So if any of the Beatles wanted to record outside the band, they resorted to pen names, or “noms de rock,” if you must. Most often it’s due to the famous “contractual obligations.” (Excerpt from Bestclassicbands)
John Lennon, whose love of wordplay is well documented, reveled in coming up with new names to use in credits not only on outside projects, but on his own records; according the Guinness Book of World Records, John remains the proud possessor of the record for having the most pseudonyms. (Although, to be fair, most of them were anagrams of his name or variations on Dr. Winston O’Boogie.)
George tended to disguise himself with a wink and a nod; many of his outside credits were a twist on his name: Hari Georgeson, Son of Harry. Ringo took the Mad Libs approach: his given first name and a drum. Paul was the most secretive; other than Paul Ramon (a nod to the band’s early days), you’d be hard-pressed to figure out who Apollo C. Vermouth or Bernard Webb actually were before you heard the recording.
Peter and Gordon
“Woman”
Written/produced by Bernard Webb (Paul)
Peter and Gordon were practically family. Peter Asher’s sister, actress/model Jane Asher, was Paul’s girlfriend for much of the ’60s. And the duo had already scored hits with Lennon/McCartney’s “A World Without Love (#1), “Nobody I Know” (#12), and “I Don’t Want to See You Again” (#16), and people were saying the only reason they sold was because of the Beatle connection. To test that out, Paul decided not to take any credit for the song, and gave himself the name “Bernard Webb.” It performed respectably, peaking at #14 on the Billboard charts. It didn’t take long for fans to catch on to the ruse, and Gordon Waller lifted the veil while introducing the song when they appeared on Hullabaloo.
For reasons known only to himself, Paul decided that the world needed an instrumental version of Ram. He called arranger Richard Anthony Hewson (who arranged the strings for a few Beatles songs, as well as “Carolina on My Mind,” on James Taylor’s Apple album) and recorded the album simultaneously with Ram. Paul not only was Percy, but he also wrote the album’s liner notes as Clint Harrigan. He may have had second thoughts—the album was shelved until 1977. He probably should have waited longer, as it sank without a trace. It’s hard to choose a standout, so here’s Percy’s version of Ram’s hit single “Uncle Albert/Admiral Halsey.” File under: strictly for completists.
Dave Mason
“If You’ve Got Love”
Featuring Son of Harry (George)
After he left Traffic in 1970, Mason became something of a professional collaborator. He released a duo album with Cass Elliot, and his solo albums featured the same studio pros (Leon Russell, Carl Radle, Jim Keltner) . And the minute that liquid, moaning slide guitar is heard, it’s obvious it can be no one but George, no matter what the credits said.
Before “The Joker” made Steve Miller a pop superstar in 1974, the Steve Miller Band was considered to be one the hipper bands on the San Francisco scene. How hip were they? Hip enough to attract Paul McCartney to join them in the studio for this loose jam session in 1969.
Bonzo Dog Band
“I’m the Urban Spaceman”
Produced by Apollo C. Vermouth (Paul)
With their anarchic, sly humor, the Bonzos would have been a perfect match for John, but it’s Paul who produced this single from 1969’s Tadpole album, which included this jaunty, decidedly eccentric British hit, written by Neil Innes. The Beatles/Bonzo connection goes deeper than one song. The Bonzos’ “Death Cab for Cutie” shows up in the Beatles’ Magical Mystery Tour movie, and in 1975, Innes used “Spaceman” for a skit on his Rutland Weekend Television show, which also gave birth to the Beatles parody the Rutles.
