In 1956 Tony formed his first band. In 1958, at 18, he began appearing on the BBC's Oh Boy, playing electric guitar. He was eventually offered a contract to perform at the Top Ten Club in Hamburg, Germany.
While performing in Hamburg between 1960 and 1963, Sheridan employed various backup bands. In 1961, one such band, who had met Sheridan during their first visit to Hamburg in 1960, and who worked with him on their second, was The Beatles (with their line-up at the time as John Lennon, Paul McCartney, George Harrison, and Pete Best). When German Polydor agent Bert Kaempfert saw the pairing on stage, he suggested that they make some recordings together. In 1962, after a series of singles (the first of which, "My Bonnie"/"The Saints" made it to #5 in the Hit Parade), Polydor released the album My Bonnie across Germany. The word Beatles was judged to sound too similar to the German Pidels (pronounced peedles), the plural of a slang term for penis, hence the album was credited to Tony Sheridan and The Beat Brothers. After The Beatles had gained fame, the album was re-released in Britain, with the credit altered to Tony Sheridan and The Beatles.
By 1967, Sheridan had become disillusioned with his Beatle-brought fame. As he was more concerned by the Vietnam War, Sheridan agreed to perform for the Allied troops. While in Vietnam however, the band that he had assembled was fired upon and one of the members was killed. Reuters reported that Sheridan himself had died. For his work entertaining the Allies, Sheridan was made an honorary Captain of the United States army.
In the early 1970s, Sheridan managed a West German radio programme of blues music, which was well-received. In 1978, the Star Club was reopened, and Sheridan performed there along with Elvis Presley's TCB Band.
On August 13, 2002, Sheridan released Vagabond, a collection largely of his own material, but also including a new cover version of "Skinny Minnie", a song he had years earlier recorded for his first album.
When the Saints Go Marching in
Tony Sheridan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
[Chorus:]
Oh, when the saints go marching in, [Repeat] oh, Lord, I want to be in that number when the saints go marching in.
And when the sun refuse to shine, [Repeat] oh, Lord, I want to be in that number when the sun refuse to shine.
Oh, when the trumpet sound its call, [Repeat] oh, Lord, I want to be in that number when the trumpet sounds that call.
Oh, when the new world is revealed, [Repeat] oh, Lord, I want to be in that number when the new world is revealed.
[Chorus]
The lyrics of Tony Sheridan & the Beatles's song "When The Saints Go Marching In" speak about following in the footsteps of those who have gone before and being reunited with them on a new and sunlit shore. The chorus repeats the desire to be a part of the number of saints marching in, regardless of the circumstances. The song speaks about wanting to be a part of the saints who will go to heaven, and the lyrics paint a picture of the events leading up to that momentous occasion.
The first paragraph of the song speaks about following in the footsteps of those who have gone before. It is likely that this refers to the "saints" who have already passed on and have gone to heaven. The song suggests that those who follow in these footsteps will one day be reunited with them on a new and sunlit shore. This shore may be a representation of heaven, the place where saints go when they die.
In the chorus, the desire to be a part of the number of saints marching in is repeated. The lyrics mention specific moments that might happen leading up to the saintsâ entrance into heaven, including the moment when the sun refuses to shine, when the trumpet sounds its call, and when the new world is revealed. The song presents a picture of hope and a desire to be a part of something greater than oneself, symbolized by the saints and their journey to heaven.
Line by Line Meaning
Hey! We are following the footsteps of those who've gone before and we'll all be reunited on that new and sunlit shore.
We are walking in the path of our predecessors and we will all convene on a new and bright land.
Oh, when the saints go marching in, [Repeat] oh, Lord, I want to be in that number when the saints go marching in.
I desire to be among the group of saints marching forward when they make their way.
And when the sun refuse to shine, [Repeat] oh, Lord, I want to be in that number when the sun refuse to shine.
I want to be among the group of saints even if the sun doesn't shine.
Oh, when the trumpet sound its call, [Repeat] oh, Lord, I want to be in that number when the trumpet sounds that call.
I hope to be counted among the number of saints when the trumpet signals it's time to move forward.
Oh, when the new world is revealed, [Repeat] oh, Lord, I want to be in that number when the new world is revealed.
As soon as the new world is disclosed, I want to be among the saints.
[Chorus]
Repeating the desire to be counted among the group of saints marching forward.
