How would the Beatles story have worked out if National Service hadn’t ended? Or Ended sooner?

After World War 2 had ended, so many soldiers had been killed or wounded, and the so-called Cold War had begun, the British government brought in National Service conscription into one of the armed forces.

This has consequences for one of the Beatles drummers, Norman Chapman, who little was known about until David Bedford’s book, The Fab One Hundred and Four: The Evolution of The Beatles, when he tracked down Norman’s family and presented the first and only biography and photographs of Chapman. He had succeeded the first Beatles’ drummer, Tommy Moore, not long before they were heading to Hamburg.

But, because of National Service, the week before The Beatles headed for Hamburg, Norman got his call-up papers to join the army, and he was off to Kenya for 2 years, and not to Hamburg with The Beatles! Because of this, Pete Best was conscripted into The Beatles just days before they headed to Hamburg.

What about The Beatles and National Service?

The government had decided in 1957 that National Service was to be ended for those born after 1st October 1939. With John, Stuart, and Ringo being born in 1940, they escaped National Service, but only by months! If National Service had only been extended for 12 months, then these 3 Beatles would not have been Beatles! What would have happened then? Would Paul and George have waited two years? But what if it hadn’t been ended at all? As John, Stuart and Ringo were finishing their National Service, Paul would have been starting his, and then a year later, George would have begun his conscription.

The Beatles: What If?

This is just one of 70 scenarios discussed in the latest book by David Bedford, with Andrew Phillips, called The Beatles: What If? Our conclusion was that if National Service had been extended, then the chance of The Beatles getting together would have been impossible and it would have been the end of the group.

Do you agree? Let us know in the comments below.

Get your copy of the book here:

US AND CANADA (For UK/ Europe see below)

UK/ Europe

Author Terry Wilson has written a fabulous two book series on the Beatles Let It Be Sessions and you are certainly going to wish to add both volumes to your Beatles book collections. Terry always manages to find and locate fascinating and interesting new material about this Beatles subject which has been thoroughly discussed over the years. You may think that you knew it all, but Terry helps to show us otherwise.

I eagerly await my copy of Volume 2. I have provided descriptions of both copies of his Let It Be books for your convenience. The descriptions are from the Amazon websites!

by Terry Wilson (Author) LET IT BE BOOK 2

AMAZON US LINK:

Let It Be – The Making Of The Beatles’ Final Album: Book 2: The Apple Sessions (and beyond): Wilson, Terry, Wilson, Terry: 9798248920952: Amazon.com: Books

AMAZON UK LINK:

Let It Be – The Making Of The Beatles’ Final Album: Book 2: The Apple Sessions (and beyond) eBook : Wilson, Terry: Amazon.co.uk: Kindle Store

Publisher: ‎ Independently published
Publication date: ‎ April 17, 2026

AMAZON DESCRIPTION:

In part 2 of his fresh take on the Beatles’ Let It Be sessions, Terry Wilson continues the story through the Apple Studio recordings, offering an insight and overview of the process. The myths which have shrouded this project continue to fall as the true, complete story is told in print for the first time.

Based on a forensic search of the ‘Nagra’ tapes, a day-by-day account of what went on in the studio is given, as the group hone and refine material for the album. Billy joins the fold, Glyn takes his seat at the recording desk and Allen Klein rears his head as the project nears the finishing line.

We learn how the studio tapes were made – the book includes a full directory of the tape reels and take numbers for every track, and where they can be heard. We encounter all the mix reels Glyn Johns put together, and see how they morphed into the acetate discs and then the Get Back album itself – which was set for release again and again through 1969. The story does not end in January – ‘mystery’ recording sessions take place then continue through the spring, picking up again at the end of the year and into 1970.

The tale continues as Phil Spector is drafted in, the records eventually come out, and a final section tells of how our understanding of the album has been shaped by inaccurate accounts over generations. This is a story which has been waiting to be told properly – and now finally has been.

