I want to tell you 
about the drawing and the song

In order of date of recording/ you will find information about every drawing and the relation with the Beatlesong.
Every drawing measures 27 x 31 cm and is mostly drawn in ink

001 I saw her standing there (Lennon Mccartney, 1963)
I took the text of the song literally. All the letters from the song are drawn in lying position 
except the H, E and R which are standing. On the left and the right of HER the T and E.
This forms THERE. This is the first drawing where I Used coloured ink.
With these coloured pens I have drawn the harts which symbolise the line: “my heart went zoom”.
The movement of the hearts gives also expression to the line “we danced all night”
Coloured ink, ink, 
Please please me 

(Lennon McCartney, 1963)
One of my sons is model for this drawing. This figure with folded hands over his neck, seen on the back. 
The misery is enlarged by the dripping paint. The gold paint is for the hope.
There must always be hope, despite all the misery.
Ink, acryl, gold paint, 120331
Please please me 

Anna (go to him)
(Alexander, 1962)
 “give me back your ring and I will set you free” was enough to give idea to this drawing.  
Knotted rope can be detached when the ring is returned. That’s all, no background. 
Ink and aquarelle, 110304
Please please me 

(Goffin & King 1962)
“these chains of love got a hold on me” inspired me to make chains where the links take the form of hearts. 
It was difficult to make one continuing chain but now the viewer has to puzzle very hard to see that I succeeded.
Ink and aquarelle, 101127 
Please please me 

(Dixon Farrell, 1960)
It was difficult to start to start in the very busy weeks at work. In the weekends there is also to little time. 
But in the end this has become a drawing where the Beatles figures with their hairdo and their lips.
‘The trip around the world’ is symbolised by lips flying round the earth. ‘The trills’ lightens from the dark to the boys
Ink, acryl, gold and silver, 130202
Please please me 

Ask me why
(Lennon, 1962)
I followed the lines. I should never be blue becomes red. Red for love. 
Tears (of joy) are dripping over the dripping red paint. That’s all. It is not as simple as it looks
Acryl, ink, 130211
Please please me 

Please, please me
(Lennon McCartney, 1963)
I worked hard in the holiday on the drawings. This song has become a gift in the shape of a heart. 
The gift is not opened because in the songs there’s a complaint.
A complaint about the one who’s giving more than the other one does.
There’s rain because she doesn’t even try to please him as much as he does.
That’s why I also have chosen in a contrast between paint (color) and ink (black and white)
Acryl ink, 121231
Please please me 

Love me do.
(Lennon and McCartney, 1962)
A drawing with letters to the Beatles. 
The texts on the letters are from the book: Love letters to the Beatles.
Candy hearts makes the subject lighthearted. 
Ink and aquarelle, 101014
Please please me 

P.S. I love you
(Lennon McCartney, 1963)
This was a difficult one. It was hard to find the right inspiration. A fountain pen with pieces of paper. 
Parts of the song are written down on the paper. Simple idea for a simple song.
Acryl, ink, 130114
Please please me 

Baby, it’s you (Davis Williams Bacharach, 1963)
A pure ink drawing. In an autumn setting there is Lennon sitting behind a window. 
He is waiting and thinking for his girlfriend. The girl everybody says she’s cheating (on him?).
But he’s faithful, hopeful waiting
Ink, 130227
Please please me 

Do you want to know a secret
(Lennon & McCartney, 1963)
The Beatles used a part from the “wishing well” lyrics from the Disney animation Snowwhite. 
That’s why I draw the cards with dwarfs and snowwhite as a reference to a fairytale.
A fairytale with a secret. The secret about the “pied a terre’’ of Brian Epstein.
The pied a terre he used for his boyfriends but was also used bij John and his, then pregnant, Cynthia.
The book with pills refers to Brian Epstein. The letter is addressed to: Dear B….. Beatles or Brian?
Ink and aquarelle,101206
Please please me

A taste of honey
(Scott Marlow, 1962)
The choice for the drawing was made quick, honey of course! 
Honeycombs in the background.
Paul’s lips in front (Paul is the singer of the song).
Hony is dripping from his lips, following the form of the combs
Acryl and ink, 130303
Please please me

There’s a place
(Lennon McCartney, 1963)
The mind/the brains as a place to escape. 
There was a little doubt to put a parking sign too but that would be to emphatic.
The brains are drawn with red ink in an acrylic blue surrounding.
Coloured lines twirl and turn and flees in the brains
Acryl, red ink. 130316
Please please me

Twist and shout
(Medley Russel, 1963)
The twist as a dance, the twist as curls. In the curls the word ‘shout’, continuously repeating. 
Silhouettes of the fab four in their twisting pose from the Twist and shout sleeve
Acryl, aquarelle, ink 130324
Please please me

From me to you (Lennon McCartney, 1963)
This song is written in the car while the Beatles were on tour with Helen Shapiro. 
Traveling from one place to another and also the lines in the song about giving lips, heart and arms
made the idea of a Royal Mail van delivering packages, driving from ME to YOU.
So I bought a toy van as an example for the van in acrylpaint on a background of colors.
John and Paul, the composers, are glued behind the wheel. 
Ink, acryl, goldpaint, glitter, 150126 

Thank you girl (Lennon McCartney, 1963)
This was a thank you to all the fans for their loyalty and love. 
So what is there to draw when you thanks your girlfriends?
I asked a few teenaged girls at my school. They didn’t hesitate a second.
“Gift boxes, colours, jewels, lingeries, bling things, surprises”.
The bra is prominent present as reference to all the girls who would love to unpack for their idols.
What to unpack first? 
Ink, aquarelle, 150216

She loves you (Lennon McCartney, 1963)
The boy in the song must be convinced that the girl still loves him. She loves you!  
That’s why I choose for a sort of neonletters.
And there are also a lot of yeah’s and woo-o’s in the song and they give extra movement to the drawing.
Of course a dark surrounding so ‘Shelovesyou’ takes the most attention.
Ink, aquarelle, marker, acryl. 150227 

I’ll get you (Lennon McCartney, 1963)
I’ll get you in the end, oh yeah. That sounds threatening, unavoidable. Like pigeons do. 
A lot of nervous flutter and noise makes it a wish of the male while the female seems to wish other avances first?
Maybe you don’t need to be a pigeon to have those wishes. But undoubtedly he’ll get her. :)
Ink, 121119 

I want to hold your hand (Lennon & McCartney, 1963)
The song was the band first number-one hit on the billboard hot 100, 
starting the British invasion of the United States music charts.
Beatlemania had started. Therefore the drawing of screaming fans, stopped by U.S. policemen.
On the banner: I want to hold you (r hand). The policemen are holding hands as well.
Ink and aquarelle, 101229

This boy (Lennon McCartney, 1963

Lennon sings and begs that the girl chooses him instead that other boy.
There was already some rivalry between John and Paul so I got the idea of a weather house.
This boy (Lennon) for the good weather, that boy (McCartney) for the bad weather.
The temperature is rising, love will win.
For the weather house I was inspired bij the facade of the Abbey Road studios.
Ink, acryl, 150322

It won’t be long (Lennon, 1963)
The house of aunt Mimi is the house where John waited for the one he loved, his mum. 
It won’t be long, tears come from his eyes but she will come home. Tears (of joy) over the house.
Ink and aquarelle, 110620
With the Beatles

