Revolver - The Beatles under attack in 1966 (Salvador Astucia)
Autor: Nélio Tanios Porto | Publicado: 2014-07-12T07:09:00-07:00


Revolver - The Beatles under attack in 1966 

Salvador Astucia



Compelling evidence suggests that, in 1966, Paul
McCartney and Capitol Records began to sabotage John Lennon’s music. Four major
events occurred from June through August of 1966. Apparently the FBI thought
the Beatles were getting too creative and influential. The stated events seemed
to center around the release of their next album, Revolver, on August 5,
1966. Although Revolver is considered one of the Beatles’ better albums,
and a turning point in their music, I was disappointed with it because—simply
stated—the version I heard contained too much McCartney and not enough Lennon. 



&nbsp;But being an American, I heard the version released by
Capitol Records in the United States. Consequently, the version I heard
contained three less Lennon songs than the original version (the British
version). Revolver was a ground breaking album, signaling a substantial
shift in the Beatles’ sound and image. The album cover is avant-garde, designed
by German artist Klaus Voorman. The layout is a surreal collage with
various photographed images of the Beatles floating on top of hand-drawn images
of their heads and faces. Harrison’s hand-drawn face has real eyes and real
lips superimposed. In an interview, years later, Voorman described how he was
invited to design the cover of Revolver. The following is an
excerpt:



 

  
  
KLAUS VOORMAN: “Well, it
  came out of the blue. I wasn’t doing any art in those days. I was playing in
  bands, and suddenly John [Lennon] called me and said, "Look, Klaus, if
  you have any idea for our next album cover [Revolver], scribble it
  down and let us see it. And if it’s something we like, you might get the
  gig." So I did sketches and I had 10 or 15 suggestions, ideas, but I
  already liked the one with the hair. I went to the studio, which was always a
  good idea while they were recording the work, because you needed time to do
  the cover as much as they needed time to finish the LP. I showed it to them
  and they all jumped on this Idea of the four heads and those little figures
  it”.

   

    
    


    
    


   




  
  


 


The album marked the beginning of the Beatles’
psychedelic period which was introduced by Lennon’s "Tomorrow Never
Knows" and Voorman’s cover design. Although none of the songs on Revolver
are anti-war, Lennon’s lyrics expanded the boundaries of rock music, which
were usually confined to romantic topics. In "She Said, She Said,"
Lennon stated lyrically that he knows what it’s like to be dead. He later
admitted that he simply borrowed a line which was repeated to him by Peter
Fonda while Fonda was on an acid trip. Toping off the album’s avant-garde style
was George Harrison’s use of the sitar on the song, "Love to You”.





Surprisingly,
three of John Lennon’s five original songs did not appear on the version of the
album released by Capitol Records in America. Instead, Paul McCartney was
presented as the primary creative force. None of McCartney’s songs were omitted
from original version of Revolver. Table 2 shows the songs that appeared on the
British version of Revolver versus those that appeared on the American
version. 



Table 2: Revolver - British Version vs. American Version 



 

  
  
British version 

(Parlophone/EMI) 



  
  
&nbsp;American
  version 

(Capitol Records) 

  
  


 

  
  
&nbsp;SIDE 1: 

  
  
&nbsp;SIDE 1: 

  
  


 

  
  
&nbsp;1.
  Taxman 

  
  
&nbsp;1. Taxman 

  
  


 

  
  
&nbsp;2.
  Eleanor Rigby 

  
  
&nbsp;2. Eleanor Rigby 

  
  


 

  
  
&nbsp;3. I’m
  Only Sleeping 

  
  
&nbsp;(omitted)
  

  
  


 

  
  
&nbsp;4.
  Love to You 

  
  
&nbsp;3. Love to You 

  
  


 

  
  
&nbsp;5.
  Here, There and Everywhere 

  
  
&nbsp;4. Here, There and Everywhere 

  
  


 

  
  
&nbsp;6.
  Yellow Submarine 

  
  
&nbsp;5. Yellow Submarine 

  
  


 

  
  
&nbsp;7. She
  Said She Said 



  
  
&nbsp;6. She Said She Said 

  
  


 

  
  
&nbsp;SIDE 2: 

  
  
&nbsp;SIDE 2: 

  
  


 

  
  
&nbsp;1.
  Good Day Sunshine 

  
  