LET IT BE-BOOK 1:

AMAZON US LINK:

Let It Be – The Making Of The Beatles’ Final Album: Book 1: The Twickenham Rehearsals: Wilson, Terry: 9798346146087: Amazon.com: Books

AMAZON UK LINK:

Let It Be – The Making Of The Beatles’ Final Album: Book 1: The Twickenham Rehearsals: Amazon.co.uk: Wilson, Terry: 9798346146087: Books

Let It Be – The Making Of The Beatles’ Final Album: Book 1: The Twickenham Rehearsals Hardcover – 10 Nov. 2024
by Terry Wilson (Author)

Amazon Description:

In this lively new book, Beatles author Terry Wilson takes a fresh look at the making of the classic Let It Be album, and offers a radical new appraisal of how the sessions worked out. Never has a classic rock album been dogged by so many myths, and what emerges in this book will alter the way this album is understood.

Terry Wilson has studied every second of the ‘Nagra’ tapes and worked through all the available videos, books and biographies and – for the first time – is able to recount the story of the mis-named Get Back Sessions as they really unfolded. You won’t find any lazy re-hashing of the same old stories here – this is a sharp new appraisal based on evidence, which starts with a clean slate and tells of events as they unfold, including a day-by-day account of the Twickenham rehearsals running into mid-January 1969. And the Beatles are a lot friendlier and happier, not to say productive, than you may previously have thought…

Here, we find ourselves with a group hard at work, creating song after song – from the number 1 hit, Get Back, made up on the spot one Tuesday morning, to the magical sessions for All Things Must Pass, the band attempts at Two Of Us in its electric arrangement – and ultimately, inevitably, the point at which George had enough and walked. What happened? How did the Beatles react? And what really led to his sudden departure? The answers are in these pages.

This is part one of a two-book study, to be accompanied by a second volume in the near future, which will complete the story of the Let It Be album. It’s a fantastic episode in the group’s history, and deserves to be told as it really was.

COMMENTS FROM THE AUTHOR:

Get Back: why the Beatles never rejected it…

A Beatles classic recorded in a rooftop rehearsal

John, Paul and Yoko’s freak-out – the invention of Cambridge 1969

The creation of the Get Back LP – where it came from

The Beatles play their new album live!

What the Beatles really say at the start of Get Back

Let It Be: The Beatles struggle to find a final verse

George Harrison – up for a live show with the Beatles!

Maxwell’s Silver Hammer – a song the Beatles liked to play!

Why Lennon-McCartney wrote Give Me Some Truth together

George Harrison – All Things Must Pass – the Beatles loved it!

The Abbey Road Medley – was it devised during Get Back?

Paul McCartney finding the key chord which sparked the song, Get Back

When the Beatles rehearsed their concert set in private

How Paul helped George write I Me Mine

Hope you enjoy hearing that Terry has now completed his wonderful two book series about the Beatles Let It Be sessions!

In the comments section, please let me know what your reaction is to his findings! Thanks for the input!

Be Healthy and be happy!

Buzz

Scouse the Mouse – Wikipedia

What was to be an animated feature project was ultimately never realized or issued. The only documentation of that project was a vinyl album of songs that were to be featured in the animated feature. There was also a book written by UK actor Donald Pleasance that was issued around the time of the vinyl album release.

According to Wikipedia, an animated television version of the story was planned for airing on ITV in the UK, but it was delayed due to a strike and ultimately shelved. It involved the story of a mouse emigrating from Liverpool that travels to New York and dealt with his exploits in the States.

This album was issued in the UK but not in the United States. The release of the album served to fulfill Ringo’s contractual obligations to Polydor Records! It was released in 1977.

What I find fascinating about these recordings are several of the Ringo interpretations of the songs written for the soundtrack. Ringo is great in his performance of Scouse the Mouse and his interpretations of many of the songs featuring him as the lead vocalist. Living in a Pet Shop and Boat Ride are very catchy tunes. Most of the songs performed on the album were composed by Roger Brown. The song, A Mouse Like Me was later to be used by Ringo on his album Bad Boy and to be retitled as A Man Like Me. The song was also to close out Ringo’s television special in the States in the 70s entitled Ringo which was loosely based on the Prince and the Pauper tale.

Ringo (1978 film) – Wikipedia

I found the Ringo material to be very entertaining on this LP, and I am very happy and fortunate to have been able to secure a copy for my collection.

