The Beatles Complete: April-May, 1960 (part 2) to June 24, 1961

Label: Silent Sea Productions, BC600400.V1

April-May, 1960 (part 2) HOME TAPE
The Beatals. Paul's home and possibly other locations, Liverpool.
1. Instrumental improvisation (11:50)
2. Instrumental improvisation (7:45)
3. Instrumental improvisation (11:12)
4. That's The End (?) (17:52)

June 22-23, 1961 STUDIO
Tony Sheridan and the Beat Brothers, except track 9 by the Beatles. Friedrich Ebert Halle, Hamburg.
5. My Bonnie (German intro), RS '78? (0:36)
6. My Bonnie (My Bonnie Lies Over The Ocean), RS '62? (2:41)
7. The Saints (When The Saints Go Marching In), RS '62? (3:18)
8. Why (Can't You Love Again), RS '64? (2:58)
9. Cry For A Shadow, RS '64? (2:23)
10. Nobody's Child, RS '64? (3:55)

June 24, 1961 STUDIO
Track 11 by the Beatles. Track 12 by Tony Sheridan and the Beat Brothers. Studio Rahlstedt, Hamburg.
11. Ain't She Sweet, RS '64? (2:10)
12. Take Out Some Insurance On Me, RS '64? (2:53)

Performers: on tracks 1-4 the lineup is George Harrison: lead guitar; John Lennon and Paul McCartney: rhythm guitars; and Stu Sutcliffe: bass. On tracks 5-12 the lineup is Tony Sheridan: Lead vocal and lead guitar; John Lennon and George Harrison: rhythm guitar and back-up vocals; Paul McCartney: bass and back-up vocals; and Pete Best: drums.

Producers: tracks 1-4 were self-produced, while tracks 5-12 were produced by Bert Kaempfert.

Composers: 1-4 probably by Lennon-McCartney; 5-7 and 10 are traditional/arranged by Sheridan; 8 by Sheridan-Compton; 9 by Harrison-Lennon; 11 by Ager-Yellen; and 12 by Singleton-Hall. The provisional title of Track 4 comes from a comment captured at the end of the instrumental performance.

Photos: the cover shot was taken by Cheniston Roland on May 10, 1960 during the Larry Parnes/Billy Fury audition at the Wyvern Club, Liverpool. Stu Sutcliffe is at left. Colorized by the clever Silent Sea graphics department, who also maneuvered George over closer to the others. The inside photo was taken in October, 1960 by Astrid Kirchherr at an amusement park in Hamburg, this time with Stu in the middle. The back photo was shot in 1961 outside the Cavern Club, Liverpool. Pete Best is second from left.

Sources: "Early Tapes Of The Beatles" CD Polydor 23701: 6-10 and 12. "Mach Shau!" CDR: 11. "Road To Fame" CD Star-Club HADCD241: 5. "Wildcat" CD Madman 13-14: 1-4.

Completion: June 22, 1961, Studio - "My Bonnie" (German intro) RM '61 can be found on the "Mein Herz is bei dir nur" LP Polydor (Germany) 24673; "My Bonnie" (English intro) RM '61 and "The Saints" RM '61 are on the "My Bonnie" LP Polydor (UK) 66833. "Why" RM '63? and "Cry For A Shadow" RM '63? are on the "Beatles With Tony Sheridan" LP MGM K 13213 and MGM K 4215. June 23, 1961, Studio -- "Nobody's Child" RM /64? can be found on the "Beatles First" LP Polydor (UK) 52906 and "Ain't She Sweet" RM '64 is on the "Beatles First" CD Polydor. June 24, 1961, Studio - "Take Out Some Insurance On Me" RM '64? is on the "Beatles First" LP Polydor (UK) 52906. Thanks.

The Beatles Complete: July 6, 1957 to April-May, 1960 (part 1)

Label: Silent Sea Productions, BC570706.V2

July 6, 1957 CONCERT
The Quarry Men. St. Peter's Church Garden Fete, Woolton, Liverpool. Evening.
1. Putting On The Style (0:27)

Spring-Summer, 1958 STUDIO
The Quarry Men. Phillips Sound Recording Service, Liverpool.
2. That'll Be The Day (2:07)
3. In Spite Of All The Danger (2:44)

April-May, 1960 (part 1) HOME TAPE
The Beatals. Paul's home and possibly other locations, Liverpool.
4. I'll Always Be In Love With You (2:19)
5. unknown/Matchbox (1:00)
6. Some Days (?) (1:35)
7. I Don't Need No Cigarette, Boy (?) (5:55)
8. One After 909 (1:26)
9. One After 909 (2:26)
10. Cayenne (2:27)
11. Hallelujah! I Love Her So (2:34)
12. Johnny, Johnny (?) (5:54)
13. Hello Little Girl (1:52)
14. That's When Your Heartaches Begin (1:13)
15. Well Darling (?) (3:22)
16. You'll Be Mine (1:42)
17. The World Is Waiting For The Sunrise (2:37)
18. I'll Follow The Sun (1:46)
19. You Must Write Every Day (?) (2:30)
20. Movin' N' Groovin'/Ramrod (3:47)
21. Wild Cat (1:24)
22. Wild Cat (2:27)
23. Turn The Bitches Off (?) (4:59)
24. An Important Number (?) (7:54)

Performers: John Lennon sings lead on 1-3, 8-9 and 13; shared lead on 6, 7, 12, 15, 16 and 24; and back-up on 14; plays lead guitar on 9, 13 and 17 and rhythm guitar on 1-8, 10-12, 14-17 and 19-24; and he may be banging a chair for percussion on 18. Paul McCartney sings lead vocal on 4, 6, 8, 9, 11, 14, 17-19, 21 and 22; shared lead on 7, 12, 15, 16 and 24; and back-up on 2, 3 and 13; and plays lead guitar on 4, 11, 18 and 20; and rhythm guitar on 2-10 and 12-24. George Harrison sings lead on 5 and back-up on 14 and plays lead guitar on 2, 3, 5, 7, 10, 12, 14, 15, 19 and 21-24. Stu Sutcliffe plays bass on 5, 7, 10-12, 14, 15, 19 and 21-24; and possibly sings back-up on 15. Eric Griffiths plays rhythm guitar on 1. Colin Hanton plays drums on 1-3. Rod Davis plays banjo on 1. Pete Shotton plays washboard on 1. Len Garry plays tea-chest bass on 1. John "Duff" Lowe plays piano on 2 and 3.

