you, love you, love you, love you.
SPEAKER_00You know, it's uh it just Paul McCartney did all the harmonies on Love You. Um, so he over overdubbed himself, including a very high one which they had to slow the tape down so that when they speeded it up it could go even higher.
SPEAKER_03Yeah, it's just everything about it. I mean, you couldn't write a more sort of poetic ending to their career. Yeah, musical ending, yeah.
SPEAKER_00Like you, I've I've heard it so many times, and I never fail to get goosebumps and a bit of a you know bit of welling up when I hear that line. And I think it's something to do, if you don't mind me getting a bit musically nerdy a minute, is the way that um the music shifts at the end of it, so it's in a sort of straight 4-4, but then when it goes um is equal to it shifts to six eight, so it slows the beat down by counting those beats as threes. And then it goes into an even slower four-four for the you take and that outro with the orchestra, they they got an orchestra for just that bit, yeah. Um, and then uh yeah, and that lovely little guitar flourish by George at the end. Forcing you to choose one Beatles song is is impossible. Um, do you have any others you'd just like to mention as favourites?
SPEAKER_03I think you know, if if if there's a go-to, you know, magical Beatles song, it it's gotta be Hey Jude. You know, it's it's just you know, for me, again, that's a song that's kind of got everything. And I remember being bought that again as a kid and having the seven inch of that, and um it kind of seemed seemed to sort of coincide in my mind's memory of kind of seeing that the they were splitting up as well. So it so it sort of uh even though the dates probably don't tally exactly, it's it's it in my it's a yeah, so it was uh you know whatever I would have been at that time, sort of eight years old or whatever, it kind of seems to be uh you know amazing song but at the same time it kind of it it represented the end of something even though it wasn't the you know to an eight to an eight year old now let's talk about your book 1967 the world of brian epstein and the beatles so you've written this with um with gary kemp yeah tell us about how it came about because i'd love to hear your your perspective on that yeah i mean hats off to garry's done the writing on this garry's you know rolled his sleeves up and done a fantastic job with the writing but this the the project all came about Gary and I have been friends because we both lived in Los Angeles back in the 90s together and we've known each other since then I had a coffee with him at his house last summer and you know just chit-chatting about one thing and another and on my way out he said oh let me let me show you this because he knows I've kind of have a fascination with a all things beetle but almost equally all things Brian and it was Brian's tiny little address book and so I mean it really is tiny it's you can kind of hold it in the palm of your hand so I kind of was flicking through it slowly and um you know just seeing the typed pages and then the handwritten pages and you know love just loving flicking through it and it was on the way home I called him up and said Gary you know there's a book in this because it really is a roadmap of the 60s it's the great and the good it's you know it's a genuine who's who of that period and beyond and there's something about uh an address book even though it's not a diary but there's something quite telling about an address book and revealing it's who your friends are it's who your acquaintances are your business uh acquaintance business colleagues um the places that you would go your family members and you know the night spots the casinos the restaurants the nightclubs so it's it it's it it it says a lot about uh a person and at the same time there was lots of kind of interesting characters in there that perhaps you know people wouldn't know that people may not know who Al Aronowitz is you know on the street but you know he was the guy that took Bob Dylan up to the uh Delmonico hotel when and on the night where he first introduced them to smoking pot which is a kind of game changer yeah for them in many ways and so it was what struck me was the book was like a you know that's a whole jigsaw puzzle worth of pieces and what Gary's very cleverly done is he's taken all these jigsaw pieces and although they're all separate entries the complete version of it creates a real picture of Brian and his world and his life and you know at first you know I you know you could think that this book would be almost be like a Wikipedia listings type thing and even though things are it's done alphabetically as a as uh an address book is the stories are not nowhere near but Gary's managed to find stories he hasn't put oh Mick Jagger the lead singer of the Rolling Stones Baum did it he's found a story and something that intertwines into Brian's world and all these characters um are all linked to Brian and his world somehow so it's it's an incredible job he's done so my role really you know designing it and researching it was to on the old occasion where you know Gary might have needed a oh who's this guy you know because I think my knowledge sort of goes back predates Gary's only because I've always loved the Beatles and I've read a million books and by Gary's own admission he sort of came to them slightly latterly I think that's the right word for that. But if my kind of role was a to make the book hopefully look lovely but at the same time fine images whether it's photographs, ephemera, memorabilia that perhaps people hadn't sit seen before and so the pictures could then complement all the entries because it's fully illustrated throughout and that was my one sort of caveat that I insisted on when we were kind of looking at publishers was that the book had to be full colour because we wanted to re to reproduce the the phone book entirely throughout but also have photos and I say ephemera that link to the each individual entries in most cases and you know if I looked at a photo and thought oh I haven't seen that before I thought that's a good kind of litmus test for it not being widely seen and so yeah that was that was sort of my my role in it.
SPEAKER_00Did you envisage it the way it came out I mean did you think oh this is how it'll be it'll be researched and or did you have a yeah that's what yeah exactly yeah I I kind of knew from my side what it would look like I just didn't know how well it would read you know my first thinking would be that it was just kind of almost like uh single Roman stuff you know the day blah blah blah but it it it it's so so much more than that and I was talking to Gary about this this morning I was impressed at how he's kind of made a kind of narrative out of it which is difficult when you've got a a format that is A to Z.