All I’ve got to do (Lennon McCartney, 1963)
A receiver combined with an ear. Now there’s a way to whisper the words you want to hear. 
The whispering is visualised by foam hearts with glitter. 
Ink, foam, glittersand, 130413 
With the Beatles 

All my loving (Lennon McCartney, 1963)
Quit a struggle. I wanted something with the opening sentences of the song. That’s is so nice. 
So I Used an old technique. First I painted the whole paper red over yellow.
With a thick gold paint I wrote the sentences: “close your eyes”; “tomorrow I’ll kiss you” and “I’ll kiss you”.
Over these sentences I wrote with glue. After that I painted the whole with water restrained black ink.
The text will come visual after washing the whole work with water.
Through the black and red you can see vaguely the words.
Ink, paper glue, acryl, 130419 
With the Beatles

Don’t bother me (Harrison, 1963)
This first song by George Harrison is quite interesting. Don’t bother him. He wants to be left alone. 
Please, no screaming fans! I found a picture of George sitting on a chair.
One hand on his hand, the other hanging down.
His head is hidden in a paper bag.
In the corner there is a photo of a fan who is holding George like never letting him go.
You should get mad! Please hide!
Ink, aquarelle, collage, 130429
With the Beatles

Little child (Lennon McCartney, 1963)
Again I took the title literally, so there is a little child dancing on the feet/shoes of her dad. 
On the ground a picture of a child playing hide and seek
Ink and aquarelle, 111030
With the Beatles

Till there was you (M.Wilson, 1957)
This was a small number 1 for Peggy Lee in 1961 and the Beatles took it in their repertoire in Hamburg. 
Originally the song was meant for the musical The Music man. In my drawing I followed the lines of the text.
There are ‘birds in the sky’; ‘wonderful roses’ in ‘sweet fragrant meadows’.
The poppy roses are accentuated with red aquarelle.
Ink and aquarelle, 110904
Original sold
With the Beatles

Please Mr Postman (Holland Bateman Garrett Dobbins Gorman, 1963) 
Originally a small hit by the Marvelettes this was also a hit for the Beatles. 
The postman is asked to hold and look again for a letter or card. Zoomed on the pile of letters, hands in gloves.
It’s a cold job inspite of the warm letters he might be carrying. That’s why it’s in black and white also.
Ink, 130508
With the Beatles

Roll over Beethoven (Berry, 1956)
Originally a hit for Chuck Berry in 1956, Roll Over Beethoven was sung by George Harrison 
on The Beatles' second album.
The foundation of the drawing is based by the cover of Chuck Berry’s Beethoven single.
Instead of a swinging Chuck there’s George Harrison playing guitar. But his head is exchanged for Beethoven.
The guitar ends in loose piano keys.
Ink, acryl, 130525
With the Beatles

Hold me tight (Lennon McCartney, 1963)
A heartfelt embrace. A bandage is applied to accentuate the tight embrace. Bandage as a bond, a tight bond.
Ink, acryl, 130610
With the Beatles

You’ve really got a hold on me (Robinson, 1962)
After “Hold me tight” the next song on the album is “You really got a hold on me”. 
Because of the fact that in both songs someone is holding the other
I decided to make some resembles in the drawings.
I made a reflection of the “Hold me tight” drawing and then I winded the persons in rope.
Now (s)he’s really having hold.
Never letting go!
Ink 130623
With the Beatles

I wanna be your man (Lennon McCartney, 1963)
That was a difficult one. What picture was there to make with this song? 
Finally I have chosen for Ringo Starr in the centre with the Rolling Stones in the background.
Ringo because he was the singer of the song;
the Rolling Stones because this Beatlessong was their first number one hit in the U.K.!
Ringo (Starr) seems the most beautiful of all these men. I gave him a sort of aureole, with stars,
as if he will be the chosen man in the end.
The drawing became a sort of persiflage on Ringo’s wanna be your man aswell on the Rolling Stones.
Ink, aquarelle, acryl 130717
With the Beatles

Devil in het heart (Drapkin,1963)
Sometimes I had to think hard about what drawing to make with a particular song. 
For this song I was quickly sure about the sort of drawing. It had to be a heart with something devilish.
There should also be something confusing in the drawing.
Well I succeeded in the confusing bit, but is that because I made such a good picture or because I didn’t?
Ink, aquarelle, acryl 130809
With the Beatles

Not a second time (Lennon McCartney, 1963)
Lennon’s refusal to try it again (not a second time) gave me the idea of a closed door. 
A broken door, because of the broken relationship. The door is closed by a used belt.
The doorhandle (a phallic form) hangs down.
A intensive drawing, made in the last days of the holiday
Ink, 130825 
With the Beatles

Money (that’s what I want) (Bradford, Gordy, 1959)
At first I had the intention to make a collage of real money but that would be to easy but also expensive. 
So I made a collage of drawn papermoney with silver and golden coins sprinkled all over.
It was a lot of work but I worked hard and finished the drawing in three days.
Ink, silver- and goldpaint, 130916 
With the Beatles

A hard day’s night (Lennon McCartney, 1964)
The first two sentences made the drawing. 
Sleeping like a dog reminded me of the sketches I once made of a sleeping dog.
So I used those sketches to make again a drawing of a sleeping dog.
In the background there is a wooden wall referring to ‘sleeping like a log’.
To make the day and night I splattered dark paint 
Ink, acryl. 130929
A hard day’s night

I should have known better (Lennon McCartney, 1964)
Lennon played the mouthharp in this song. Therefor there is a picture in ink of Lennon. 
I found the folded hands around the, not to be seen harmonica, characteristic. It is a bit mysterious.
You hear the instrument but you can’t see it.
In the right there are manipulated photoprints of Lennon and a small drawing of a part of a mouth harp.
Of course it’s a Hohner. The Hohner he has stolen in Arnhem? The Hohnerlogo is from a Hohnerharmonicabox.
Inkt, collage, 131013
A hard day’s night

If I fell (Lennon McCartney, 1964)
Lennon sings: ‘cos I’ve been in love before……If I give my heart to you, I must be sure…..”. 
That’s why I made a hand reaching/giving with a small silver chain with a heart. The background is dark.
Not only dark from the past but also that’s not yet foreseen if ‘you will love me more than her’.
Ink, silverpaint, marker. 131117
A hard day’s night

I’m happy just to dance with you (Lennon McCartney, 1964)
Not my favourite activity, I can’t dance at all but I can imagine the romantic feeling. 
I’ve chosen for two teeners who are slowdance dreaming while the adults now better. Reality is not romantic.
Also it is not very clear who are the the leading characters.
Just like on the dancefloor everybody is looking for the right partner
Ink, 120718
A hard day’s night

And I love her (Lennon McCartney, 1964)
Because it’s such a simple song, it makes it difficult. Only the dark night and the shining stars gave a hold. 
So, no ink drawing but paint. Dark paint in different layers with glitter, holes, tin-foil, more glue and glitter.
Dark night to dream away, alone together
Acryl, glitter, glue, tin-foil, 131126
A hard day’s night

Tell me why (Lennon McCartney, 1964)
“Tell me why you cried” and “I beg you” were the ingredients for this drawing. 
Hands folded, begging and in the background vertical lines of black and coloured ink
and plastic pearls glued on top of it.
The result gives a resemblance to the drawings of ‘Misery’ and ‘Across the universe’ 
Ink, marker, plastic. 131215 
A hard day’s night