Producers: track 1 was taped by Bob Molyneux. Tracks 2 and 3 were produced by Percy F. Phillips. Tracks 4-24 were self-produced.

Composers: all probably Lennon-McCartney except 1 by Cazden-Donegan; 2 by Allison-Holly-Petty; 3 by McCartney-Harrison; 4 by Ruby-Green-Stept; 5 by Perkins; 11 by Charles; 14 by Fisher-Raskin-Hill; 17 by Lockhart-Seitz; 20 by Hazlewood-Eddy/Casey; and 21 and 22 by Schroeder-Gold. Song titles followed by a (?) are best guesses, usually based on the lyrics; although the title of 23 comes from a comment captured at the end of an instrumental performance.

Photos: the cover photo was taken by Geoff Rhind the same day that track 1 was recorded, during the Quarry Men's afternoon set. From left: Eric Griffiths, Colin Hanton, Rod Davis, John, Pete Shotton, Len Garry. Colorized by the proud Silent Sea graphics department. The inside photo was taken by Leslie Kearney on November 23, 1957 at the New Clubmore Hall, Liverpool. On drums is Colin Hanton, with Len Garry on bass. Cropped from the photo is guitarist Eric Griffiths. The back photo was shot December 20, 1958 at the Harrison house during George's brother Harry's wedding reception.

Sources: "Anthology 1" CD Apple/Capitol 34445 and "Anthology 1" VHS Apple/Capitol 3392V: 2-3. "Puttin' On The Style" CD Black Dog BD 009: 1 and most of 4, 8, 13 and 18. "Wildcat!" CD Madman 13-14: part of 4, 5-7, part of 8, 9-12, part of 13, 14-17, part of 18, 19-24.

Silent Sea Discography

BC 570706.V2 - July 6, 1957 to April-May, 1960 (Part 1)
BC 600400.V1 - April-May, 1960 (Part 2) to June 24, 1961
V.1 - January 1 to September 5, 1962
BC 620911.V1 - September 11 to December 21, 1962
BC 621225.V2 - December 25, 1962 to January 22(a), 1963
V.1 - February 11(a) to 11(b), 1963
BC 630211C-V.1 - February 11(c) to March 5, 1963
BC 630306.V1 - March 6 to May 21(a), 1963
BC 630521B.V1 - May 21(b) to June 17, 1963
BC 630619.V1 - June 19 to July 10(a), 1963
BC 630710B.V1 - July 10(b) to July 17, 1963
BC 630718.V1 - July 18 to 30, 1963

SS 001 - Attack of the Filler Beebs, Episode One
SS 002 - Attack of the Filler Beebs, Episode Two
SS 003 - Attack of the Filler Beebs, Episode Three
SS 004 - Kinfauns
SS 005 - Anthropology
SS 006 - Farewell to Clubland
SS 007/008 - Pepperland
SS 009 - The Crimble Tapes
SS 010 - In Concert: Philadelphia 64.09.02 > Indianapolis 64.09.03
SS 011-014 - White Sessions
SS 015 - In Concert: Shea Stadium 65.08.15 > Atlanta 65.08.18
SS 016 - In Concert: Tokyo 66.06.30 > Tokyo 66.07.01
SS 017/018 - White Mono
SS 019 - Telecasts One
SS 020 - Telecasts Two
SS 021 - Telecasts Three
SS 022 - Telecasts Four
SS 023/024 - Revolving
SS 025 - In Concert: Liverpool 63.12.07 > Washington 64.02.11
SS 026 - In Concert: San Francisco 66.08.29 > London 69.01.30
SS 027 - In Concert: Houston 65.08.19(a) > Houston 65.08.19(b)
SS 028/029 - Last Year
SS 030 - For No One: The Best of the Beatles Private Recordings 1960-69
SS 031 - In Concert: Copenhagen 64.06.04 > Adelaide 64.06.12
SS 032/033 - Soul Sessions
SS 034 - In Concert: Vancouver 64.08.22 > Los Angeles 64.08.23
SS 035/036 - Songs for Eleanor
SS 037 - More Songs for Eleanor
SS 038/039 - Dead Man's Walkman: Best of the John Barrett Tapes
SS 040 - In Concert: Melbourne 64.06.16 > Melbourne 64.06.17
SS 041/042 - Please Me Do
SS 043 - In Concert: Los Angeles 65.08.29 > Los Angeles 65.08.30
SS 044/045 - Get Back, Glynis
SS 046 - In Concert: Paris 65.06.20(a) > Paris 65.06.20(b)
SS 047/048 - In Concert: Hamburg 62.12.25 > Hamburg 62.12.31
SS 049/050 - In Concert - Addendum One: 1957-1964
SS 051/052 - In Concert - Addendum Two: 1965-1966
SS 053-056 - Broadcasts One: Pop Go The Beatles!
SS 057/058 - One Before 911
SS 059 - The Best Year: Pete Best and the Beatles
SS 060/061 - Hard Days and Nights
SS 062/063 - Every Little Thing: The Making of Beatles for Sale Album and Single
SS 064 - Stereo '65
SS 065/066 - Broadcasts Two: From Us To You!
SS 067/068 - Magical Mystical Boy
SS 069/070 - Strawberry Lane
SS 071/072 - Tokyo Tapes
SS 073-075 - Broadcasts Three: Saturday Club!
SS 076/077 - Complete Home Recordings 1958-1962
SS 078 - Complete Home Recordings 1963
SS 079 - Complete Home Recordings 1964-1966
SS 080 - Complete Home Recordings 1967-1968
SS 081 - Complete Home Recordings 1968
SS 082 - Complete Home Recordings 1968-1969
SS 083 - Broadcasts Four: Top Gear!
SS 084-086 - Liver Than We Ever Were
SS 088/089 - Mixology One
SS 090/091 - Mixology Two
SS 092/093 - Broadcasts Five: Here We Go!
SS 101 - Broadcasts Six: Where It's At!
SS 102/103 - Sessionography One: 1962-1963
SS 104 - Ups & Adds: Volume 1 February, 2003
SS 105-110 - Nagra!
SS 113/114 - Around and Around
SS 115 - Ups & Adds: Volume 2 April, 2003
SS 116 - White Bookends
SS 117/118 - Playback One 1962-1966
SS 119/120 - Playback Two 1966-1968
SS 121/122 - Playback Three 1968-1969
SS 123/124 - Playback Four 1969-1970
SS 129/130 - Sessiongraphy Two: 1963-1964
SS 131/132 - Sessiongraphy Three: 1965
SS 133/134 - Sessionography Four: 1966-1967
SS 135 - The Lost TV Tapes
SS 136/137 - Ups & Adds: Volume 3 June, 2004
SS 138/139 - Ups & Adds: Volume 4 June 2004
SS 142 - Broadcasts Seven: Ticket To Ride!
SS 143/144 - Ups & Adds: Volume 5 October, 2004