Lyrics Š Universal Music Publishing Group, Warner/Chappell Music, Inc.
Written by: BILL BLACK
Lyrics Licensed & Provided by LyricFind
@Renshen1957
@Ikhsan Sube Laugh this off: No Pete, No Scotland tour 1960 backing Johnny Gentle through their un-official manager Allan Williams, which leads to No Hamburg gigs, case closed ; no Pete (who was fluent in German) all the Beatles instruments would have lost their instruments in Germany after Paul and George (Pete, too) were deported. No Pete, no Welcome Home, 27 December 1960 performance at Litherland Town Hall a breakthrough show which cemented their name as Liverpoolâs top live draw , with Pete on Drums (Atomic Drum Beat) and his former bandmate played Bass (who was asked to join the band as Stuart Sutcliffe had stayed in Germany). From the opening number, Little Richardâs âLong Tall Sallyâ, The Beatles electrified the crowd, and there was a spontaneous surge towards the stage.
"Litherland was an explosion in the fortunes of The Beatles. We were playing for dancing in a hall that could accommodate some 1,500 on the dance floor at one time, but they stopped dancing when we played and surged forward in a crowd to be nearer to us, to watch every moment and above all to scream. People didnât go to a dance to scream: this was news." The Beatles were signed to more gigs through both North Liverpool as well as all over. " Suddenly we were a wow. Mind you, 70% of the audience thought we were a German wow, but we didnât care about that. Even in Liverpool, people didnât know we were from Liverpool. They thought we were from Hamburg. They said, âChrist, they speak good English!â which we did, of course, being English.
It was that evening that we really came out of our shell and let go. We stood there being cheered for the first time. This was when we began to think that we were good. Up to Hamburg weâd thought we were OK, but not good enough. It was only back in Liverpool that we realised the difference and saw what had happened to us while everyone else was playing Cliff Richard shit. John Lennon, 1967
No Pete, no more Hamburg gigs, no Tony Sheridan recordings by Bert Kaempfert (who had an orchestra with a professional drummer which Bert Kaempfert could have substitted a studio/session, drummer) which leads to the record which a fan request that brought Brian Epstein's attention. Tony Sheridan's back up band would have Ringo as a drummer, briefly who returned to Rory Storm (over Sheridan's changing the set list at performances). No Pete, who performed more live performances as a Beatle than Ringo did (undisputed) in Hamburg and Liverpool, no Cavern Club performances which Brian Epstein goes and decides to become their manager (never having been a manager). No Pete, no first appearance on BBC Radio (Pete's last performance recorded off the BBC radio was their 2nd Appearance). No Pete, No Decca audition which recordings from the audition were used by Brian Epstein to finally get an audition at Parlophone after every major Label had rejected the group, (even this audition had more to do with Epstein's family business and it's influence) until a speciality Label, Parlophone, better none for Comedy Albums, Novelty Records, and a few scattered hit songs. (George Martin followed studio practice of session drummer, which for all of Ringo's later talents, by the way Ringo was and is my favorite Beatle, Andy White's drumming is on recording of P S I Love You and other than their first single of Love Me Do released only in the UK, Andy White is on all subsequent releases (including their first album), including the 20th Anniversary re-release).
Ringo first met the Beatles in Hamburg on their first tour, was the drummer on a demo in Hamburg on with part of the Beatles first backing band recording, (Pete Best was unavailable that day, touring Hamburg), now lost, for an unreleased single. No Pete Best, No Mona Best, no Casbah Club...their first live performances as the Quarry. and The Beatles appeared at Mona Bestâs Casbah Coffee Club in Liverpool, a venue they hadnât played at since the Quarrymen days, on October 10, 1959. Chas Newby, formerly the rhythm guitarist with The Blackjacks with Pete Best and skiffle group The Barmen, joined The Beatles on bass guitar (to replace Stuart Sutcliffe, who had remained in Hamburg with girlfriend Astrid Kirchherr as I referrenced above)... which had the posters for the Litherland Town Hall upcoming performance plastered all over the walls, as at that time the Casbah Coffee Club was the Rock and Roll venue in Liverpool, the Cavern, etc, were Jazz Clubs, and this club at the time was packed with people who eyed declaring âThe Beatles, Direct From Hamburg, Germanyâ placed around the Casbah, and the basement venue was crammed with people, many who didn't know about the Beatles or that they were local boys directed a number of youths to Litherland, expecting to see a "German Band.