Can’t buy me love (Lennon McCartney, 1964)
Paul wrote this song in Paris. At first I intended to make a drawing of well dressed Parisiennes 
from the sixties with a diamond in the middle. But later on the diamond claimed all the attention for itself.
So it became a very exhausting inkdrawing with a lot of lines in black as well as in red.
In all the geometric forms  you can see a diamond aswell a ring
Ink, 131226
A hard day’s night

Anytime at all (Lennon McCartney, 1964)
At first I had an idea of a telephone. But later on I changed to the inside of a clockwork. 
‘Anytime at all’ is so many times repeated that time became important in the drawing.
‘If the sun has faded away I’ll try to make it shine’ made a nice detail in the drawing.
Between all the black ink wheels there’s one in gold. The sun will shine.
It was a very intensive drawing of more than forty hours but I’m really satisfied with it.
Ink, gold paint. 140101
A hard day’s night 

I’ll cry instead (Lennon McCartney, 1964)
It’s was temping to make a drawing with tears. But I already did, twice I think. 
And I found the hiding and breaking hearts more interesting. So I made a man, hiding behind the curtains.
A man who’s probably responsible fot the breaking of hearts.
It was a lot of work again with the curtains and in the end a cut myself while breaking the hearts.
I hesitated in using real blood but it’s just a bit of aquarelle.
Ink, plastic, aquarelle. 140126
A hard day’s night 

Things we said today (Lennon McCartney, 1964)
This lovesong was made by Paul for is his girlfriend Jane Asher. 
I made a drawing of Jane and Paul blindfolded.
As Paul sang: “though we may be blind”. But they’re still recognisable in spite of the kitchen towels.
It was nice working at it although all the hair was quite a job.
Ink. 140207 
A hard day’s night

When I get home (Lennon, 1964)
As far as I know this is the only Beatlessong where cows are wandering about. 
So, coming from Holland it was a easy choice to make.
Of course four!, cows, a bit doubtful, it’s getting dark, lounging towards the door.
Sketching, drawing, painting, eventually lots of work. A strange drawing, so is the song
Ink, 120928
A hard day’s night 

You can’t do that (Lennon McCartney, 1964)
It didn’t matter what the girl did to make Lennon jealous because there was this cowbell!. 
The klingklang of the bell is there constantly, so my decision for the drawing was clear.
It had to be a cowbell, a cowbell in different positions, also to show the vitality.
The cowbell is a inheritance within the family. We used to rang this bell to call (all ten children) for diner.
Ink 140222 
A hard day’s night

I’ll be back (Lennon McCartney, 1964)
Lennon is the singer, dressed in black. He’ll be back although she will break his heart again and again. 
There was a comic about the Beatles in those days.
I saw  a resemblance with the melodramatic style of the comics and this song.
That’s why I almost copied one of those drawings, added a sobbing girl in the corner and the songtext.
We’ll be back to the sixties, it’s comical
Ink, aquarelle. 140304
A hard day’s night

No reply (Lennon McCartney, 1964)
Again a disappointed Lennon. His girl went out with another guy. 
And when he’s at the door, he sees her peeping through the window.
She won’t open the door. He is the black/and white part, she is the color.
He’s looking back, she’s looking forward.  
Ink, aquarelle, acryl. 140407
Beatles for sale

I’m a loser (Lennon McCartney, 1964)
Here’s Lennon in his Dylan period because the word ‘clown ’is in it. 
Lennon objected at first to the word because it’s a bit arty-fartsy
but Dylan had used ‘clown’ in a song so Lennon thought it was all right.
So that’s why I made a clownesk Dylan complete with
orange hair and mouth and a round red nose attached by a string.
For the first time I added the song in the drawing.
Ink, aquarelle, acryl 140420
Beatles for sale

Baby’s in black (Lennon McCartney, 1964)
The song is about Astrid Kircherr. Astrid met the Beatles during their Hamburg period. 
Stu Sutcliffe, the fifth Beatle, became her fiancee.
She belonged to the group of Hamburg’ intellectual youngsters who were dressed in black.
It is told that it was Astrid who gave the Beatles their, later famous, hairdo.
Astrid made pictures with her Rolleiflex from the boys.
She made the photos for the album ‘With the Beatles”, for instance.
After the death of Stu now there was for Astrid a serious reason to dress in black.
That’s why I have chosen for Astrid’s camera, in black surrounding.
There letters on the two buttons I replaced in een A and a K. 
A(strid) K(ircherr) Rolleiflex’s in black.
Ink, black spatting, 120106
Original sold
Beatles for sale

Rock and roll music (C. Berry, 1958)
I used Chuck Berry already in the drawing Roll over Beethoven. Then I used the pose of Chuck for George. 
Now Chuck is the leading character while the Beatles seems to explode from Chuck’s energy.
Singles and musicnotes reinforce this ‘explosion of rock’.
Ink and aquarelle. 140501
Beatles for sale

I’ll follow the sun (Lennon McCartney, 1964)
Maybe the fastest drawing so far. The first idee came while finishing the drawing of Rock and roll music. 
A simple idee for a simple song. It may be rain so I’ll follow the sun.
At first there was a man in the rain with a umbrella walking to the sun.
But finally it was only a umbrella, drwan in ink, and splattered sunshine in silver, gold en acrylpaint.
Ink, gold- and silverpaint, acryl 140503
Beatles for sale

Mr. Moonlight (R. Johnson, 1962)
In this drawing I have resisted the temptation of a young couple in the moonlight. 
I tried to draw the sphere of the moonlight instead.
It was not easy to make a clear moon in the centre of darkening clouds.
Also the transition of the inclines into acrylpaint was an effort.
But I am satisfied with the result.
Ink, acryl 140511
Beatles for sale

Kansas city Hey hey hey (Lieber Stoller, 1952)
It was not easy to find a good idea. There was not much information. 
Finally I found a picture of a concertticket and so I had a start.
I enlarged the ticket and pasted on a collage of Beatles and fans in concert.
changed the numbers and letters of the ticket in 19, 52, W and 60.
My year of birth, the first letter of my forename and my age at the moment.
Funny that this song is written in my year of birth.
Ink, aquarelle, collage, 140530
Beatles for sale

Eight days a week (Lennon McCartney, 1964)
Paul was not licensed to drive because of a fine. So he had to take a cab. 
The driver was busy, working eight days a week.
The idea for a new song was born. I illustrated the hectic bij drawing a block-calendar.
The days are torn and crumpled up.
Eight pages. 18 is referring to the 18th of October, the day of recording.
Friday 4 is referring to the 4th of December 1964, the day the song was released.
Ink, 140629
Beatles for sale

Words of love (Holly, 1956)
It became a hit first by the Diamonds and later on by the Beatles. 
Buddy Holly was one of the favourites of the Beatles.
It was Buddy Holly and the Crickets. Beatles, (with an ‘a’) is named after Buddy Holly (and the Crickets).
The big glasses had become a trademark of Buddy Holly.
The drawing is showing  glasses with on the corners little diamonds
and in the one glass a cricket and in the other a beetle.
The grass on the bottom shows the lines of the song.
Ink, 140712
Beatles for sale