Back cover of the LP

SIDE 1 OF THE LP:

SIDE 2 OF THE LP:

Some copies of the LP featured a coloring and drawing contest that could win a copy of the Scouse the Mouse book with a story by noted actor, Donald Pleasance:

THE TRACK LIST:

Ringo Starr, Adam Faith, Donald Pleasence, Barbara Dickson ‎– Scouse The Mouse
Polydor -Vinyl UK
Released: Dec. 09, 1977
Tracklist

Side 1
Position Artists Title/Credits Duration
Ringo Starr: Living In A Pet Shop
Written-By – Roger Brown
Barbara Dickson: Sing A Song For The Tragapan
Written-By – Donald Pleasence, Roger Brown
Ringo Starr: Scouse’s Dream
Written-By – Roger Brown
Ben Chatterly: Snow Up Your Nose For Christmas
Written-By – Donald Pleasence, Meira Pleasence
Ringo Starr: Running Free
Written-By – Roger Brown
Adam Faith: America
Written-By – Roger Brown
Lucy Pleasence: Scousey
Written-By – Roger Brown

Side 2
Ringo Starr: Boat Ride
Arranged By [Flute] – Pete Zorn
Written-By – Roger Brownn
Ringo Starr: Scouse The Mouse
Arranged By [Brass] – Pete Zorn
Written-By – Roger Brown
Barbara Dickson: Passenger Pigeon
Written-By – Donald Pleasence, Roger Brown
Polly Pleasence With Ringo Starr: I Know A Place
Written-By – Donald Pleasence, Roger Brown, Ruan O’Lochlainn
Jim Parker: Caterwaul
Written-By – Jim Parker
Ringo Starr: S.O.S.
Written-By – Roger Brown
Rick Jones: Ask Louey
Written-By – Donald Pleasence, Roger Brown
Ringo Starr: A Mouse Like Me
Written-By – Ruan O’Lochlainn

YOUTUBE LINKS TO THE SONGS THAT RINGO PERFORMED ON THE SCOUSE THE MOUSE LP:

Ringo Starr – Living in a Pet Shop

Ringo Starr – Scouse’s Dream

Ringo Starr – Running Free

Ringo Starr – Boat Ride

Ringo Starr – Scouse the Mouse

Polly Pleasence – I Know a Place (with Ringo Starr)

Ringo Starr – Caterwaul

Ringo Starr – S.O.S.

Ringo Starr – A Mouse Like Me

The recording of the song from the Ringo Starr Bad Boy LP: (this one from the human vantage point)

A Man Like Me

Ringo closes out his TV special with the ballad:

Ringo Starr A Man Like Me

THE SCOUSE THE MOUSE BOOK:

The Scouse the Mouse book cover written by famed actor Donald Pleasance which I recently acquired a copy of. Pictures by Gerald Potterton:

A RINGO STARR/ BOB DYLAN SONG ON AN UNISSUED RINGO ALBUM:

News of the unissued Ringo Starr album that involved a lawsuit:

Found a couple of websites that discussed a Ringo Starr Chips Moman album that Ringo had recorded in the 80s. Ringo claimed it was a collection of subpar recordings due to alcohol and drug consumption and did not want it issued/ released. The producer Chips Moman wanted to issue it to help reclaim the high studio costs in session time that was incurred in making the album. The court granted Ringo’s wish that it was not to be issued but determined that Ringo needed to pay a determined amount for the recording session time spent recording the tracks. Among the tracks that were reportedly recorded at the sessions was a Ringo Starr cover of the Billy Swan song, I Can Help and a song that Ringo Starr sang with Bob Dylan!

Found a couple of internet sites to substantiate these claims!

RINGO STARR NOW MUST PAY TO KEEP ALCOHOL-TAINTED ALBUM FROM PUBLIC – Deseret News

The “lost” collaboration between Bob Dylan and Ringo Starr

Found the Scouse the Mouse LP to be one of those special treasures of recordings that are not well-known but still a part of the recording legacy of one of the world’s best drummers!

I love this kind of stuff because it is not widely circulated but it has musical merit and quality and it is worthy and entertaining. It is my contention that it deserved a better fate with a much-wider circulation in the marketplace,

Be healthy and be happy!

Buzz

OUR FEATURED BOOK – CUNARD YANKS

The Beatles Decca Audition is one of the most discussed moments in early Beatles history. What really happened, and does this letter from Brian Epstein reveal something extra? Nigel Pearce investigates!

I understand that I centre in on the Apple years, but the situation regarding Decca Records will always need to be re-affirmed and discussed as it is an integral part of Beatles history, and also that all important growing curve that the band undertook during 1962 before “Love Me Do” was officially released for the first time in October that year.

