You Never Give Me Your Money

The Beatles After the Breakup

De: Peter Doggett

Narrado por: Shaun Grindell

Acclaimed journalist Peter Doggett recounts the previously untold story of the dramatic final chapter in the lives, loves, and legal battles of John, Paul, George, and Ringo - a.k.a. The Beatles - from their breakup in 1969 to the present day. Called "refreshingly straightforward and highly readable" by the Daily Telegraph (London), You Never Give Me Your Money is the dramatic and intimate story of the breakup and aftermath of The Fab Four as it's never been told before.

©2009 Peter Doggett (P)2020 Tantor

the art and the artist are two different realities

I read many of the reviews and was disappointed, but not surprised that many felt that that Doggett's book was too harsh on the individual Beatles and/or too sour-humored. Some were surprised that Doggett, known to be a fan of the Beatles' music, could be so negative. Did they read the epilogue, particularly the end when Doggett points out that the music transcends the foibles of the music's creators. Doggett appears to have mastered the actual facts, presents them, and makes afew judgments based on overwhelming evidence. If a reader is looking for validation of his or hers unquestioned belief in their favorite Beatle, this is not the book for them. Instead it offers a chance to see how each Beatle changed as their own worlds changed from living in each other's pockets in Hamburg to separate large estates. I would bet that the PR of the Fab Four made fans see the group through rose-tinted lasses, and the lack of negativity towards some questionable behavior, skewed each Beatle's to see themselves as human beings.
I noticed some reviewers disliked that Doggett was not totally negative towards characters like Klein or Ono. Just because the music press turned these two, and scads of others, into almost fictional characters, there is no reason for Doggett to turn them into comic book villains without a trace of humanity. Everyone in the book is a human being, and everyone has their set of foibles and good points. By illustrating both sets of values for at least most of the participants, Doggettsheds light on why the interactions were so fraught with mistakes. At one point or another, each Beatle did want to regroup as the Beatles, but the Beatles were no longer the Fab Four, but a group of individuals whose desires never aligned together long enough to get together.
Like any book that I have read, I find myself questioning some of the author's statements, but I thought that this was a must read for any Beatle looking to understand why the Beatles fell apart and squabbled.

A little too negative

This book has all the details of the accepted story of the Beatles demise and later years. The author, though, becomes increasingly negative about the band.

Repetitious but interesting

This deep dive into the sad biz side of Beatles, Inc. is a mess you can't turn your head from. Stories are repeated through (why?) but overall I enjoyed and learned much. I really couldn't handle the droning narrator.

Great, Great Book

Fascinating read filled with interesting insight into the lives of each Beatle. Highly recommended!!! A+

A tidy envelope of happenings 1969 to 2009.

A real page turner with all the feels. The good, the bad, and the mismanaged.

Couldn’t sugarcoat this

As much as this tale gets bogged down by details about lawsuits, in some ways, it was inevitable. Judging from the previous reviews, Beatles fans wanted there to be a“happily ever after“ book to appease their sorrow that four innocent men somehow decided to break up and live their lives separately. That obviously wasn’t (& couldn’t be) the case. And by starting the chronology of the book in the last year of the band’s existence, the author had no choice but to focus on the drugs, the lack of business acumen, the women, the frayed nerves, and just the maturing of each individual from their 20s to their 30s as to why the band disintegrated (just like most other bands of that age and ilk). As for the minutia of the lawsuits, well, yeah, that got monotonous after a while, but what else was there?! Unless the author was going to try to exhaustively (and most likely in vain) try to profile each intensely private individual’s 50-year aftermath after the breakup, the combination of lawsuits, drugs, alcohol and failed relationships and business ventures WAS the aftermath. What Doggett put together was well done - even if I think he tried too hard to let the reader decide whether Klein, Ono, Lennon and McCartney were either angels or devils, and the commentaries provided sometimes were too extreme to accurately let that happen. Also, while most narrators get points deducted from their scores becausethey’re monotone, grammatically incorrect, uneducated about proper nouns, or just having an annoying voice, the markoff for this narrator was simply that while he definitely knew his subject, and was not monotone, he had the exact same inflection for each sentence.

yeah yeah yeah

great book. narrative is well done..information is greatly appreciated.
paul and John come off not so good.

A must read!... or listen.

It opens with the death of John Lennon and goes back to the mid 60s. From there it travels to 2008? Around there at least. It can seem boring around times cause there’s a lot of legal jargon. But it’s needed because it focuses heavily on the breakup of the beatles. But I believe it does it well cause within the legal woes lie their separate careers. And within their personal lives while they had to deal with legal separation of the beatles, they had their own sets of problems. I probably would have gotten bored if I had to read this. But the audiobook format works great. I think this book is important cause other books don’t deal with the after the Beatles journey. Unless it’s separate biographies obv. But it’s nicely done!