Honey don't (C. Perkins, 1956)
Before we went on summer holiday I started this drawing. 
I had an idea with the line panting the town .
A vague idea of honey dripping letters on a wall. But it didnt work out.
So back from holiday I destroyed the drawing and started all over.
Now the lines  Sunday morning you dont look right, you’ve been out, stepping around were deciding.
Now I was more satisfied.
The woman legs, high heels, a glass, a bottle, the hangover.
(color)ink, 140815
Beatles for sale

Every little thing (McCartney, 1964)
A very small drawing in the middle. A little thing.
Ink and paint, 110424 
Beatles for sale 

I don’t want to spoil the party (Lennon, 1964)
A sixties interior. A record player and singles on the ground. 
Is there a party, no one is the, she is not there. He’s leaving.
Mournful, gloomy. On the wall posters with paintings, loneliness by
Caspar David Friedrich, Picasso, van Gogh, Francis Bacon.
Ink, 110721
Beatles for sale

What you’re doing (Lennon McCartney, 1964)
Paul is sad. Is relationship with Jane Asher is doubtful. He feels lonely and sad. Feeling blue. 
This sadness is symbolised by acrylpaint (blue) and tears.
If you look very well you can see a sad man in the middle.
In the end Jane found Paul in bed with another woman. (they are tarred with the same brush)
140826, acryl, ink 
Beatles for sale

Everybody’s trying to be my baby (C.Perkins, 1957)
Again a cover from Carl Perkins. But for the Beatles  a appropriate subject 
Every girl wanted to be their baby.
So, searching for foto’s with screening fans. Not hard to find.
With eardrops I made a collage of all the crazy girls.
A lot of girls, a lot of work. Therefor only one drawing in the month september
140927, ink
Beatles for sale

I feel fine (Lennon/McCartney, 1964)
Simple song. Difficult. Then I got the idea that people in love show it bij scratching their names in trees. 
Feeling fine.
So I made this drawing of a heart and vaguely the letters F, I, N and E scratched in a tree with ivy around.
Not easy, but a nice composition after all
Ink and aquarelle, 110422

She’s a woman (Lennon McCartney, 1964)
In the beginning of this project I made the drawings at random. 
But after year of two I started to draw in order of the date the songs were published.
So, after the Beatles for sale album there were several singles. The first was I feel fine/She’s a woman.
This first song was drawn already in 2011 so now I focused on She’s a woman.
‚She’s a woman, she’s no peasant' is such a funny line that it inspired me
to a candid pin-up between the cabbages, leek and tomatoes.
A healthy drawing
141020 Ink

Long tall sally (Johnson, Blachwell, Pennyman, 1956)
This song by Little Richard was one of the Beatles’ favourites in Hamburg. 
They sang it in the obscure rooms near the Reeperbahn, the red light district.
The song is undoubtedly about the red light district.
Uncle John is having fun with Long Tall Sally, but he’s hiding when Aunt Mary appears.
So, there’s an ally with a Sally in the doorway and in the distance a man hiding in the shadow.
Of course all this in black ink.
(washed) ink, 141109

I call your name. (Lennon, 1963)
Lennon sings: “Oh, I can’t sleep at night since you’ve been gone”. 
The book on the floor refers to Lennon (it is his book: ‘in his own write’).
The titel of the song gets an extra dimension when 10 years after Lennon’s death the song is sung
by Ringo Starr in a concert. 
Ink and aquarelle,  101002

Slow down (L.Williams, 1958)
Walk with me, talk with me, pleas, slow down!. But she’s moving way to fast to her friend down the street. 
Although he used to carry her schoolbooks, now he’s done. She’s gone, high heeled, grown up.
Paint spatter and strokes express the hurry.
141210 Ink, acryl, glitter

Matchbox (Perkins, 1956)
In poverty, people used to take a matchbox to hold their clothes. 
In the fifties and sixties Matchbox was also a toy, small cars for boys to play with.
So I made a drawing of clothes held together with a matchbox.
On the matchbox a Bedfordvan. The van the Beatles used in their early days.
The drumsticks refers to Ringo, the singer of the song.
The peach on the small matchbox refers to a line in the song where is sang:
if you don’t want my peaches, you’d better stop shaking my tree.
Ink and aquarelle, 101222

Help (LennonMcCartney, 1965)
Again it is very busy on the end of the school year. 
Despite of less children also next year and that the school will close in a few years we had better results ever!
But that won’t change the mind of inspection and schoolboard. It was a challenge, as was this bird eye perspective.
Nice working on it. What a coincidence that one the day I ended this drawing my mother broke her hip!
Help! Get my feet back on the ground!
Ink, 110708

The night before (Lennon McCartney, 1965)
Treat me like you did the night before. He seems surprised she now has changed her mind. 
She changed in his point of view. That’s why I choose for silhouettes. The outside doesn’t show the inside.
Silhouettes embracing, silhouettes, quarrelling. From the night to the day.
(color)ink, 141224

You’ve got to hide your love away (Lennon McCartney, 1965)
What was the hidden love Lennon sang about? Was it about Brian Epstein’s homosexuality or was it
about the many affairs Lennon had during his marriage? The drawing follows the lines of the song.
Here I stand with my head in my hands, the face turned to the wall. The people/clowns stare and laugh.
A lot of work especially for all the bricks.
(Color)ink, aquarelle 150111

I need you (Harrison, 1965)
George is in love with Patti Boyd but she seems not so interested anymore. 
Did she already met Eric (Clapton?).
George is longing for her, he sings he needs her.
In the drawing arms are stretched towards Patti in the middle.
Patti in a nice sixties dress with the Beatlesalbum in her hand. Help!.
The songtext is written in a spiral, starting in the centre.
Ink, 150329

Another girl (Lennon McCartney, 1965
Paul is already a bit tired of Jane Asher but not tired enough for other girls. 
As he sings: “I have got another girl, she’s sweeter than all the other girls and I’ve met quite a few”.
A lot of girls crossed Paul’s path (and his bed) and now he has found the perfect girl and sings:
“Nobody in all the world can do what she can do”.
Well that must be an inflatable girl who will always be there and never argues or protest.
So ‘from today he has somebody that’s new’ but he’s a bit in the background as if in shame about his new girl
Ink, aquarelle. 150404 

You’re going to lose that girl (Lennon McCartney, 1965)
A nice song. You should take your girl out, give her attention otherwise you lose her. 
The Beatles liked girls a lot and the girls liked them.
The flesh is weak. John was already married and was the first to divorce.
The Beatles going out, in black tie, (at the premiere of Help!), Cynthia in the middle.
All in black, there will be hearts broken.
Ink, marker 150421

Ticket to ride (Lennon McCartney, 1965)
Not an easy one to draw. 
But the lines  ‘ she’s riding so high’ and ‘living with me would bring her down and never be her free’
gave me the idea for a rollercoaster.
Imagine: buy a ticket, get in, go up to the top and then……
suddenly, higher, loose from the earth, higher in the sky, free, towards the sun, just a silhouette. Free at last!
Ink, 150514 

Act naturally (Russell,  Morrison, 1961)
Is was evident that Ringo would be the main character in this drawing. 
Not only he was the singer but also because he was the best actor of the fab four. 
I used the announcement for the Help movie as a base for this drawing wis Ringo in the middle.
He deserves a laurel wreath for his singing and natural acting.
In the title role there’s of course Ringo but alsp Russel en Morrison, the composers, and of course Buck Owens.
The country singer who sang the song at first. But Ringo (The Beatles) gave an extra dimension to the song
Ink and aquarelle, 150531