&nbsp;1. Good Day Sunshine 

  
  


 

  
  
&nbsp;2. And Your Bird Can Sing 

  
  
&nbsp;(omitted) 

  
  


 

  
  
&nbsp;3. For
  No One 

  
  
&nbsp;2. For No One 

  
  


 

  
  
&nbsp;4. Dr.
  Robert 

  
  
&nbsp;(omitted)
  

  
  


 

  
  
&nbsp;5. I Want to Tell You 

  
  
&nbsp;3. I Want to Tell You 

  
  


 

  
  
&nbsp;6. Got to Get You Into My Life 

  
  
&nbsp;4. Got to Get You Into My Life 

  
  


 

  
  
&nbsp;7.
  Tomorrow Never Knows 

  
  
&nbsp;5. Tomorrow Never Knows 



  
  


 


On the British version of Revolver, there were 14
songs total; on the American version there are only 11. Again, the three
missing songs are Lennon’s. On the British version, Lennon sang lead vocal (and
was the primary writer) on five songs: "I’m Only Sleeping," "She
Said She Said," "And Your Bird Can Sing," "Dr.
Robert," and "Tomorrow Never Knows." On the American version,
"I’m Only Sleeping," "And Your Bird Can Sing," and
"Dr. Robert" were omitted, leaving only two Lennon songs on the
album. Of those two, McCartney refused to play on one. In contrast, five
McCartney songs were featured, along with three Harrison tunes. None of
McCartney’s or Harrison’s songs were cut from the British version. But Lennon’s
three songs were top-notch, far better than some of Harrison’s and McCartney’s
songs which were not cut. For example, Harrison’s "I want to Tell
You" is a poorly written, poorly arranged song. At best, it’s a mediocre
pop tune. McCartney has some nice songs, but "For No One" is a mundane
tune which could easily be dropped. Why were those tunes kept and three of
Lennon’s were dropped? Again, only Lennon’s tunes were dropped, no
others. If Lennon’s three songs were not on Revolver, where did they go? 



Capitol’s
fraudulent ‘Yesterday and Today’ album 



On June 15, 1966, Capitol Records released a Beatles’
album without the Beatles’ consent entitled Yesterday and Today. Capitol
used a gruesome picture on the cover, known as the "butcher block
photo." It showed the Beatles with dead babies (dolls) and hunks of red
meat. The butcher block photo was taken during a bizarre photo session with
photographer Bob Whitaker. The gory photo was quickly replaced with a more
conventional picture of the Beatles.



Some obvious questions arise: Did the Beatles intend
to release the "butcher block photo?" If not, how could such a thing
occur? My research indicates that the answer to the first question is No, the
Beatles did not intend to use the butcher block photo. The answer to the second
question is fairly obvious: the FBI was using Capitol Records to harass the
Beatles. To understand what happened requires some background information
regarding how the Beatles’ recordings were marketed in the UK versus the United
States. 



From 1964 through 1966, two versions of every
Capitol/EMI Beatle album were released: one version was released in Britain on
the Parlophone/EMI label; and one version was released in America on the
Capitol Records label. Generally, the two versions were similar, but the
British versions usually contained about two or three extra songs. In addition,
some of the songs were switched between albums. 



The British albums, however, were the original
versions produced by the Beatles and were intended to be released without
alteration in both America and Britain. In an interview years later, John
Lennon expressed frustration over Capitol’s practice of changing songs around
on Beatle albums sold in America: 



 

  
  
LENNON: We would carefully sequence the material,
  you know, the songs, and have it just the way we felt it should sound for an
  album. We would put a lot of thought and work into the process and then we’d
  come over to America… and hear what they had done and it would drive us
  crazy.

  
  


 




Some people will argue that the Beatles intended to
use the "butcher block photo," but George Harrison stated
emphatically, years later, that the Beatles had nothing to do with Yesterday
and Today. The following is Harrison’s explanation: 



 

  
  
HARRISON: “When the American company [Capitol
  Records] released albums like Yesterday and Today, we didn’t have
  anything to do with them. They always used to put out more albums in the
  States than we actually had. In England we’d put 14 tracks on a record and in
  America they’d put out about 10. Plus, we’d release singles in England and we
  would never include them on our next album. So if we put out two singles and
  two albums, they’d convert them to three albums by keeping the extra tracks.
  So they were different over here. We started to put our foot down when it
  came to albums like Rubber Soul, Revolver, Sgt. Pepper, and all
  because it was important that they be the same songs in the States”. 