SSDV.001/002 - Watching Rainbows
SSDV.003 - On Tour 1966
SSDV.004 - TV Tapes Volume 2
SSDV.005 - On Tour 1965
SSDV.006 - TV Tapes Volume 1
SSDV.007 - TV Tapes Volume 3
SSDV.008 - On Tour 1964
SSDV.010 - TV Tapes Volume 4
SSDV.011 - TV Tapes Volume 5
SSDV.012 - TV Tapes Volume 6
SSDV.013/014 - Filmography 1
SSDV.015/016 - Filmography 2
SSDV.017/018 - Filmography 3
SSDV.019 - Watching Rainbows 2

The Beatles - Love Songs (US Stereo LP - Capitol)

Label: Dr. Ebbetts, SKBL 11711

1. Yesterday
2. I'll Follow The Sun
3. I Need You
4. Girl
5. In My Life
6. Words Of Love
7. Here, There And Everywhere
8. Something
9. And I Love Her
10. If I Fell
11. I'll Be Back
12. Tell Me What You See
13. Yes It Is
14. Michelle
15. It's Only Love
16. You're Going To Lose That Girl
17. Every Little Thing
18. For No One
19. She's Leaving Home
20. The Long And Winding Road
21. This Boy
22. Norwegian Wood (This Bird Has Flown)
23. You've Got To Hide Your Love Away
24. I Will
25. P.S. I Love You

John Lennon: The Man, The Memory Volume One and Two

Label: Black Cat, BC 015/016

WXLO FM, NYC
December 14, 1980

Volume One

1. Introduction
2. Starting Over in the 80's
3. Watching the Wheels
4. A Diarrhea of Creativity
5. Starting Over
6. Just Another Rocker
7. Cleanup Time
8. Almost Like Twins
9. Narration
10. Don't Touch, Don't Feel
11. Narration
12. Just a Daddy
13. Beautiful Boy
14. Narration
15. Expectations
16. Narration
17. I'm Not Running for Office
18. Narration
19. Back to the Roots
20. Rock N Roll Music
21. Choosing Partners
22. Narration
23. Meeting Yoko
24. Out The Blue
25. Longer Than the Beatles
26. Narration
27. Macho Woman
28. Narration
29. Whatever Gets You Through the Night
30. I Needed Her So Much
31. Dear Yoko

Volume Two

1. #9 Dream
2. Yoko Kicked Me Out
3. Narration
4. A Blank Check
5. Narration
6. Freaky Music & Two Virgins
7. Narration
8. What Are They Doing?
9. The Ballad of John and Yoko
10. We're in Enough Trouble As It Is
11. Woman Is The Nigger Of The World
12. Our Intentions Were Good
13. Give Peace A Chance
14. We're Human Again
15. Love
16. Love Is The Answer
17. Narration
18. This Time They're Ready For Us
19. Narration
20. Double Fantasy
21. Narration
22. We All Survived
23. Narration
24. One Whole Piece of Work
25. Starting Over
26. Now I Know Both Sides
27. Narration
28. It's Kid's Stuff
29. Mind Games
30. There Was No Time To Reflect
31. Oh Yoko
32. Everyone Knows What Love Is
33. Narration
34. A Reflection Of Us All
35. Woman

The Robert Klein Radio Show: Ringo Starr and Barbara Bach

Label: Black Cat, BC 013/014

The Robert Klein Radio Show WNEW FM NYC April 19, 1981

Segment One:
Introduction

Segment Two:
Robert Klein

Segment Three:
Life Before Caveman
It Don't Come Easy
Fifteen Words
John Matuszak
Filming in Mexico
Meeting Barbara
All You Need Is Love
Children
Amsterdam

Segment Four:
Shea Stadium
I Want To Hold Your Hand
Learning To Act
Ringo's Films
Grownups
A Little Help From My Friends

Segment Five:
Ringo's First Band
A Course On The Beatles
Oh My My
The Ringo LP
I'm The Greatest
Favorite Colors
Steve Martin
Beatlemania

The Robert Klein Radio Show WNEW FM NYC April 26, 1981

Segment One:
Introduction

Segment Two:
Fifteen Words
Riding On A Golf Buggy
John Matuszak
Act Naturally
Ringo's Films
Television
You're Sixteen

Segment Three:
Barbara's Films
Liverpool
Yellow Submarine
Cartoons
Gaining Weight
Ted Nugent
Visiting Relatives
Can't Fight Lightning
Dots And Arrows
Smoking
English Humor

Segment Four:
Beatle Crap
A Day In The Life
The Owl And The Pussycat
Dinner Is Served
Changing Your Underwear
Getting Married
The Opera Pimp
Tuna Fish
Octopus' Garden
Lawyers
The End

The Compleat Beatles

The Compleat Beatles, released in 1984, is a two-hour documentary, chronicling the career of the "Fab Four". Though it has since been supplanted by the longer and more in-depth documentary The Beatles Anthology, The Compleat Beatles was for many years largely regarded as the definitive source of information on the Beatles.

Narrated by Malcolm McDowell, it included extensive interviews with a number of sources close to the Beatles, including producer George Martin, their first manager Allan Williams, music writer Bill Harry, and musicians Gerry Marsden, Billy J. Kramer, Marianne Faithfull, Billy Preston, and Tony Sheridan, as well as early concert footage, behind-the-scenes background on the making of their albums, and candid footage of their often obsessed, hysterical fans.