It’s only love (Lennon McCartney, 1965)
At first the word “butterflies” pops up in the first lines of this song, 
and than there is the line ”Is it right that you and I should fight very night?”
This gave me the idea of a fight between butterflies in the night: moths in the dark.
This drawing was a struggle as well.
I spattered dark acrylpaint over forms. I glued bandages of those mothforms and later on I removed the bandages.
Now the structuur looked a bit damaged. I drew with red (fight) and black ink to get a bit more lines in the moths.
It has become a strange drawing, like the song
Ink, acryl, bandage, 150619

You like me too much (Harrison, 1965)
They are not married yet but it seems that Patti Boyd and George Harison already have some distance. 
Not only in this song text. So I made a drawing of George and Patti close to each other but not looking at each other.
All over I written the line “you like me too much, and I like you” in a businesslike handwriting, in black and red
Ink 150704

Tell me what you see (Lennon McCartney, 1965)
Paul is trying to get through to girlfriend Jane. “Listen to me one more time. 
Can’t you see that I’m trying to get to you?
It is no surprise now, what you see is me”. A
nd there is the idea of a Paul doll as a Jack in the box. Surprise!
Ink, aquarelle 150721 

I’ve just seen a face (Lennon McCartney, 1965)
Paul has fallen in love with the face he just has seen (Jane Asher). 
There’s no one like her. Butterflies in his heart/head.
I found a portrait of Jane, looking over her shoulder (see me, I’ve spotted you already).
The hair is blending into black shadow.
There are the butterflies.
Ink, stamps, 150730

Yesterday (McCartney, 1965)
The story tells that Paul had dreamed this song in the house of Jane Ascher, his then called girlfriend. 
Knowing about his escapades it isn’t just a dream.
The working title was ‘scrambled eggs’ and the second line was originally: “oh baby, how I love your legs”
So, that’s why I made a babyfaced, ‘innocent’ Paul,
singing and guitar playing with a woman leg instead of a guitar neck.
In the foreground scrambled eggs and broken (love) eggs.
The inktechnic with dots is meant as shadow (there’s a shadow hanging over me)
Ink, acryl 120726 

Dizzy miss Lizzy (Williams, 1958)
It is a song from the fifties, a bit rock ‘n roll. 
That’s why there are jukeboxes in de wedding cake. “Girl I want to marry you”
Miss Lizzy is dancing the jive on top of the cake.
Ink and aquarelle, 101121

Bad boy (Williams, 1958)
This one is recorded by the Beatles in 1965. This bad boy loves only rock and roll and behaves badly.. 
Puts tacks on teachers chairs, gums in little girl’s hair.
He even gave the cocker spaniel a bath in his mother’s laundromat.
That was a nice subject to draw.
So the cocker spaniel in now turning round in the machine with bubbles all over.
Ink, 150822

Yes it is.(Lennon McCartney, 1966)
A red dress on a clothesline, between other garments, in the wind. After the party?
Ink and aquarelle, 110514

I’m down (Lennon McCartney, 1965)
This is Beatles’ own Little Richard hit. 
It is one of their wildest rockers and a hit on their live performances on stage, like big stadiums.
In front of 50.ooo screaming fans they must have felt very small, down there in the middle of a stadium.
So that’s why I drew the Beatles on a small podium line almost at the bottom, down, of the paper.
A wall of fans towering all over them. I’m down, we’re down
150915 Ink

Drive my car (Lennon McCartney 1965)
The title is in the blues a reference to sex. There are even explicit references like “you can do something in between”. 
That’s why I chose for a pose of womanless, a tough chauffeur in between.
The film refers to the movie star, the woman hopes to become.
The film is like a snake, from the crunch of the man, round the legs to the crunch of the woman.
The golden background refers to stardom.
Of course, there is no car.
Ink, gold paint, turpentine, 120122
Original sold
Rubber soul

Norwegian wood (Lennon Mc Cartney, 1965)
John was trying to write about an affair without letting his wife know that he was having one. 
He was sort of writing from his experiences ... girls' flats, things like that.
In those days people were decorating their rooms with pine, cheap pine.
The girl in the song makes him sleep in the bath and then
finally in the last verse Lennon had this idea to set the Norwegian wood on fire as revenge.
I drew a pile of wood in the winter (cold relation) with a burning match in the foreground.
Fire and smoke is technical no joke.
Ink and aquarelle, 110401 
Rubber soul 

You won’t see me (Lennon McCartney, 1965)
Paul is jealous again and a bit angry that Jane is going her own way. 
Jane is playing in the Old Vic Theatre in Bristol for several days.
Paul wants her around but she has her own public.
So I made a drawing of an actress, in a Beatlesdress, with a audience in a theatre inspired by the Old Vic.
Four (!) lights give Jane the right attention. It was a lot of work and I’m a bit insecure about the result.
(Washed) ink, collage, aquarelle 151031
Rubber soul

Nowhere man (Lennon, 1965)
Lennon sees himself as a blindman who only sees what he wants to see and doesn’t know which way he is going. 
In Yellow Submarine the Beatles meet dr. Jeremy Hilary Boob. The Beatles call this little coloured man a ‘nowhere man’.
In the drawing he is a sort of eye dog.
On the background is the house in Weybridge John bought, just married Cynthia, boring himself already.
Ink and aquarelle, 110213
Rubber soul

Think for yourself (Harrison, 1965)
The story goes this is all about Pete (Best) who sued the Beatles. Harrison says: think for yourself. 
But it is also about a girl.
I hesitated of making a drawing with Pete best but I came up with balloons as brainscans.
Balloons because of the fragile and of the air.
Thinking, thoughts floating away. 
Ink, 151120
Rubber soul

The word (Lennon McCartney, 1965)
Quite a confinement. I was very busy changing job, so there was not much time for drawing. 
I had the idea but it took almost a month before I finished the drawing.
I intended to have it look like the posters from the Pop Art.
I used the letters from Robert Indiana’s ‘ LOVE’, included the tilted O.
The word is love, the word is sunshine, so therefor sunrise.
Ink, acryl, goldpaint. 121226
Rubber soul

Michelle (Lennon McCartney, 1965)
One of the most difficult  to draw thus far. A nice song, but what is it all about? 
Finally it became a ‘paper doll’.
With some French images, inspired by French fashion magazines.
Compose your own Michelle -  “qui vont tres bien ensemble” 
Ink and aquarelle, 110929
Rubber soul 

What goes on (Lennon McCartney Starkey, 1965)
What goes on in your heart, what goes on in your mind? You are tearing (my heart) apart. 
You ruined my life but now the tide is turning. So there it is, a heart in waves, in the tide.
And when the drawing was finished I tore the heart a bit. It hurt a bit.
Colourink, 151209
Rubber soul

Girl (Lennon McCartney, 1965)
In an interview in 1980 John claimed this song as one of his best. 
It speaks about his dream girl, the one he was looking for.
“It was Yoko” he said in this interview.
However, the girl in the lyrics is far way from a dream girl, she hurts, humiliates and manipulates.
Just like the girls in the comics in the sixties.
So I made a collage with girls from comics but also from my own earlier Beatlesdrawings.
There is also John (from an earlier drawing, also inspired by a Girls romance comic) and a small picture of Yoko.
This is the first ‘non-drawing’.
The only ink in it is my signature.
Collage, 151225
Rubber soul