  
  


 




Yesterday and Today was a collection of songs from three British albums,
plus two singles. Table 1 shows the songs on Yesterday and Today cross-referenced
with the British albums and singles where they also appear. Notice how most of
songs are from the British versions of Help, Rubber Soul, Revolver,
and the A and B sides of a single ("We Can Work it Out" and "Day
Tripper"). Also notice that Yesterday and Today was released on
June 15, 1966, nearly two months before Revolver was released on August
5, 1966. Yet Yesterday and Today contains three unreleased Lennon songs
intended for Revolver. This is extremely odd, and highly significant. 



I believe the fraudulent release of Yesterday and
Today by Capitol Records served three purposes. First, it made extra money
for Capitol by releasing an additional album that the Beatles had never
intended to be released. Second, the butcher block photo was intended to weaken
the Beatles’ popularity, and frighten the Beatles as well. Third, by pulling
three top-notch Lennon songs from the unreleased Revolver, and including
the tunes on Yesterday and Today, this would strengthen Paul McCartney’s
reputation as a songwriter when Revolver was released. In other words,
McCartney looked stronger on the American version of Revolver because
Lennon’s contributions were fewer in number. This leads to another troubling
conclusion: Paul McCartney was apparently an active participant in a conspiracy
with Capitol Records to discredit John Lennon and the Beatles in
exchange for strengthening his own reputation as a songwriter and performer. 



‘Tomorrow
Never Knows’ introduces psychedelic rock 



Regardless of efforts made to suppress Lennon’s music
on the Revolver album, his two songs which appeared on the American
version of the LP had a profound impact on rock music, particularly
"Tomorrow Never Knows." In 1966 rock music began to shift to a darker
mood, reflecting the sentiment of America’s youth toward President Johnson’s
escalation of military involvement in South Vietnam. John Lennon sparked quite
a bit of creativity with "Tomorrow Never Knows", a song is laced with
lyrical reverences to Timothy Leary’s Tibetan Book of the Dead, a book
viewed by many as the Bible for LSD users. 



Origins of songs that appeared on Yesterday and Today 



SIDE 1

Drive
My Car (released Dec.3, 1965; Rubber Soul)

I’m
Only Sleeping (released Aug. 5, 1966; Revolver)

Nowhere
Man (released Dec. 3, 1965; Rubber Soul)

Dr
Robert (released Aug. 5, 1966; Revolver)

Yesterday
(released Aug. 13, 1965; Help)

Act
Naturally (released Aug. 13, 1965; Help)



SIDE 2

And
Your Bird Can Sing (released Aug. 5, 1966; Revolver)

If I
Needed Someone (released Dec.3, 1965; Rubber Soul)

We
Can Work it Out (Single)

What
Goes On? (released Dec. 3, 1965; Rubber Soul)

Day
Tripper (Single)

To my knowledge, “Tomorrow Never Knows” was the first
psychedelic song ever written; the term "psychedelic" meaning a song
that was inspired by LSD. The lyrics to “Tomorrow Never Knows” are as follows: 



 

  
  
Tomorrow Never Knows



Turn off your mind, relax
  and float down stream, 

It is not dying, it is not
  dying 

Lay down all thought,
  surrender to the void, 

It is shining, it is
  shining. 

Yet you may see the meaning
  of within 

It is being, it is being 

Love is all and love is
  everyone 

It is knowing, it is knowing
  

And ignorance and hate may
  mourn the dead 

It is believing, it is
  believing

But listen to the color of
  your dream

It is not leaving, it is not
  leaving

So play the game “Existence”
  to the end

Of the beginning, of the
  beginning



  
  


 


Typically, other bands began to follow the Beatles’
creative instincts. In 1967, a San Francisco-based band, Jefferson Airplane,
had a hit single, "Somebody to Love," which made dark lyrical
references to lies, death, blood and tears. The same year, Jimi Hendrix
released another psychedelic song, "Purple Haze," which described an
LSD experience. After Hendrix came along, psychedelic rock really went into
orbit, but it was Lennon’s Tomorrow Never Knows that served as the launching
pad. 