SPEAKER_03Yeah to Z you've got a sort of limited amount of space you can't go off and write 12 pages on George Martin you know you've got you've got to be very succinct and you know he he writes in an that it's sort of almost a a poetry to the way he writes um so it really and it's very evocative it takes you back to that time and place and a glimpse I mean I think Noel Gallagher put put it very nicely on the cover quote where he says you know it's a glimpse behind the net curtain of swinging sixties you know and I think you know you know he he sort of summed that up very nicely there. Were there any elements that came out of it that surprised you from from your research yeah I mean you know there's certain people in the you say oh wow Austin Wells is in there Dean Martin's in there you know just and so that's an interesting kind of those are interesting connections but there are also the likes of Al Aronowitz or you know people that were sort of on the say I was doing him a disservice by saying on the periphery but you know people that are not necessarily marquee names to kind of you know Gary did the investigation into oh well who's this guy who's that guy and it's you know that that that there's a lot in there that you got kind of thought oh wow that's that's cool it's amazing that he found that and there were there was certain kind of all the way through you know we both had those kind of eureka moments oh I found this oh I found that oh this is great oh I know who this is now yeah I mean um it seems he and most of them you got although they're tantalizingly there are a few names that Gary didn't manage to track down that yeah I mean there's a handful at the end which I think kind of leaves it open to if anyone that that buys the book can go oh yeah I know him he was my next door neighbor and he was the milkman and whatever and of course adding to the whole narrative is the fact this is this was just before his death this was created uh exactly it was his last address book absolutely so it it's very poignant and you know I've been fortunate over the years you you know you mentioned earlier about sort of meeting a beetle hit here and there but I got I got to know a lot of the sort of the cast of characters in Brian's world either you know like someone like Andrew Goldham for example you know I I've um become friends with over the years I mean distant friends because he lives in Bogota for most of the year but he you know he was you know a great storyteller but also everyone that we met or that I met over the years whether it was Silla whether it was Peter Brown uh who I've got to know a little bit over the years Derek Taylor Alistair Taylor you know they all had such great fondness for Brian you know couldn't speak highly enough about you know how much they loved him and I think that was the thing for me was you know I wanted to do something I mean I've been trying to make a film about Brian for many years and um for one reason or another it never kind of landed you've got to have so much you know you all the stars have got to be around when you want to make a film. But for me it was always about being giving Brian his page in history because I I I firmly believe that without Brian we wouldn't know John Paul George and Ring as we do today. It's not taking anything away from their talent or their creativity or anything like that but just the fact that you know they were famously rejected by Decker they were rejected by everyone and in fact going to Parlophone or ending up on Parlophone was kind of almost not I don't want to say bittersweet but it was kind of resignation that they kind of hit rock bottom because it wasn't a rock and roll label or even a music label per se. It was a sort of comedy's kind of spoken word label I mean they were grateful of the opportunity obviously but it wasn't everyone else had passed them by and it was only through you know Brian's perseverance and using the the weight and the power of having the largest kind of record store in the Northwest that he was able to shoehorn himself in to meet people.
SPEAKER_00And his belief in them was was so strong wasn't it?
SPEAKER_03Yeah of course anyone that's you know basically running a sort of a record department in a in a department store or a furniture store sorry to make the claim that you know he'd seen this bunch of lads playing a lunchtime session and he was going to make them bigger than Elvis I mean was you know we would have just been laughed you know the laughter would have run down the street and but PS this is exactly what he did.
SPEAKER_00Even you know Paul says in the arena documentary if anyone was the fifth beetle it was Brian you know it's and um you know that's coming from the horse's mouth and obviously John was incredibly close to him you can see you know when uh when that fateful weekend August bank holiday of 67 when Brian passes away you know and John hears the news he's absolutely ashen yes you know yeah absolutely ashen and even afterwards you know you've heard him say you know as soon as Brian died I knew we'd fucking had it highly recommend this to all our listeners it's called 1967 the world of Brian Epstein and the Beatles by Gary Kemp and Simon Halfen available from HarperCollins I'll put the links in the show notes but how can people best follow you in your work is there any way you'd like people to follow you is website or social yeah I've I think uh I'm Instagram is my sort of uh regular uh uh poison of choice I guess uh in that world and it's Simon Half on an emperor I think I even got to Brian's company name that's how uh how deep in the deep in the uh into the weeds I am well it's been amazing talking to you today about the Beatles and specifically the end and your wonderful new book thanks so much it's been great oh it's been an absolute pleasure I thoroughly enjoyed it thank you so much thanks for listening to my favourite beatles song if you like the podcast please consider giving it a rating or review on your favourite podcast platform. This helps me to reach new listeners. You can follow the podcast on x dot com, Instagram and Facebook and look for the links in the show notes. Thanks to Joe Kane for the fantastic music and Mike Hunningon for the located down to you next time