I’m looking through you (Lennon McCartney, 1965)
Paul is not happy with Jane. She’s going her own way (as an actress). He sees through her. 
He sees she’s changed, that he’s changed, that their relationship is changed.
I liked the idea of looking through someone. So Ithere you see a drawing of Jane (lots of hair) but without her face.
Looking through her, there’s the song text and on the right the eyes of Paul.
Nice working on it in the last days of 2015
Ink, 151230 
Rubber soul

In my life (Lennon McCartney, 1965)
Peter Shotton, a friend of Lennon, advised Lennon to write about his life. 
The sentence ‘some are dead and some are living’ refers to Stu Sutcliffe and Peter Shotton.
Stu was playing guitar in the Hamburg period. Stu stayed in Hamburg with Astrid Kircherr and died a few months later.
I made a drawing of a photoalbum with John with aunt Mimi, with George and Stu in Hamburg,
with his first wife Cynthia and with Paul and other artists in the cavern.
Ink, 111230
Rubber soul

Wait (Lennon McCartney, 1965)
A real Paul song. Paul is coming back home and the girl is now to chose between turning away or to hold on. 
But she’s had to wait. It gave me the idea of  an on-off relationship. A sort of traffic light: Stop, wait, walk.
Therefore this time no drawing but adhesive glittering plastic as for the glass light and four adhesive letters.
Hope it will stick over the years. Just wait.
Adhesive plastic, 160101
Rubber soul

If I needed someone (Harrison, 1965)
A Harrison song. He will call her, he writes her name and number on the wall. 
A wall telephone compleet with the instructions how to use it and when to insert the coins
(the song would be totally different with the Iphone from this century).
Writings on the wall, “If I needed someone”  in several different languages, telephone numbers made up
from data of the recording of this song.
Ink, colourpencil. 160125
Rubber soul 

Run for your life (Lennon McCartney, 1965)
I was intrigued by the death thread of the little girl. He rather sees her dead than with another man. 
She is advised to hide her head in the sand. So there is the The Dead.
Not a skeleton but his symbol, the scythe and crows of course.
One crow is waiting, the other one is already attacking.
And she is hiding in the sand. Already dead? 
Ink, glue, modelbau sand, 160212
Rubber soul

Day tripper (Lennon McCartney, 1965)
In ‘Many Years From Now’, McCartney said that "Day Tripper" was about drugs, and "a tongue-in-cheek song 
about someone who was ... committed only in part to the idea."
The line recorded as "she's a big teaser" was originally
written as "she's a prick teaser.
Along with sentences like: tried to please her, she only played one night stands’ the idea
was born of a prostitute and a ‘Sunday driver’. A dark drawing, a trip in the night. 
Ink, 110707

We can work it out (Lennon McCartney, 1965)
My favourite song especially in the cover version of Noa together with Khaled!
An interesting song about arguing, having a sort of fight. I got the idea of boxing.
Boxing gloves looks a bit like persons.
So there there are two gloves ‘looking’ to each other, a bit insecure. Will they fight or make it up as friends?
A lot of drawing work in between a trip to Boston and a lot of work at my school.
But I worked it out
Ink, 160320

Taxman (Harrison, 1966)
In the song there is a reference to the political leaders of those days, Wilson and Heath. 
Because of the many photo’s of Wilson with the Beatles, probably in a sort of humorous interview,
I took Wilson as a taxman.
He lits his pipe with a pound note and so all the taxonomy goes up in smoke.
There are pennies on his eyelid, so he can pay the ferryman when he’s dead
(see the last sentences in the song).
Ink, collage 160417

Eleanor Rigby (Lennon McCartney, 1966)
The loneliness of Eleanor, the open grave, an English church, father McKenzie turns his back
Ink, 110612

I’m only sleeping (Lennon McCartney, 1966)
John likes to sleep, dreaming, drifting away from the world, hiding between the blankets. 
This time, My oldest son is my model.
He’s a good sleeper also. A vague figure under white blankets.
A reference to the, yet to come, bed-inn of John and Yoko also in white.
There’s also a resemblance to one of the first drawings (five years ago!) I’m so tired.
Ink, 160425 

Love you to (Harrison, 1966)
A beautiful love song by George. 
This song, on the Revolver album, was the first in Indian style. Indian musicians played on sitar,
tabla and tambura.
The background with a overprint of Indian patchwork completed the cross-over.
Ink, colorprint, trichloorethyleen, 111212 

Here, there and everywhere (McCartney, 1966)
Just a simple song, no story. I found the character issues in holding each other, caressing each other. 
Coloured arrows refer to hand, feet, body, ear, hand, eye (Paul’s).
Ink and aquarelle 110119 

Yellow submarine (Lennon McCartney, 1966)
The submarine is too well known to use in my drawing. So I choose the line: “we lived beneath the waves”. 
That’s why I have drawn 4 (!) divers in a sea of green.
The drawing has a similar atmosphere as in the well known images and movie.
There is something strange, something untouchable. But everybody has his own interpretation.
Ink, aquarelle, color pencil, 120313

She said, she said (Lennon McCartney, 1966)
The Beatles needed a holiday after their tour in the U.S.A. so Brian Epstein rented a house in Beverly Hills. 
There were many visitors, invited as well not invited. Harrison and McCartney were hiding under umbrellas for the fans
who flew round the house in helicopters. There was LSD. The Byrds and Peter, “who knew what it was like to be dead”, 
Fonda came for a visit. 
So it was a pretty bizarre trip in Beverly Hills. Therefore a made a sort of collage of drugs and helicopters.
Ink and acryl, 120324

Good day sunshine (Lennon McCartney, 1966)
A lot of sunshine, burning your feet on the ground, shadow under a tree. 
I tried to make al to of sunshine with acrylpaint, gold paint and plastic pearls.
A suggestion of leaves and a bit of shadow.
Some leaves drawn with ink. Hope that the non-colourblind sees the colours like I intended :)
Acryl, goldpaint, plastic, inkt 160508

And your bird can sing (Lennon, 1966)
Lennon sings about a girl, a ‘bird’. But he’s mocking her. She has everything but she can’t get him. 
Despite having it all she is still getting bored. He’s around but she doesn’t hear him.
That’s the reason I’ve chosen for this lonely bird, this mockingbird. Alone on a trench, whistling his tune
Ink, 120515

For no one (McCartney, 1966)
In 1966 is Paul wis his girlfriend Jane Asher on holiday in Swizerland. After a quarrel he writes this song in the bathroom. 
Through the window there is a view on the mountains. The bathroom is in black and white, the view is in color.
This contrast stands for the quarrel, so do the fluttering music papers, thrown away in anger.
Ink and acryl, 120421 

Doctor Robert (Lennon McCartney, 1966)
Probably, there’s meant doctor Robert Fryman from NYC. 
He was famous and notorious because of his descriptions of pills and injections.
Lennon recognised much of himself in the song.
Lennon told that on tours, he was the one who had always all kind of pills to ‘survive’.
As a matter of course I made a deadly doctor with a deadly read background.
I worked on the drawing in the last school weeks,
in the last weekend I sprayed the background and finished the needles
Ink, silver paint, car paint, 120617 