Directed by Patrick Montgomery, the film was produced by Delilah Films and released by MGM/UA. It enjoyed a brief theatrical release in 1984.

Waiting for the Beatles: An Apple Scruff's Story

by Carol Bedford

This book is a tribute to a unique group of fans. The Apple Scruffs were a collection of young women who dedicated their lives for a number of years to the objects of their idolatry -- The Beatles. These were no ordinary fans. Their special relationship with the Beatles provided the fab four with protection, loyalty and friendship. Their monthly magazine provided information for the Beatles concerning their staff, their fans and above all themselves. In turn, the Beatles paid homage to The Scruffs. Paul called them "the eyes of the world" and George wrote the song Apple Scruffs in their honour.

In telling this fascinating and often outrageous story, the book is also a personal glimpse into the lives of the Beatles and their fans, based on everyday encounters. Specifically the book chronicles the development of the very special relationship between one Beatle - George - and one fan - the author Carol Bedford herself. Often sensational, often amusing and in its observation of the special and fascinating trivia associated with super stars and their day-to-day activities, Waiting for the Beatles is like no other Beatles book - ever.

The Beatles - Live At The Hollywood Bowl 1964 (US Mono LP) (Genuine Acetate Mix)

Label: Dr. Ebbetts, TAO 2222

1. Twist and Shout
2. You Can't Do That
3. All My Loving
4. She Loves You
5. Things We Said Today
6. Roll Over Beethoven
7. Can't Buy Me Love
8. If I Fell
9. I Want To Hold Your Hand
10. Boys
11. A Hard Day's Night
12. Long Tall Sally

Recorded live at The Hollywood Bowl
August 23, 1964

Liner Notes

As many of you know, Ebbetts currently offers a title in the catalogue called "The Beatles Live At The Hollywood Bowl (Capitol Project)." This title was meant to represent the "infamous" Capitol Records project that never came to be - namely, the release of a Beatles live album that featured the band's performace in August, 1964 at the Hollywood Bowl. As is now well-known, this proposed release was given a project number by the powers-that-be at Capitol. An actual monophonic acetate was made of this performance! Sadly, the whole thing was eventually shelved. As many of you also know, Ebbetts decided to bring this never-completed idea to life by utilizing the suggested artwork from Bruce Spizer's remarkable book on the history of the Beatles on Capitol Records and compiling the best sounding source material. What eventually came about was a very popular addition to the Ebbetts catalogue. Unfortunately, even with its popularity, this title has always "bugged" me a bit - as well as many others along the way. While it did offer a stereophonic version of the COMPLETE performance with detailed Ebbetts labelling and artwork, it wasn't a TRUE representation of the project as created by Capitol. (I have been reminded of this fact more times than I care to recount). The original acetate was edited to exclude much of the chatter and dead space and made to sound a bit tighter. Some slight reverb was also applied to the original acetate to enhance the "live" feel. None of these specifications were evident on the original Ebbetts stereo release of this title.

That's where THIS release comes in.

Using the original Capitol acetate as a guide, this release replicates EVERY detail of the original. It has been edited PRECISELY as the acetate was, and with the help of several people who are not only Beatle afficianados, but PROFOUNDLY knowledgeable with sound and effects, the reverb has been replicated. This MONO TYPE-B mix was created exactly as the Capitol acetate was. This is how this project should have been released by Ebbetts originally. The artwork will look the same as the current stereo version.

Eventually, a true STEREO version of this acetate edit will be released as a new title by Ebbetts. At that time, the current incarnation of the complete unedited stereo show will be discontinued, but offered as a FREE UPGRADE with brand new artwork. (That will be explained in further detail when the time comes. Just a little heads up).

The Beatles' Story On Capitol Records Part One: Beatlemania & The Singles

by Bruce Spizer

The Beatles' Story on Capitol Records is an extension of the name of one of Capitol's "specially created for the American market" albums. This book (Part One of two parts) covers the Beatles singles released by Capitol from December, 1963, through March, 1968. Part Two will cover the albums. Although Capitol was not the first label to issue Beatles records in the United States, the majority of the group's songs appeared in America on the Hollywood-based label. Thus, for American first generation Beatles fans, the Beatles and Capitol are forever intertwined.

The format of this book is similar to my previous opus, "The Beatles Records on Vee-Jay." It details the songs contained on Capitol's Beatles records, presents color images pictures of the picture sleeves, trade ads and record labels and tells the stories behind the records and the company's marketing of the Beatles.

For marketing and financial reasons, Capitol chose not to duplicate the Beatles British releases. The label's first Beatles record, "I Want To Hold Your Hand," had a different flip side, as did its third single, "A Hard Day's Night." Capitol also released several "created for the American market" singles that were never released in England. In a little over four years, Capitol issued nineteen regular singles, six Star Line singles, two extended play discs, thirteen albums and a double documentary disc. In addition, the label prepared three jukebox mini-albums, two promotional open-end interview records and other assorted records featuring or related to the Beatles. All in all, a most impressive catalog.

The book's opening section, titled "Beatlemania In America," explains why Capitol initially rejected the Beatles four times before finally agreeing to issue the group's records. It tells the story of what convinced the label to sign the band and details Capitol's initial marketing campaign for the Beatles and the group's relationship with the press. Of particular interest is the attention given by Capitol and the media to the Beatles hair. At the time the Beatles burst upon the scene, crew cuts and short hair were the norm and the Beatles mop-top hair style was considered radically long. To adult observers, the hair was as different as the music.

Section Two is titled "The Beatles Hit Singles On Capitol." It details the 45 RPM (revolutions per minute) Beatles records and other 7" discs issued by Capitol from late December, 1963, through early 1968. For each release, an illustration of record's custom picture sleeve is provided. Information regarding release dates, chart action and sales is followed by stories of the recording of the songs. The picture sleeve and label variations for each record are described, followed by pictures of the sleeves and labels. The section also covers the 7" jukebox mini-albums, interview records and Beatles related singles issued by Capitol. There are also chapters on the singles released by Capitol of Canada and how to spot counterfeit singles and picture sleeves.

Section Three, titled "Capitol Ideas," contains a brief history of Capitol Records, as well as chapters on the Capitol Record Club, merchandising and Capitol catalogs, press kits and press releases. There is also a pictorial bibliography titled "More Great Books For Your Beatles Collection" and a checklist of the Capitol Beatles singles catalog from the December 26, 1963, release of "I Want To Hold Your Hand" through the release of "Lady Madonna" in March, 1968.