McCartney refused to play on ‘She Said She Said’ 



Paul revealed a stunning bit of trivia in the 1997
book, Paul McCartney: Many Years From Now, by Barry Miles. Paul stated
that he did not play on Lennon’s song, "She Said She Said" on the Revolver
album. The following is an excerpt of McCartney’s comments: 



 

  
  
“It’s a nice one. I like the
  title ‘She Said She Said’, which I think was made up on the session. John
  brought it in pretty much finished, I think. I’m not sure but I think it was
  one of the only Beatle records I never played on. I think we had a barney* or something and
  I said, ‘Oh, fuck you!’ and they said, ‘Well, we’ll do it’. I think George
  played bass”.

  
  


 




Not only was McCartney absent on bass guitar on
"She Said She Said," studio records further reveal that he did not
sing on the recording either. In 1988, Mark Lewisohn wrote a book—The
Beatles Recording Sessions—which documented, in detail, the recording
sessions for virtually every Beatle song ever recorded. For "She Said She
Said," Lewisohn indicates that George Harrison, not Paul, sang tenor
backup harmony with John Lennon singing lead vocal. The following is an excerpt
from The Beatles Recording Sessions, by Mark Lewisohn: 



 

  
  
[21 June 1966] “It took just
  shy of nine hours to record 'She Said She Said', the group spending most of
  the time rehearsing through at least 25 takes. Then the recording proper
  began, with three takes of the rhythm track (in this instance drums, bass and
  two guitars). Take three was the 'best' so the lead vocal (John) and backing
  (John and George) were overdubbed onto this. A reduction mix vacated one of
  the four tracks&nbsp;Where na additional guitar
  and organ part (played by John) were soon taped. The song now complete, three
  mono remixes were done, though none made it onto the finished album—that was
  remix four, from 22 June”.

  
  


 




McCartney’s absence on "She Said She Said"
is significant, especially since the version of Revolver released in
America only contained two Lennon songs, whereas the original
British/Parlophone version contained five. Of the two remaining Lennon songs,
McCartney only recorded on one. This suggests he was part of a conspiracy to
weaken Lennon’s popularity in America. 



Manila &amp; Lennon’s Jesus remarks 



On July 5, 1966, the Beatles were booed and jeered in
Manila, the capital of the Philippines. The tumult was caused after the Beatles
were erroneously accused of snubbing the president’s wife, Amelda Marcos, by
not attending a party she had hosted. Most sources agree that the Beatles never
received an invitation, but a false story was leaked that they had been rude to
Marcos. As a result, their security was dropped as they tried to leave the
country; they were jeered by several people and shoved at the airport by about
thirty thugs, many armed.



On
July 29, 1966, Datebook—an American magazine—published John Lennon’s
interview with Maureen Cleave which had been published in London’s Evening
Standard four months earlier, on March 4, 1966. During the interview, John
was apparently feeling quite relaxed with Cleave, and they proceeded to have an
intellectual discussion, as opposed to discussing the rock music business
non-stop. In the middle of the interview, John made the following remarks about
Christianity: 



 

  
  
“Christianity will go. It
  will vanish and shrink. I needn’t argue with that; I’m right and I will be
  proved right. We’re more popular than Jesus now; I don’t know which will go
  first—rock ‘n’ roll or Christianity. Jesus was all right but his disciples
  were thick and ordinary. It’s them twisting it that ruins it for me”.



  
  




The British public did not react to John’s remarks
about Christianity and Jesus because no spin was added, plus, religion was not
the point of the interview. John simply made a few remarks in passing about
Christianity. Datebook’s publication of the same article was clearly designed
to hurt Lennon. On the front page it said "Lennon was claiming the Beatles
were bigger than Jesus." The following is America’s reaction to John’s
comments as described by Ray Coleman
in his book, Lennon: The Definitive Biography:



 

  
  
“American reaction, two
  weeks before the Beatles were due to begin a long concert tour, was
  instantaneous and devastating. The Beatles, and particularly John, were
  denounced as sacrilegious, and a wave of anti-Beatle demonstrations fanned
  out across the American South, the Bible Belt. The Ku Klux Klan* marched; there
  were bonfires of Beatles records; and an estimated thirty-five radio stations
  across America banned Beatles records. The country that had adopted the
  Beatles as the 1960s’ biggest single phenomenon was rejecting them. Love and
  hate, those two closely related emotions, had met. The Beatles were bad news,
  and Lennon’s tongue had caused it”. 