I want to tell you (Harrison, 1966)
Not so easy to get an idea of this song written by George, the so called quiet Beatle. 
And with a head filled with words he’s not even talking at all. That’s why I took the drawing of the Revolver sleeve.
He’s staring right at you, mouth shut, his heads filled with thoughts to tell. Tell to Patti (Boyd).
So I did a full copy of George’s head with Patti in the same style. A lot of work, a lot of hair after all.
Something to talk about.
Ink, 160721 

Got to get you in my life (Lennon McCartney, 1966)
“It’s all about pot” said Paul when asked about this song. Paul liked double meanings. 
In this songs it looks like its all about a girl but in the meantime he likes to get pot/cannabis/marihuana in his life.
There was no hesitation, marihuana must be drawn, a life (drawing) full.
And to be sure he will let the other Beatles also get it in their life as-well
there are four little bags with real good stuff in the drawing.
Hope you resist the temptation.
Ink, aquarelle, plastic, marihuana, 160728

Tomorrow never knows (Lennon McCartney, 1966)
John wanted to sound his voice to sound like the Dalai lama chanting from a hilltop. 
He borrowed the first line of the song from the theme of ‘the psychedelic experience’ 
written by the famous Dr. Timothy Leary:
“Turn off your mind, relax, and float downstream”.
So there’s the Dali lama, in the batboy of Timothy Leary floating downstream on op-art waves.
The seagulls stands for the shrieking sound you hear in the background of the song
Acryl, aquarelle, ink

Paperback writer (Lennon McCartney, 1966)
Between all the fuss, inclusive an application for a new job and the acceptation of this new job, 
I find enough time  to make this drawing.
A collection paperbacks, some covers inspired by Pinguin, Also a reference to the Daily Mail, pen and ink.
The song is pictured. Paperback drawing.
Ink. 121015

Rain (Lennon McCartney, 1966)
Sometimes it’s raining cats and dogs. Even worse it was in Melbourne in 1966.
The grumbling of the people on the weather was for Lennon reason to write this song.
People hide behind umbrellas in the pouring rain. The rain is simulated with pitter-patter of diluted paint.
Home at last, off goes the wet clothes, a hot coco by the fireplace.
This song is chosen in 2017 to be part of the Water Summer Expo in Museum Fundatie in Zwolle, the Netherlands
Ink and diluted paint, 110916

Strawberry fields forever (Lennon McCartney, 1967)
The title of the song is inspired by the Children’s Salvation Army, close to the house of John Lennon. 
In the bewildered garden Lennon had a beautiful place to play with his boyfriends.
Like McCartney’s Penny Lane is Strawberry Field for Lennon a memory from his childhood.
I have chosen for strawberry’s all over, they seem to roll through the entrance, the former gate of the Salvation Army.
There was a temptation to use color but Children Salvation Army sounds so dark.
That’s why I used the black and white only.
Ink, 120409

Penny lane (McCartney, 1967)
Following the lines in the song, with a Dinky Toys fire engine, a pretty nurse behind the wheel, selling poppies. 
(Dinky toys was a popular boy toy in the fifties and sixties).
The barbershop that used to be in Penny Lane, in the background.
Ink and aquarelle, 111106

Sgt. Pepper’s lonely hearts club band (Lennon Mccartney, 1967)
The story goes that Mal Evans asked 
about the meaning of the S and P on the little bags along with the meals in the plane.
The ‘pepperband’ is meant as the alter ego of the Beatles. In the title song Billy Shears is introduced.
Billy Shears as alter ego of Paul McCartney. There where rumours that Paul died in a car-accident.
Already in 2011 I made a drawing of Sgt. pepper but I was not satisfied with the result
and I destroyed the drawing.
Now I made a collage of a brassband.
A band with almost the similar clothes as the Beatles on the inner sleeve of the album.
When the collage was finished it looked a bit like the collage of all the people on the front of the album
(made by pop artist Peter Blake).
Collage, aquarelle, goldpaint
Sgt. Pepper’s lonely hearts club band 

With a little help from my friends (Lennon McCartney, 1967)
Originally the text began with: “What would you do if I sang out of tune? 
Would you stand up and throw tomatoes at me?”
Ringo objected. “There’s not a chance in hell am I going to sing this line.”
he was worried the fans might pick up the suggestion!
I picked up the idea indeed and there’ Ringo amidst tomatoes.
Ink, paint (red of course) 160926
Sgt. Pepper’s lonely hearts club band

Lucy in the sky with diamonds (Lennon McCartney, 1967)
No diamonds, no Lucy either. I have chosen for the inside of a London cab with a rocking horse. 
So the song goes: “climb in the back” with “rocking horse people”.
“a head in the cloud” is shown by the clouds in acrylic paint. 
Ink, acryl, 120501
Sgt. Pepper’s lonely hearts club band

122 Getting better (Lennon & McCartney, 1967)
For this song I have all ideas from the song itself. 
There is a schoolboy, a young Paul McCartney, holding a book.
On the cover a drawing of a man beating his wife. In the corner there is a woman crying.
There is also a ostrich. “I used to get mad at school”; “I used to be cruel to my woman”;
and “….is hiding his head in the sand”.
Ink and aquarelle, 110223 
Sgt. Pepper’s lonely hearts club band
123 Fixing a hole (Lennon McCartney, 1967)
I always had the idea of making a drawing of a hole in a tile roof. 
As Paul told: fixing is also about marihuana.
“ Fixing a hole and stops my mind from wandering”. I must be an old roof with moss between the tiles.
So, between the tiles I sprinkled some ‘moss’ and grass.
The grass is a bit of marihuana what was left fro the ‘Got to get you into my life’ drawing.
It’s for the viewer if I’m succeeded in fixing the hole.
161017, ink, aquarelle, toy moss, marihuana
Sgt. Pepper’s lonely hearts club band
124 She’s leaving home (Lennon McCartney, 1967)
The moment the mother is at the top of the staircase and cries out: 
Daddy, our baby’s gone!” is to my opinion crucial for this song. So that’s the subject of the drawing.
You can see a dressing-gown, a bit colourful shabby kind of thing and a hand holding a letter.
And a staircase, looking downwards. And when you’re looking good you can see a part of a door, slightly open.
The whole staircase is of a bit old fashioned wood, dull, not for young people.
The text in the letter is the text of the song itself and there are also three other pieces of paper flying downwards.
Daddy!; Our baby; Gone!
161028 (Colour)ink
Sgt. Pepper’s lonely hearts club band

Being for the benefit of Mr. Kite
(Lennon McCartney, 1967)
On January 1967, the Beatles were in Kent where John visited a antique store. 
There he bought a Victorian poster announcing Pablo Fanques’ Circus Royal.
All the main characters from the poster he used in this song.
In my drawing I used the portrait of Pablo Fanque, the lettertype and the meander on the edge of the poster.
I made a drawing with the so called ‘ somersaults’, a kind of flip over in air.
There was a horse at first but it bolted, probably to make way for the trapeze workers with pommade and moustache.
Just like the old poster, only in black and white.
Ink, 161113 
Sgt. Pepper’s lonely hearts club band