Compiling this book brought back wonderful memories. In addition to reading numerous trade journals, magazines and newspaper articles from the sixties, I listened to the music in its purist form by playing the records. Placing the early Capitol swirl 45s on my vintage 1964 Beatles turntable transported me back in time. The record player hummed and its turntable varied between 44 and 46 revolutions per minute, but that only enhanced the experience.

I first heard most of the singles covered by this book blaring through a school bus radio tuned to WTIX in New Orleans. For me, I Want To Hold Your Hand and the Beatles made their debut one afternoon in early January, 1964. Both quickly became the highlight of every bus ride and car pool. The 45s released during the summer evoke fond memories of family road trips. Yellow Submarine and Holiday Inns were as much a part of my 1966 vacation as the places we went. The cycle came full circle when I first heard the last original Capitol Beatles single, Lady Madonna, on the school bus. The bus' blown speaker and competing sounds from other riders prevented me from determining if the lead singer was Paul or Ringo, but I knew it was a great song. The tune's rollicking piano reminded me of the exciting Fats Domino singles of the fifties and early sixties.

Although I enjoy listening to the Beatles on CD, it is more of a sonic experience than a journey back in time. There is a certain thrill about holding a colorful 7" x 7" picture sleeve and watching an orange and yellow Capitol swirl label spin on a turntable that no CD can ever hope to duplicate. Those Capitol singles were the records of my childhood that I will always remember. For Americans growing up in the sixties, the Beatles on Capitol were the greatest.

A narrative and pictorial discography of Beatlemania. Thousands of words have been written about the records...Hundreds on hundreds of color pictures have been printed... All in an effort to capture for fans and collectors the world over the fascinating truth and substance about the Capitol singles and albums by four wonderful guys named John, George, Paul and Ringo. Here, at last, IS the whole story and the real story about the Beatles on Capitol Records, authoritatively researched, written and compiled in two books by Bruce Spizer, author of the critically acclaimed "The Beatles Records on Vee-Jay."

Here's what you'll find inside:

The Beatles records in close-up, packed with details, anecdotes, facts you never knew before about them; the authentic stories of all records; the wonderful wit and humor of the Beatles themselves in off-the-cuff press conferences; the Beatles Campaign; pictures and stories of the Beatles hit records; best of the trade magazine ads; corporate documents; dazzling color photos of all record jackets, picture sleeves, label variations and promotional items; the most comprehensive coverage yet on the capitol records of John, George, Paul and Ringo - from "I Want To Hold Your Hand" to "Lady Madonna."

Bruce Spizer is a first generation Beatles fan and a life-long native of New Orleans, Louisiana. He has an extensive Beatles collection, concentrating primarily on United States and Canadian first issue records, record promotional items, press kits and concert posters. A taxman by day, Bruce is a board certified tax attorney and certified public accountant. A paperback writer by night, he is the author of the critically acclaimed book, The Beatles Records on Vee-Jay. Bruce's articles on the Beatles are featured regularly in Beatlology Magazine and Beatlefan.

The Beatles - The Beatles Ballads (UK Stereo LP - Parlophone)

Label: Dr. Ebbetts, PCS 7214

20 Original Tracks

1. Yesterday
2. Norwegian Wood
3. Do You Want To Know A Secret
4. For No One
5. Michelle
6. Nowhere Man
7. You've Got To Hide Your Love Away
8. Across The Universe
9. All My Loving
10. Hey Jude
11. Something
12. The Fool On The Hill
13. Till There Was You
14. The Long And Winding Road
15. Here Comes The Sun
16. Blackbird
17. And I Love Her
18. She's Leaving Home
19. Here, There And Everywhere
20. Let It Be

Produced by George Martin
"The Long And Winding Road" produced by Phil Spector

Cover painting by John Patrick Byrne. Rear cover photography: Stephen Goldblatt.
Art direction: Peter Sheperd. Design: Shoot That Tiger!

George Speaking

A special series of four Frederick James interview features in which John, Paul, George and Ringo talk to readers.

"Since this is the last of these BEATLE-SPEAKING features for the time being, I'd like to round off the series with something a bit different. Most of the time--and particularly when we're on tour--we have some sort of press conference on an average of one per day. As you know, we had five weeks of non-stop concert dates in America and Canada followed almost immediately by our present one-nighter tour of Britain. So quite a few questions and answers have been flung to and fro between us four and the world's press reporters in the last couple of months. On my two pages I'd like to hold a small press conference of my own. I'll ask the questions and I'll try to answer them as well (if they're not too tricky!). Some of them will be questions I've wanted the reporters to get around to asking and some of them will be questions which have cropped up most frequently in the letters we get from Beatle People.

Right. Here we go. On the left--George Harrison, guitarist of The Beatles pop group all ready to give exclusive comments. On the right--George Harrison, press interrogator and occasional Daily Express columnist. Who will win this battle of wits? Harrison the shrewd question-master or Harrison the Beatle?

Q.--You've been called 'the most easy-going Beatle'. What do you take that to mean?

A.--I suppose it means a lot of things which are true. I'm slow. I like to take my time whether it is to think out a reply or to tune up my guitar. I hate trying to dart from one subject to another. I get some sort of personal satisfaction out of finishing one thing before I start another.

Q.--Does that mean you don't make friends very easily?

A.--On the contrary. I'm extremely interested in people. I think I make an easy target for folk who like to talk about themselves. It takes a long time for them to bore me because I enjoy listening to new ideas and different opinions. That's what life is for--to find out fresh things and learn new facts.

Q.--Surely your life with The Beatles has put a stop to that?

A.--No. By nature I hate rushing so the pace of things is the one drawback to being a Beatle. But don't forget that I've been with John and Paul for more than six years now and we know each other inside out. Our individual characteristics--and I include Ringo in this, of course--balance against one another remarkably well. It is because our personalities work at different pressures that we get on so well together as a team.

Q.--Are you the most musical of The Beatles?

