Just a FYI re: the first volume of what sounds like a very keenly detailed history of the Beatles; the set will ultimately be 3 volumes. This first volume was published at the end of 2013, so you may already know of it, but it seems worth mentioning because of the unusual nature of the material.
There are a few hundred reviews on Amazon if you're interested. One of them said that some people ask how there can be yet another history or bio of the Beatles, when so much has been written already --- yet, this book proves that there is more to be said, and Lewisohn's writing is worth the time.
"Mark Lewisohn’s (new) book, “Tune In” (Crown Archetype)—the first volume of a promised three-volume history of the Beatles—tells the story of their lives up to 1962, when they had yet to make an LP. It may be the most granular biography ever written for anyone not a politician in high office tracked by an official diary. Week by week, guitar by guitar, fan by fan, Lewisohn manages to fill in blanks that no one knew were empty. This is particularly amazing given that the subjects are four teen-age boys in a provincial city whose acts seemed unlikely to be remembered by anyone in the next five hours, much less for the next five decades.
But the Beatles, it turns out, were the Beatles before they were the Beatles: their admirers in Liverpool tracked, in microcosm, the response that the rest of the world would have when it got to know them. They were famous before they became famous."
"To borrow a mot from Stephen Sondheim about Rodgers and Hammerstein, this was the meeting of a youth of limited talent and unlimited soul with one of unlimited talent and limited soul. The size of Paul McCartney’s gift is ridiculous, and as mystifying as such gifts always are. Before he was nineteen, Lewisohn reveals, he had written the music to at least three standards (“Michelle,” “I’ll Follow the Sun,” and “When I’m Sixty-four”). It was John Lennon who gave the pair emotional maturity. Lewisohn rightly points to the startling, sad dignity of his sentences—“I can’t conceive of any more misery”; “In my mind there’s no sorrow”—even in his early, easy songs. Together, the two made something deeper than either ever could have alone. They were two where other bands had one, and they had three voices where other bands had fewer."
"Darling, he's still dangerous."