Within you, without you
(Harrison, 1967)
‘ People behind a wall of illusion, hiding the truth, but with our love we could save the world, together’. 
That is the message in the song. Therefor there are waves of brushstrokes, silver paint makes a sort of barrier/wall.
Silver stands for reflection, illusion. On one side there are people, together.
Totally it has become sphere, and to my opinion a positive one. Like the song.
161117, acryl, maquette figures
Sgt. Pepper’s lonely hearts club band

127 When I’m sixty four
(Lennon McCartney, 1967)
It was a suggestion of my son a few years ago to work in chronologic order with the songs. 
Maybe that’s why I worked on this song in the same month that I myself became 64?
I liked the idea of the nitting a sweater near the fireside aswel as sending postcards.
So there are postcards of the Isle of Wight, a grandma with three children,
an instruction how to mend a fuse and a postcards of weeds.
All seen through the knitting.
Ink, collage, singed paper 161231
Sgt. Pepper’s lonely hearts club band

Lovely Rita
(Lennon McCartney, 1967)
A typical Paul song, as John said. To much romantic fantasy. 
I used a drawing of a (wonder)woman from the comics from the sixties.
The boys fantasy of wide breasted women in to small suits.
With the uniform like coat and cap it fitted in the imaginary world of the song.
On the background a parking meter. The time (of Paul?) is expired.
Ink, aquarelle, acryl. 170106 
Sgt. Pepper’s lonely hearts club band

129 Good morning, good morning (Lennon McCartney, 1967)
John is bored to death and is laying on the bed or on the couch for weeks. 
In the background there is always the flikkering and noise of the television.
And every morning there is the advert of Kelloggs awakening him from is ‘dull life’.
The good mornings in the advert inspired John for this song.
So there is now a rooster with the word Lennon instead of Kellogs and a
(black and white) television instead of a plate with cornflakes.
Acryl, washed ink, 170123
Sgt. Pepper’s lonely hearts club band
130 Sgt. Pepper’s lonely hearts club band (reprise) (Lennon McCartney, 1967)
The reprise is almost similar to the Sgt Pepper collage. 
Made at the same time but with a slightly different composition.
Also there is a difference in the drum in the foreground and there’s silverpaint instead of gold.
The men look still lonely.
Collage, aquarelle, silverpaint
Sgt. Pepper’s lonely hearts club band
131 A day in the life (Lennon McCartney, 1967)
I liked this song and the four thousand holes in Blackburn, Lancashire 
so that they knew how many holes it takes to fill the Albert Hall?
The originally idee of pricking holes in a drawing of the Albert Hall was changed
after I finished the (intensive) drawing. After I filled the hall with so many people I made
several heads full circles. With a bit of silver it looks a bit like holes, although not 4000!.
Ink, silvermarker, 170216
Sgt. Pepper’s lonely hearts club band
132 All you need is love (Lennon/McCartney, 1967)
The song was first performed by the Beatles on Our World, the first global television link. 
Watched by 400 million iviewers n 26 countries, the program was broadcast by satellite.
The balloon represents the fragile world.
Love (is all you need) is perhaps the solution to all the suffering. Hence the heart shape.
And the satellite in the black ink universe. Two refills and five ink pens later I signed the drawing.
Ink, aquarelle, 110112
133 Baby, you’re a rich man (Lennon McCartney, 1967)
Lennon is singing about the beautiful people, the hippies. 
They wondered how it would feel to be one of the beautiful people.
Semi-ironic, semi-psychedelic the message according to John was that they should stop moaning.
“You’re a rich man, I’m a rich man, we’re all rich men, hey, hey.
My drawing has some ironic also because of the the photo I used where the four
posed in a forced cheerful way.  With rich/beautiful clothes on I made a sort of cartoon.
First in black and white lines and after that I coloured the whole thing with a bit psychedelic colours.
(So there is also a possibility of a black and white print. You can colour yourself)
Ink, colour pencil, 170303
134 Magical mystery tour (Lennon McCartney, 1967)
Roll op, roll up for the mystery tour! was an invitation for a trip that can be interpreted differently. 
Paul told that it was also a reference  to rolling up a joint.
Nicer than drawing a yellow blue bus it is drawing a (s)trip of how to roll up a joint.
So up to the grow shop and ask to roll up a joint for me and make several photos.
After that I made the drawing in ink with yellow aquarelle (the bus) in the background.
Ink and aquarelle, 170325
Magical mystery tour
135 Your mother should know (Lennon McCartney, 1967)
In this song Paul is inspired in the great Hollywood productions of the music hall. 
In these Busby Berkely shows there are a rows of girls dancing, tapdancing and
even swimming, all in a synchroon chorus line with big orchestras.
I was inspired bij the image of the Beatles coming down the broad stairs in the
Magical Mystery movie, singing: Your mother should know. I made this collage
of the four Beatlesmothers each in a chorus in many colours. 
Collage, 170415
Magical mystery tour
136 I’m the walrus (Lennon McCartney, 1967)
Lennon heard that there was a English master who was making his class 
analyse Beatles' lyrics. So, Lennon, amused that a teacher was putting so much
effort into understanding the Beatles' lyrics, wrote the most confusing lyrics he could.
Lennon remarked to Shotton, the Beatles official biographer, ,
"Let the fuckers work that one out.". The walrus is a reference to Lewis Caroll’s
“The walrus and the carpenter”. In 1970, in his solo song “God”
he sings: “I was the walrus, but now I’m John”. It is claimed that the eggman is Eric Burdon.
Eric’s nickname was ‘Eggs’ because of his fondness for
breaking eggs over naked  women’s bodies.
Ink and aquarelle, 110129
Magical mystery tour
138 Flying (Lennon McCartney Harrison Starr, 1967)

This co-production of the fab-four is only instrumental.
No text, just improvise, simply flying. There it is, fold a paper and let it fly.
Ink and aquarelle, 160522
Magical mystery tour

139 Blue jay way
(Harrison, 1967)

George has a house in L.A. He’s waiting on his friend who are delayed because of the fog.
This drawing was quite an effort. The American cab and the road sign was easy to draw
in comparison with the street plan. I used dots instead of lines to give it a bit of diffuse image.
A little color brushed with water over the drawing was to make it a little unsharp. Fog over L.A.
Ink, aquarelle, 120218
Magical mystery tour

140 Hello, goodbye (McCartney, 1967)

Alistair Taylor, who worked for the Beatles' manager, Brian Epstein, had asked McCartney
how he wrote his songs, and McCartney took him into his dining room to give him a
demonstration on his harmonium. He asked Taylor to shout the opposite of whatever he sang
as he played the instrument—black and white, yes and no, stop and go, hello and goodbye. I
t was very difficult to draw this song. Should I think of waving hands, an embrace, an airport?
I choose for combination of words in aquarellecolours with a background in ink f
rom dark to light. With the colours it makes a joyful hello, goodbyeI
Ink and aquarelle 110208
141 Lady Madonna (LennonMcCartney, 1968)
This song is about all mothers who has to work so hard. 
That gives associations with the comics of powerwoman and also with the posters
of the woman with muscles on the ‘we can do it’ posters.
Because of the name Madonna there is also a association with the virgin Mary.
In a comics style I combined a 16e century madonna with child and a picture of
superwoman with child. The headscarf and hair are reference to the woman
on the posters. The children at her feet are inspired by the Rafaelangels.
The angels and clouds on both sides is a reference
to the line ‘that money is heaven sent?’
Ink, aquarelle, 170503