A.--Depends what you mean. People have said I am just because I admit to liking Segovia's guitar playing and they think that's all very highbrow and musical. I believe I love my own guitar more than the others love theirs. For John and Paul songwriting is pretty important and guitar playing is a means to an end. While they're making up new tunes I can thoroughly enjoy myself just doodling around with a guitar for a whole evening. I'm fascinated by the new sounds I can get from different instruments I try out. I'm not sure that makes me particularly musical. Just call me a guitar fanatic instead and I'll be satisfied!

Q.--You are the youngest Beatle. Do you feel younger than the others?

A.--There again it is important to remember that we've been close friends since school days. A year or two either way doesn't make the slightest difference in our age group. It would if you were talking about a George aged eight and a John aged eleven, but as a group we've all had just about the same amount of experience and, of course, we've shared all the same adventures.

Q.--What do you think about fans?

A.--A lot of rot is talked about kids getting out of hand and suchlike. Even a kid who is quiet on her own takes the opportunity of letting off as much steam as possible when she's with the gang. It doesn't mean she's out of control--just that she's learnt how to have fun. Boys are the same. They let off the same steam in different places. Girls outside stage doors or in the front stalls. Boys inside a football ground or at a boxing match. But whatever way you look at it The Beatles (and every other artist in the Top Twenty) rely entirely on the fans. It would be no good finding a good song and making a terrific recording of it if there were no fans around to decide whether they liked it or not. To any artist fans are vitally important. An artist who did well and then wanted to forget about his fans might as well forget about his fame at the same time.

Q.--Do you spend most of the money you earn?

A.--I am interested in money. When I hadn't very much of it I was just as interested in what a small amount could be made to do. Naturally anybody spends more or less according to his income, so, I suppose I spend plenty by some standards. On the other hand I hate the idea of just getting rid of money because it is in your pocket. I like to keep as small a wallet as possible in case I'm tempted to waste cash on unnecessary things. I haven't got a very good business head, but if my life had been entirely different and I'd only had a little savings in the bank, I reckon I'd have made a success of some small business by taking advice from somebody. I'd have asked what I ought to do with my saved-up money to make it grow.

Q.--Have you grown away from your parents because of the life you lead?

A.--An unfair leading question that! I have not grown away from my parents at all. In fact I think a boy who spends some of his time away from home grows even closer to his relatives. They are not taken for granted so much if they're not around every day. I don't live in Liverpool any more but I can't really say I live in London or anywhere else either. In this game it is a matter of staying overnight in dozens of different places each month, and you have to learn to set down your boots and your luggage wherever it's most convenient.

Q.--What about the other side of the same question. Don't your parents get caught up with your life whether they like it or not?

A.--I can only answer half of that question because my mother and father are caught up in the success of The Beatles but they don't mind it a bit. In fact they're very, very helpful about it all as a lot of Beatle People will know. They deal with a lot of my fan mail when I'm away from home and their back room looks like a G.P.O. sorting office half the time!

Q.--Final question. What type of Press interviews do you think are the most useful?

A.--This sort!!! In the last four months each of us has had a couple of pages to say exactly what he likes to Monthly Book readers. We've all been able to open up and talk about some of the things which get left out of ordinary press conferences because of time shortage--reporters' time shortage just as much as ours. I hope we'll have another session like this one fairly soon."

The Beatles - 20 Greatest Hits (US Stereo LP - Capitol)

Label: Dr. Ebbetts, SV-12245

1. She Loves You
Recorded July 1, 1963

2. Love Me Do
Recorded September 11, 1962

3. I Want To Hold Your Hand
Recorded October 7, 1963

4. Can't Buy Me Love
Recorded February 25, 1964

5. A Hard Day's Night
Recorded April 16, 1964

6. I Feel Fine
Recorded October 18, 1964

7. Eight Days A Week
Recorded October 6, 1964

8. Ticket To Ride
Recorded February 15, 1965

9. Help!
Recorded April 13, 1965

10. Yesterday
Recorded February 16, 1965

11. We Can Work It Out
Recorded October 20, 1965

12. Paperback Writer
Recorded April 13, 1966

13. Penny Lane
Recorded December 29, 1966

14. All You Need Is Love
Recorded June 14, 1967

15. Hello, Goodbye
Recorded October 2, 1967

16. Hey Jude
Recorded July 29, 1968 (Short Version)

17. Get Back
Recorded January 23, 1969

18. Come Together
Recorded July 21, 1969

19. Let It Be
Recorded January 26, 1969 with final mixing done in March 1970

20. The Long And Winding Road
Recorded January 26, 1969 with final mixing done in March 1970

All songs composed by John Lennon & Paul McCartney
Produced by George Martin
Recorded in England
All 20 songs reached the no. 1 position on the pop singles charts as compiled by Billboard magazine, international music trade publication. All selections have been previously released.

Beatles for Sale: The Musical Secrets of the Greatest Rock 'n' Roll Band of All Time

by David Rowley

A look at the commercial compromises and recording secrets of the most famous pop group ever. Marketed as cynically as any boy band of today, the Beatles may be the most extraordinary music phenomenon of the last century--but not everything is known about their songs. Here, for the first time, their songwriting and recording secrets are disclosed: their studio tricks, their songwriting formulas, the music they "stole" from others, and the commercial compromises they made to achieve hit status. Including a chronological survey that reveals something new about every song released, Beatles for Sale may be the most informative and frank account of their music ever written. Journalist David Rowley writes for numerous publications, including The Guardian, Time Out, and the Independent on Sunday.

Excerpt

Useful, objective explanations of the Beatles are treated with wariness. Each new and challenging Beatles book - particularly Ian MacDonald's Revolution in the Head and even the Beatles' very own Anthology book - is treated in the media with the same desperate assertion: `We thought that nothing new could be said about the Beatles, but you can go out and buy this book safe in the knowledge that this is the very last Beatles book you ever need to buy.' One assumes that people generally like the myth of the Beatles and do not want a rational explanation.