  
  


 




Maureen Cleave—the British journalist to whom John
made the initial remarks about Christianity—made the following remarks in
defense of John’s comments: 



 

  
  
MAUREEN CLEAVE: “I was astonished that John Lennon’s
  quotation was taken out of context from my article and misinterpreted in that
  way. I don’t think for one moment that he intended to be flippant or
  irreverent, and he certainly wasn’t comparing the Beatles to Jesus Christ. He
  was simply observing that, to many, the Beatles were better known. He was deploring,
  rather than approving this. Sectors of the American public were given the
  wrong impression, and it was totally absurd”.



  
  


 


Brian Epstein met with John in Chicago and urged him
to publicly apologize, otherwise the Beatles should cancel their next tour to
ensure their safety. Biographer Ray Coleman wrote that "Brian feared the
Beatles might be assassinated”. &nbsp;Upon
learning of the possibility of assassination, John broke down and began to cry.
"I’ll do anything," he told Brian. "Anything, whatever you say I
should do, I’ll have to say. How on earth I going to face the others if this
whole tour is called off? Just because of me, just because of something I said,
I didn’t mean to cause all of this." Coleman
made the following remarks which described John’s emotional reaction to the
threat of assassination: 



 

  
  
“Epstein’s mention of death
  threats made no impact on John personally. This was odd, because to be
  "level" with a Beatle on such major problems and fears when there
  was an element of potential trouble was most unusual. 

All four of them were always
  protected from grim truths and left alone with the job of being Beatles. For
  Epstein to tell Lennon of his real worries was a big break with tradition.
  For John not to react puzzled Brian. He asked John if he realized the
  seriousness of what he’d said. But it was more what Paul, George, and Ringo
  would think of him, if a remark by him had caused the danger of cancellation,
  that bothered John. Here was John’s conscience, exposed for perhaps the first
  time in his life. He was definitely ready to do whatever was necessary to
  quell the pandemonium that was gripping America on the subject of the
  Beatles”.



  


 

  
  
On August 12, 1966, just as the Beatles’ third
  American tour was about to begin in Chicago, John held a press conference
  where he explained his comments about Christianity and apologized. The
  American journalists were unnecessarily crass. In response, John moved on to
  other topics and began criticizing America’s warlike conduct in Vietnam. This
  was the beginning of John’s political activism.29 Things
  settled down a bit after John’s apology but problems continued to plague the
  1966 tour. The Beatles’ public relations manager, Tony Barrow, explained—in
  an interview years later—how the 1966 tour was a complete disaster. The
  following are excerpts:



TONY BARROW: “I’d been with
  the Beatles from the start, from 1963. We’d had other people, called press
  officers or PR aides of one sort or another, who had gone out with the
  Beatles on the road at various times while I stayed back at home base because
  we were launching a lot of other acts. But by 1965 I was back on the road
  with the Beatles again, not just supervising from London but personally
  setting up and running the press conferences on the road. So I was involved
  in the last two years of touring, which included what was to me the greatest
  experience. I won’t call it a concert, but a peak experience of the entire
  Beatles’ career. That was the Shea Stadium show in 1965. Not the one in 1966.
  The magic wasn’t quite as thick upon the ground the second time. 



1966 was my second year touring and, of course, the
  Beatles’ last year of touring at all. In fact, 1966 was a horrendous year of
  one crisis after another. The first of these was Japan when threats were
  being made by a certain faction, an element among students in Tokyo who
  reckoned that the Budokan venue the Beatles were going to play at was a
  sacred place. 

Sacred to great sporting tournaments of one sort or
  another and therefore shouldn’t be used for such frivolous purposes as rock
  concerts. They said that if the Beatles played at the Budokan, the boys would
  be murdered. I actually managed to determine what was happening from some of
  the kids down in the Tokyo Hilton foyer. These Japanese kids read the papers
  to me, which is the only reason I knew about the murder threats. The Beatles
  never really knew about what was happening. They just saw a lot of armed guards
  everywhere. They never knew they were under threat of death in Japan. We then flew straight from there
  to Manila in the Philippines and, of course, all hell broke loose. This was
  the second of three major crisis points of 1966 when it was claimed that the
  Beatles had snubbed the first lady [Imelda Marcos] and failed to turn up to see her at the
  presidential palace. Of course, one doesn’t snub people like the Marcoses in
  a territory such as the Philippines. One lives to regret it. Immediately
  there was an anti-Beatles thing that grew up overnight…. 

