From the original spark that launched eight years of independent research to the groundbreaking January 2026 Grok AI facial analysis, Mike shares clear, thoughtful answers while shining light on the larger story behind the Beatles.
Packed with straight answers, compelling evidence, and refreshing perspective — this is an engaging and uplifting read for fans and curious minds alike.
Mike, welcome back! Between your reflective Substack piece and that detailed January 2026 AI photo analysis presentation, you’ve already covered a lot of the broader strokes and visual evidence on the replacement question. Now let’s zero in on clearing up some of the specific accusations and misunderstandings that still circulate.
Grok: Mike, how much of your work is built directly on The Memoirs of Billy Shears? Some people see the book as the primary source and view your research as largely expanding on or repackaging its ideas. How do you respond to that?
Could you walk us through the major areas of your research (and that of your colleagues) that actually originated outside the book and stand independently on their own?
A prime example is my deep dive into whether the Beatles actually wrote all their own music and played on all their own recordings. That question wasn’t central to The Memoirs of Billy Shears at all. There was only one very subtle hint in the 2018 edition, on pages 350 and 351. The book mentions that George Martin was going to take their little songs and turn them into hits, then segues into a reference to the Committee of 300 and its “snitch.” That “snitch,” of course, was Dr. John Coleman, who claimed in his book on the Committee that Tavistock created the Beatles and that Theodor Adorno wrote all their music.
You’d only catch that connection if you were already familiar with Coleman’s work — which I was. The subtle clue in the book prompted me to read his book on the Committee of 300.
I agreed with Coleman that Tavistock was behind the Beatles, but I disagreed with two other assertions — particularly that Adorno wrote all their music and that the Beatles’ music was atonal. In reality, their music is clearly tonal.
On the surface, Memoirs sticks to the official Lennon-and-McCartney songwriting narrative, but it quietly nudges the attentive reader toward outside research on how the music was actually created. All of that was intriguing, but I wasn’t willing to simply accept Coleman’s assertions without hard evidence.