It all started really sometime in December 1961 when Decca A & R man Mike Smith came to The Cavern, and this single event caused quite a commotion in itself!!  (How Mike Smith was encouraged to the Cavern has still a little mystery about it, though Tony Barrow, who worked at Decca, definitely helped!). Brian Epstein entertained Mike Smith and amongst a quota of things delved into the Liverpool scene. At this stage Brian kept this information from the group at first, but told them soon after. Mike saw The Beatles perform and informed Brian that he liked very much what he had seen them do and the reaction. His comment was “I will see what I can do”. The outcome of all this was that an audition was secured at Decca’s studios in Hampstead,  London on New Years Day Jan 1^st 1962 – No Bank Holiday then at all; perhaps there should have been.

They journeyed to London and stayed at The Royal Hotel paying the princely sum them of 27/- shillings a night. That equates in today’s money to 1 pound and 35 pence including Breakfast in Woburn Place – very swish indeed!!.

They arrived at Decca’s Hampstead studios at 11am in a bitter cold wind with ice and snow laying on the ground, and apparently Mike Smith himself was late. This only served to heighten the tension still further. It is worth remembering that at this time there were no tapes of any songs that Brian had to play so all of their material had to be played for recording purposes.

Apparently the session was done in a very impersonal and somewhat brutal fashion, and The Beatles felt that there was no encouragement or warmth from the Decca staff at all. This unfortunately gave everyone, including the Decca staff, an edge of unease  on the day.

With no promise of further progress, the session was done and all returned to Liverpool and carry on and wait for things to happen.

February 1962 came and Brian found himself back in London at Decca, apparently to have lunch with some people, so Brian had built up some hopes that things might well be a little positive – how wrong!! He was to be hit and hurt like never before, and it hit home like a sledgehammer to the stomach.

There were two people to meet Brian, Dick Rowe and a Mr Beecher Stevens. As the pre lunch meeting turned to coffees, it was Dick Rowe that delivered that brutal – and now infamous – statement – “Not to mince words Mr. Epstein, we don’t like your boys sound. Groups of guitarists are on the way out.” 

A very hurt Brian cut in and replied with the following statement: “You must be out of your minds. These boys are going to explode, and I am completely confident that they will be bigger than Elvis Presley!!”

Dick Rowe and Beecher Stevens were amazed at his reply and then rammed their point home with: “The boys won’t go Mr. Epstein. We know these things. You have a very good record business in Liverpool, just stick to that”.

With this statement, the meeting was apparently deemed over and they went for lunch. Brian took this opportunity to impress further the impact of the group on the local scene and was tirelessly pursuing and pushing their talent. Brian did sense just a little crack in their self-determination not to record the group.  After this apparent onslaught from Brian, it was Dick Rowe himself who came up with a possible solution, and Tony Meehan’s name was mentioned, with the caveat that Tony would produce a few records and give his experience, but that this would cost 100 pounds to be done.

This hurt and also annoyed Brian tremendously, but Brian went back to Decca the next day and met with Tony Meehan. After a wait, they both went to another room and once again, this time through Meehan, the cold shoulder and heart of Decca reared itself with the following comment.” Look Mr. Epstein, Mr Rowe and I are very busy men, we know what you want, and need. We will fix a date for a tape to be made of these Beatles and if you phone my secretary, I will make sure that I am available to do the session etc. This will cost you 100 pounds”. With that the meeting was deemed over and after this passage of time, Brian left Decca for the third time and knew that Decca records was not for The Beatles in any way. A date was fixed for this session and Brian had already decided that the group and himself would not attend at all. The rest they always say is history.

So this letter was sent by Brian to Decca Records in London, and has become one of the most talked about and glossed over periods in their history.

Decca tried with all of their PR might to block it out when The Beatles became world famous, and it followed Dick Rowe around for the rest of his life. What happened to Beecher Stevens is never talked about, but that decision was not just Dick’s alone, but it seems he has taken all the flak, and others have quietly hidden away.

So I hope that this does explain and clear the air, but it is worth noting that EMI also turned the group down in 1961, and again I have a copy of that rejection letter. It will appear one day I am sure!

What do you think of the Decca Audition? Was it a disaster? Were there some good elements to it? Would you have signed them? Let us know in the comments.

Nigel Pearce

GET NIGEL’S BOOK ON APPLE RECORDS