Our views on the Beatles must evolve. Just as every generation produces a new analysis and opinion of figures like Mozart or Shakespeare, so our attitude to the Beatles will change. Crucially, new evidence is still emerging on the Beatles. Already Philip Norman's thrilling biography of the group, Shout! from 1981, looks to have gaping holes in it. Since its publication many figures from the Beatles' past have emerged to tell their own stories as the Beatles nostalgia industry has provided public speaking opportunities. At the 2001 Beatles convention in Liverpool it was interesting to hear Cavern DJ Bob Wooler denounce as myth the idea stated in many Beatles books that it was `Cunard Yanks' working on ocean liners that docked in Liverpool who introduced rare rock 'n' roll and R&B records to Liverpool. And who should know better than Liverpool's foremost early 1960s DJ that such records were easily available on order in Liverpool record shops? During my own research, I came across numerous interviews not drawn upon by other books - part of it on the relatively new medium of the Internet. John Lennon and Paul McCartney have been prolific givers of interviews, yet even widely available interviews such as John's interviews for Rolling Stone in 1970 and Playboy in 1980 are fruitful after repeated reading.

We resist too much deep thought on the Beatles as their songs are often simple and light. At the same time by contrast we often find their success so incomprehensible that for many of us it is easiest to portray them as gods. Understanding the Beatles' methods is something that can improve our appreciation of their music and is of use for anyone making music or contemplating a pop career. To be able to see them as human beings and not deities should, too, make them more appealing to a younger generation irritated with their parents' gloating memories of having been closer in spirit and time to the Beatles.

What pass for explanations of the Beatles' music today are shaggy dog stories. We are kept amused with tit-bits of trivia about the making of their music. There is the endless and disappointing retelling of the creation of `Yesterday'; of how with no lyrics Paul used the words `scrambled eggs' to scan out the melody and of how `Hey Jude' was originally `Hey Jules' in honour of Julian Lennon. These tales are dead-ends and do not illuminate us on the Beatles' artistry; if anything, they diminish the songs in question. By contrast, we have little such trivia on the making of Shakespeare's plays. Instead we are left with his works, which we must grasp and analyse.

Analyses, of course, have been made of the Beatles music, two of the best being Ian MacDonald's Revolution In The Head: the Beatles' Records and the '60s and Steve Turner's A Hard Day's Write. MacDonald's book is largely an analysis of the intuitive and conscious musical workings of the Beatles, while Turner's is a result of his extensive research of the anecdotes and events surrounding each song. In parts our research has overlapped, but neither of these books seems motivated strongly to demystify the way we see the Beatles.

One of the key myths surrounding the Beatles' is that their music was so artistically strong it could not fail to get to number one. This belief fails to take into account their huge ambition for fame and its rewards. In today's usual reckoning of the Beatles as pop `artists', we tend not to examine any of their baser motives, preferring to see them as purely motivated by a love of music and a need to communicate with the world. The Beatles themselves, it should be noted, have attempted to point out that not all their motives were pure. John in particular wielded the biggest attack against the Beatles myth - as he himself referred to it - in his 1970 Rolling Stone interview. To make it to the top he said you had to be a `bastard' and the Beatles were in such a context the `biggest bastards on earth'. Albert Goldman's The Lives Of John Lennon seems to have taken this remark to heart and pursued it relentlessly, missing the point of what John was trying to achieve with this comment. By making such knowingly sensational remarks, he sought to counter what he saw as widely held misconceptions of the Beatles. His remarks also served to emphasise that the Beatles were not gods, but ordinary human beings. It is from the last perspective that I have written this book - the Beatles not as four gods, but as four highly motivated, but otherwise normal, Liverpool lads.

While the Beatles did more than any other pop group to make the term `pop artist' a valid one, to see their first five albums, for example, in purely artistic terms is to misunderstand them completely. If anything, the Beatles' early career involved the suppression of their artistic urges for monetary gain and a high media profile. (The importance the Beatles gave to getting rich is revealed unashamedly in many interviews they made between 1963 and 1965, especially in those set question-and-answer-style profiles in pop magazines, where often their answer to the `Ambitions' section is simply `to be rich'.)

To reach the top, the Beatles faced more commercial than artistic battles. Their early five-year struggle (1957-62) left its mark on them, unlike, for example, the Rolling Stones, who achieved national fame a mere two years after their formation. By contrast, the Beatles needed to present themselves smartly to gain the few early gigs they could muster in Liverpool, they needed dramatic stage showmanship and a broad
repertoire of songs to win over a disinterested German public on their first visit to Hamburg, and they needed to wear suits to secure lucrative bookings in large theatres and make an impression on London record companies.

These compromises shaped the Beatles' outlook but encouraged them to put one over on the staid, out-of-touch UK music industry and re­write the rules. Unlike Mick Jagger, who had an open invitation to return to the London School of Economics any time his pop career fell through, the Beatles had staked everything on making it in the music business and their first concern was to gain enough commercial success to secure their livelihood. Probably the only time the Beatles truly relaxed enough to produce material that appealed to their artistic sensibilities alone was on The White Album in 1968.

The Beatles' key commercial strategy in their first few years of recording was to write lyrics emphasising their eligibility as young handsome men to impressionable girl teens - one of the most loyal markets of record buyers. John's marriage and child (which admittedly he never publicly sought to deny) were kept secret for as long as possible, as were Paul, George and Ringo's girlfriends. As cynically as any boy band of recent years, the Beatles lyrics portrayed the group as a fantasy of true, devotional love and unthreatening masculinity. Intimacy went only as far as kissing, holding hands (`I Want To Hold Your Hand') and dancing (`I Saw Her Standing There' and `I'm Happy Just To Dance With You'). The grand lie of this early Beatles era (and that for most successful boy bands today) was that between 1962 and 1965, John and Paul in particular were in fact so sexually active that the only true relationships they had time for were between themselves.

The irony was that the Beatles would probably have been far more comfortable with the raunchier style of the Rolling Stones at this time. What little mention of sex did creep into their music in this era was either coded or implied on album tracks and B-sides, such as `Norwegian Wood', `She's A Woman', `Hold Me Tight' and `Everybody's Trying To Be My Baby'. (`Please Please Me' includes some of their more salacious lyrics, though this was written before Beatlemania and before the Beatles had entered the national consciousness.) It must have been a cause of enormous satisfaction and relief to the Beatles when they smuggled their first overt sexual reference onto an A-side with `Day Tripper', where Paul smuggled in the words `prick teaser'. Even here, though, the reference was largely included to impress their drinking buddies and contemporaries in the rock business.