Thorough, but sad tale of my favourite group

I never tire of learning about my favourite music group - but this book focussed on much of the negativity surrounding deep jealousies and outside interference, which made everything boil down to money … and so, for me, it was sad. The final chapter rescued the book and left me feeling hopeful.

Unfortunately, the narration was very fast and monotonous, with no vocal expression reflecting the actual events that he was reading about, with hardly any variety in tempo, tone, inflection, or volume, so it felt sadly lacking in compassion or empathy and the information he was imparting was difficult to follow.

If I didn’t love The Beatles so much, I would’ve given up, but I forced myself to listen to it in small bits over a long period of time. With a more empathetic narrator this would be an awesome book.

Four human beings

After listening to Ken McNab’s book “And In The End”, I decided to go back and re-read Peter Doggett’s book, which covers some of the same territory. McNab’s book is more gossipy and is limited to 1969. Doggett covers the legal and business issues in more detail and devotes half the book to the Beatles’ post-1969 solo careers. What neither book does is spend much time analyzing the music, although Doggett spends a little more time in the studio than McNab. On the whole I found Doggett’s account far more satisfying than McNab’s. It digs deeper into the interpersonal dynamics, and it shows more clearly how money corrupts everything it touches.

The slow dissolution of the band is painful to hear about. Once the cat was out of the bag, buried hostilities came to the surface in the form of multiple lawsuits and mind games. Paul wrote a song called “Too Many People” that John saw as an attack on him and Yoko. If it was an attack, it was a pretty mild one. But John was incensed, and in response he wrote a song called “How Do You Sleep at Night?” that eviscerated Paul and his music in devastatingly personal terms; his bandmates fought with him during the recording session to keep the lyrics from getting even worse. Meanwhile George enjoyed the unusual position of being the bestselling solo Beatle and organized a spectacular concert to benefit Bangladesh, ravaged by a once-in-a-century cyclone. (His good fortune didn’t last, and years later, with his film company going bankrupt, he reluctantly signed on to the Beatles Anthology project because he needed the money.)

John Lennon comes off badly in this account: drug-addled, childish, sarcastic, and prone to alternating fits of sullen withdrawal and violent rage. The last time he saw his older son Julian, he reportedly cursed at him for the annoying way he laughed. Doggett refrains from direct criticism of Yoko Ono, but it’s certainly implied by the contrast between her iron control and John’s brief and sunny period with May Pang, when he completed two albums and came very close to working with Paul again. Then one night he went back to the Dakota for a talk and decided to stay, and almost immediately it seemed to his friends that the walls had once again gone up.

Paul McCartney comes off better. He certainly was a more astute businessman, investing in the rights not only to his own music but to the music of others as well (Buddy Holly’s complete catalogue, for example). He put out new albums from time to time, although his bandmates later said that he and Linda consumed so much cannabis that it took them forever to make decisions about anything. Doggett suggests that Paul himself realized that his music had fallen off during this period.

George struggled to get a fair deal with a record company, working first with A&M (who demanded a refund when he was late with an album for them) and then Warner. He became tight with Eric Idle and other members of Monty Python and helped finance some of their ventures. Ringo — or as Doggett insists on calling him, “Starkey” — made several mediocre albums and tried to match his fellow alcoholics drink for drink. Since he insisted on drinking during performances, audiences noticed his drumming becoming more erratic as concerts wore on. Eventually he and his wife entered treatment and got themselves back on track.

Once Doggett has narrated the tale of John’s gruesome murder, there are still three hours of the audiobook left — because of course, as John himself said, the dream is over, and you’ll just have to carry on. The tabloids descended. Paul broke down in the recording studio — but when he recovered, in the coming months, he demonstrated the same graceless response to criticism from colleagues, no matter how mild, that had marred his last years with the Beatles. George hired a bodyguard and a 24-hour security detail to patrol his estate; but a slipup at some point allowed a man to sneak into the house, where he stabbed George repeatedly with a kitchen knife. George was seemingly in remission from cancer, and he survived the attack, but shortly afterwards the cancer returned, and this time it killed him.

All of this is narrated by Shaun Grindell in a brisk, matter-of-fact tone. No effort is made to mimic the distinctive voices of the Beatles or the other participants. It’s a clear, detailed, and entertaining narrative, sadder than I remembered, but sad or happy, it’s one of the best books about the Beatles I’ve read, one that comes closer than most to showing them as human beings.