The third and final phase of
  that horrendous year was the last tour of the United States, where we began
  with Beatle records being burned and John Lennon under the direct threat of
  assassination from religious zealots in the southern United States, the Bible
  Belt states. It was the misconstruing of his comment about Jesus Christ’s
  diminishing popularity, which wasn’t in any way boastful. It was just a
  comment he made. By the time it reached certain southern states, it was taken
  very badly by certain religious factions and there was the threat of death
  hanging over that whole tour. 

&nbsp;I do recall that once we did get down to that area,
  the southern states, that a firecracker was let off during the concert in
  Memphis [on August 19, 1966] and everybody, all of us at the side of the
  stage, including the three Beatles on stage, all looked immediately at John
  Lennon. We would not at that moment have been surprised to see that guy go
  down. Of course, that was 14 years to early for that. John had halfheartedly
  joked about the Memphis concert in an earlier press conference, and when to
  got there everything seemed to be controlled and calm, but underneath
  somehow, there was this nasty atmosphere. It wasn’t a happy day at all. It
  was a very tense and pressured kind of day”.



The
  end of touring 



On August 29,
  1966, the Beatles played their final concert at Candlestick Park in San
  Francisco. They had tired of touring anyway, but it was the fiascoes on their
  last tour combined with the American news media’s yellow journalism—a
  practice which forced John Lennon to live under the threat of
  assassination—that caused the Beatles to stop touring completely. George
  Harrison played a big role; he had wanted to stop touring anyway and encouraged
  John to do the same. Paul McCartney was opposed to the decision to stop
  touring, but Lennon and Harrison won out. Harrison’s most compelling argument
  was they would have more time to devote to recording if they stopped touring.31 The following are comments made by each of the Beatles, in subsequent
  years, regarding their decision to stop touring:



GEORGE HARRISON: When we started to get famous and
  did our own songs more it was very exciting. Then we started doing these big
  tours and we had to play our records to promote them and sing our hits and
  stuff. By the time of our last tour, we were in a rut. We just played the
  same stuff to different people all over the place. It got boring. Nobody
  could hear us and we felt little satisfaction. We always hated the hotels,
  the guards, the police escorts, the press, and many other things, but we
  always loved the fans and performing… Worst of all, we became terrible
  musicians because we couldn’t hear ourselves and we didn’t really care
  anymore. Then we got into a big political thing, with all that “bigger than
  Christ” and Manila and things and I just got sick of it. I thing we were
  nervous wrecks, being flown around everywhere, with press conferences
  everywhere, with press conferences everywhere we went. 



RINGO STARR: By the end, none of us enjoyed touring.
  You couldn’t really. When we started, it was about making good music. That’s
  why I wanted to be in the Beatles, because they were the best band around.
  Once you have to go out and play your biggest hits and you’ve got to
  manufacture it, it doesn’t work. I think of it as the worst time and the best
  time of my life. The worst part was that 24 hours a day you had press and
  people fighting over you, as well as fans climbing
  up and down the drainpipes, trying to get into your rooms, knocking on your
  windows and doors. It was insane. I would have gone crazy. 



JOHN LENNON: We’d had enough of performing forever.
  I couldn’t imagine any reason that would have made us do any sort of tour
  again. We were all really tired. It did nothing for us anymore. That was
  really unfair to the fans, we knew, but we had to think of ourselves. 



PAUL MCCARTNEY: I remember being frightened many
  times. As we waited for and armored car to take us to our guarded hotel
  rooms, I would sit and say to myself, “I really don’t want to go through this
  any longer. We have the money. Let’s take off for Brighton!”



After the Beatles stopped touring, they began to explore new avenues
  of artistic expression. John tried acting, and they continued recording as a
  group. In 1966 and 1967, a new world emerged as a direct result of their
  influence. They had become the catalyst for musical, social and political
  change throughout America and the entire Western world. They had become much
  bigger than Elvis, something they had never imagined in their wildest dreams
  a few years earlier. Brian Epstein was the only person to fully realize their
  potential to outshine the King of rock ‘n’ roll. By 1966, his vision had come true several times
  over. 































































  
  


 
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