Difference between revisions of "The Love You Make"
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| + | This is not a conventional biography. Brown doesn't bother the reader with potted personal histories of the various Beatles' forbears, and in fact begins his narrative in May 1968, as Cynthia Lennon returns from holiday to find Yoko Ono sitting in the kitchen of the Lennons' Weybridge mansion, wearing Cynthia's dressing gown, and sporting an expression which is simultaneously inscrutable and unmistakably post-coital. This is a refreshingly grabby way to begin the book, and Brown keeps up this pacy style all the way through. | ||
| + | |||
| + | Brown's approach is anecdotal and episodic. While there are no longueurs, there are some significant lacunae, perhaps the most noticable being the absence of any real discussion, or even sometimes mention, of the music the Beatles made. When we read, towards the end of the book, of Paul McCartney's need to 'get away from it all' for a while on his Scottish farm, and are told that this has been caused by a renewed level of media attention, due to the recent release of 'Abbey Road', we realise with some surprise that this is the first time the album has been mentioned. | ||
| + | |||
| + | Even when Brown does skip back in time a bit, to cover the band's early days and their visits to Germany, he never goes any further back than their teenage years. At the other end of the scale, the narrative peters out a little towards the end, the period between the band's break-up and Lennon's murder taking only 50 pages or so. | ||
| + | |||
| + | Thematically, there's an unmissable imbalance between the large portion of pages given over to John Lennon and Brian Epstein, and the scant amount of space accorded to everyone else. It's natural, however, that Brown devotes so much time to Epstein, because it was through Epstein that Brown became involved with the Beatles and their multi-faceted, haphazardly run Apple organisation. Brown had worked for Epstein in Liverpool and after moving to London became probably his most loyal lieutenant, even cleaning up after Epstein's attempted suicide - and hiding the note he'd left next to the bottle of pills on his bedside table. This book is driven by personalities, with the Beatles being portrayed as owing their success, in large part, to the fact that Epstein fancied Lennon to the point of obsession. So it's apt that Brown takes such a personalised approach to both the structure and content of his narrative. | ||
Revision as of 11:40, 17 May 2009
The Love You Make: An Insider's Story of The Beatles
by Peter Brown (with Steven Gaines)
First Published by McGraw-Hill (US) and Macmillan (UK), 1983
Synopsis
Both this books's title, and its author's name, represent powerful fragments of Beatles lore. Peter Brown was best man at John Lennon's wedding to Yoko Ono - in fact he also later filled the same role for Paul McCartney - and was immortalised by Lennon, in 'The Ballad of John & Joko', as the man wo "called to say, you can make it ok, you can get married in Gibraltar near Spain". The book's title is taken from the appropriately-named Beatles song 'The End', quoted in the frontispiece:
| “ | And in the end
The love you take |
„ |
|
—The last lyric from the last song on the last Beatles album |
||
However, nothing is ever simple in Beatles-land. A pedant could argue that 'Abbey Road' wasn't the Beatles' last album, since 'Let it Be', while recorded earlier, was released after it, and in any case 'The End' was not the last song on the finalised running order, being supplanted at the last minute by 'Her Majesty'. Still, great title for a Beatles book, and ‘love’ was always a subject close to the Beatles’ hearts.
Peter Brown, meanwhile, may not have been so much of an 'insider' as either his appearance in Lennon's self-mythologising ballad, or the subtitle of his book, suggest. He certainly can't claim to have been a member of the innermost circle of Beatles intimates - the so-called 'Liverpool Mafia' - such as, say, Neil Aspinall. This has led to some criticism, and it's true that Brown sometimes 'makes up' dialogue or thoughts for events and situations at which he was not a first-hand witness; but he was enough of an insider that he has an immensely interesting story to tell, and lucky for us he tells it in a brisk and entertaining way.
Similarly, this book can't be placed in the top rank of Beatles books, in terms of renown. While not obscure, it's nowhere near as well known as Philip Norman's 'Shout' or Albert Goldman's 'The Lives of John Lennon', for example. This is a pity, because while it may have its faults, this is a hugely enjoyable book, and an essential read for anyone interested in the Beatles.
Focus
This is not a conventional biography. Brown doesn't bother the reader with potted personal histories of the various Beatles' forbears, and in fact begins his narrative in May 1968, as Cynthia Lennon returns from holiday to find Yoko Ono sitting in the kitchen of the Lennons' Weybridge mansion, wearing Cynthia's dressing gown, and sporting an expression which is simultaneously inscrutable and unmistakably post-coital. This is a refreshingly grabby way to begin the book, and Brown keeps up this pacy style all the way through.
Brown's approach is anecdotal and episodic. While there are no longueurs, there are some significant lacunae, perhaps the most noticable being the absence of any real discussion, or even sometimes mention, of the music the Beatles made. When we read, towards the end of the book, of Paul McCartney's need to 'get away from it all' for a while on his Scottish farm, and are told that this has been caused by a renewed level of media attention, due to the recent release of 'Abbey Road', we realise with some surprise that this is the first time the album has been mentioned.
Even when Brown does skip back in time a bit, to cover the band's early days and their visits to Germany, he never goes any further back than their teenage years. At the other end of the scale, the narrative peters out a little towards the end, the period between the band's break-up and Lennon's murder taking only 50 pages or so.
Thematically, there's an unmissable imbalance between the large portion of pages given over to John Lennon and Brian Epstein, and the scant amount of space accorded to everyone else. It's natural, however, that Brown devotes so much time to Epstein, because it was through Epstein that Brown became involved with the Beatles and their multi-faceted, haphazardly run Apple organisation. Brown had worked for Epstein in Liverpool and after moving to London became probably his most loyal lieutenant, even cleaning up after Epstein's attempted suicide - and hiding the note he'd left next to the bottle of pills on his bedside table. This book is driven by personalities, with the Beatles being portrayed as owing their success, in large part, to the fact that Epstein fancied Lennon to the point of obsession. So it's apt that Brown takes such a personalised approach to both the structure and content of his narrative.
Structure
Style
Content
Criticism
Editions
References