As to the JPG apologist mythology about Ringo being first choice to replace Pete Best...Brian Epstein, offered the job, first to drummer Bobby Graham, who turned Brian down. Brian Epstein then offered the job to Ritchie Galvin, who also said no to The Beatles. Johnny Hutchinson became the third drummer to decline the offer, Johnny Hutchinson was the driving force behind The Big Three and considered the best drummer in the Liverpool, who turned down the offer as he wasn't into the Beatles type of music, and Pete Best was a friend he wouldn't do dirt on. (Ringo had been a friend of Pete's too). The Beatles had to take Brian Epstein to a performance to hear Ringo, the rest is history, as to history those Victorian Medals you see on the Beatles on Sgt. Pepper, were borrowed from Mona Best.
So as to your comment, you could be correct as to the subsequent events, after Pete was sacked, but these wouldn't have occurred with a "Shit Band" (quote Sir George Martin on hiring the Beatles), a band that couldn't keep a drummer, until Pete.
As to the Beatles, Pete had his own fan club simultaneously when the Beatles fan club also existed in Liverpool, Pete was offered by Brian Epstein to build a band around him (in shock, he declined, a mistake as band in Epstein's stable he would have the promotion and gigs through England), the All Stars fired their drummer to pick up Best as drummer, and the All Stars came in 2nd place to the Beatles as the most popular band in Liverpool Dec. 1963 six months after Pete was fired. Or in other words, "You don't know shit about the Beatles..." Take a time machine back to when Pete goes to audition for the Hamburg trip, kidnap him so he doesn't arrive, the Beatles a band no other band wanted in Hamburg to wreck a good thing, doesn't arrive.The Beatles may end up like Liverpool bands; Road Runners, Rory Storm and the Hurricanes, Maverick, etc., And since the Beatles and manager Epstein caused the recording studios in London to look to a town more famous for Comedy acts than Rock Groups or music acts (exception on Billy Fury as a solo act), groups such as The Searchers, Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, Billy J. Kramer and the Dakotas, The Fourmost , Tommy Quickly with the Remo Four, The Moody Blues, Cliff Bennett and the Rebel Rousers. Sounds Incorporated (from London, but managed by Epstein opening for the Beatles), or hat check girl turned singer Cilla Black, wouldn't be known, the British Invasion wouldn't change the US popular/Rock music (no Byrds as we know them, no Monkees), and the musicians as composers of their own songs which they recorded an performed wouldn't have occurred in the 1960s onwards.
So laugh at my "joke" comment, in ignorance.
@tommyl.dayandtherunaways820
This Tony Sheridan fellow could be the next Elvis. As for the Beat Brothers, while they have potential, I donât see them going very far.
@phillipwarwick5303
You know they are the Beatles
@emilydewoody8982
@Phillip Warwick they were joking of course they know the beatles
@aryhandler
Hahahaha...
@adrinathegreat3095
Tony Sheridan would have gone far had he not had a reputation as argumentative and unreliable, this is what got him kicked off of a popular uk music show in the late 50s, and why he ended up playing in small venues.
Turning up at recording sessions late, arguing with other musicians and recording studio staff really doesn't help.
The beatles were far more disciplined and professional than Sheridan, who only got mid 60s tv spots because he'd once had the beatles backing him.
Truth was he wasn't liked by many people in the industry at all and was considered a loose cannon and best avoided
@jb888888888
Guitar bands are out.
@rafaelmartinezmunoz7788
El primer disco que compre, en 1973-74 con un poco mĂĄs de 11 aĂąos, junto con "Planet Waves" de Bob Dylan, en las afueras de ParĂs.
Me sentĂ engaĂąado por la portada que ponĂa "Beatles" (lo saquĂŠ del cartĂłn de las rebajas con lo que me quedaba por comprar el otro disco...) pero disfrute de esa mĂşsica "crooner"que era fuera de lo que solĂa escuchar.
Una calidad que perdura y sorprende por su sencilla frescura.
Gratos recuerdos, los primeros pasos de mi "educaciĂłn" musical.
@user-kz8lm2tk1s
Tony and Pete Real Rock'n Roll
@rockindaddy6535
â¤ď¸ ROCK n ROLL 4 ever.....
A fantastic recording !!
@konstantia1607
Tony Sheridan singing and playing guitar. Rock and roll.