By late 1965 the Beatles had all bought their big houses in exclusive neighbourhoods, had proved themselves `as big as Elvis' and were free to explore other artistic ambitions. Meanwhile in Hollywood a younger, tamer version of the Beatles - the Monkees - was conveniently about to take over as the world's cuddly and puppet-like `fab four'.

The Beatles - Hey Jude (US Stereo LP - Apple)

Label: Dr. Ebbetts, SW-385

1. Can't Buy Me Love
2. I Should Have Known Better
3. Paperback Writer
4. Rain
5. Lady Madonna
6. Revolution
7. Hey Jude
8. Old Brown Shoe
9. Don't Let Me Down
10. Ballad Of John And Yoko

Produced by George Martin

Liverpool The 5th Beatle: An African-American Odyssey

by P. Willis-Pitts

A unique and frank first hand account of the Beatles in early Liverpool & the major contribution made by African Americans to the British music scene

Over 250 rare photographs

Black meets White in a City all Shades of Gray

"A wonderfully researched latent masterpiece. You manage to shed new light on what is fast becoming more myth than reality."
Paul Balmer, Documentary Film maker
Music On Earth Productions, London

Liverpool The 5th Beatle is a perspective on the rise of the Liverpool Mersey Sound by someone who drank in the same pubs, and played in the same clubs as the Beatles. Mr Pitts delves much deeper than the average rock journalist to present an amazingly original comparison of Liverpool with Black America of the 50's and 60's giving us an insight into how the social and musical conditions in our African-American community found a direct heart beat amongst the Liverpool youth who were singularly responsible for the rise of the Mersey Sound and the incredible success of the Beatles. Not only is his book inspiring to minority groups throughout America but this novel insight into the Beatles and the ghetto conditions in which the Mersey Sound began has stirred avid interest in all age groups who are quite mesmerized by the truth behind the Beatles' legend.

Lennon Revealed: Audio Book

by Larry Kane

Exclusive new interviews with Yoko Ono and more than 100 friends and family

INCLUDES DVD of the Final interview with Lennon and McCartney

A quarter of a century after his death, the question remains: what was John Lennon really like? Now, in the audio version of The New York Times’ bestselling book, acclaimed broadcast journalist Larry Kane uncovers the mysteries of Lennon’s life and implodes the myths surrounding it. Lennon Revealed is filled with eye-opening revelations: Kane provides stunning information about Lennon’s relationships with Ono, his childhood soulmate Stuart Sutcliffe, his lover May Pang, and Beatles’ manager Brian Epstein. Drawing on extensive personal accounts and extraordinary new interviews—most notably, Yoko Ono—Kane brings the reader closer than ever to the charismatic man who, in life and in death, had a singular impact on humanity. The exclusive DVD also features the rarely seen final filmed interview with Lennon and Paul McCartney, conducted by Larry Kane in 1968.

Larry Kane is the “dean of Philadelphia television news anchors,” having had a 45-year career covering domestic and world events. He previously wrote an account of his tour experiences with the Beatles in his book Ticket to Ride. Kane lives in southeastern Pennsylvania.

The Beatles - UK EP Collection - Vol. 2 (DESS Mono/Stereo Compilation - Parlophone)

Label: Dr. Ebbetts, EPC-CD045

1. I'll Follow The Sun
2. Baby's In Black
3. Words Of Love
4. I Don't Want To Spoil The Party
5. She Loves You
6. I Want To Hold Your Hand
7. Can't Buy Me Love
8. I Feel Fine
9. Yesterday
10. Act Naturally
11. You Like Me Too Much
12. It's Only Love
13. Nowhere Man
14. Drive My Car
15. Michelle
16. You Won't See Me
17. Magical Mystery Tour (Mono)
18. Your Mother Should know (Mono)
19. I Am The Walrus (Mono)
20. The Fool On The Hill (Mono)
21. Flying (Mono)
22. Blue Jay Way (Mono)
23. Magical Mystery Tour (Stereo)
24. Your Mother Should Know (Stereo)
25. I Am The Walrus (Stereo)
26. The Fool On The Hill (Stereo)
27. Flying (Stereo)
28. Blue Jay Way (Stereo)

Notes
Volume 2 contains the last 6 Beatle U.K. EPs in excellent mono sound quality. Magical Mystery Tour is presented here in mono and stereo.

Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums

by Kevin Ryan and Brian Kehew

Never before has there been such an absolutely thorough and definitive look at how the Beatles' albums were recorded. Years of research and extensive interviews with the group's former engineers and technicians shed new light on those classic sessions. With a detailed look at every piece of studio gear used, full explanations of effects and recording processes, and an inside look at how specific songs were recorded, Recording The Beatles is a must-have for any Beatles fan or recording engineer. Hardcover, 11" x 11", 540 pages, over 500 photos and illustrations, color and black and white, ISBN: 0-9785200-0-9

Advance Praise for Recording The Beatles

"Five stars...impossible to put down...a major publication."
MOJO, March 2007

"Magnificently produced...everything you could possibly want to know about the equipment used at the Abbey Road Studios when the Beatles worked there, and... how the group made its classic recordings"
New York Times, December 26, 2006

"...a vast, in-depth and amazingly well researched document of recording history."
Sound On Sound, December 2006

"Few books -- if any -- deliver such a thorough, detailed and enjoyable exegesis of vintage recording equipment."
Future Music, January 2007

"Some books stand clear of the crowded field by the contribution they make, and Recording The Beatles is a giant. The intricate technical aspects of the Beatles' recordings have never been better explained. This is a volume that adds considerably to the knowledge, providing a comfortable arm to guide the read up, down, inside and outside the EMI studios at Abbey Road, examining how all those extraordinary tracks came together, identifying the equipment and how it was put to use, looking at the expertise of EMI's superbly trained staff, exploring the techniques and processes. Clearheaded writing, photographs, illustrations, diagrams... it's a masterclass of fine scholarship, a definitive work."
--Mark Lewisohn, renowned Beatles author (excerpted from Foreword)

"...the most definitive and thoroughly researched book ever published about how the Beatles' recordings were actually made. It is an absolute 'must' for anyone who wants to know the true story of their recordings, the equipment used, and the people behind the scenes."
--Ken Townsend, Beatles Technical Engineer 1962-1970, former Director of Operations Abbey Road Studios

"A fascinating and impeccably researched work about the engineers, studios and equipment that contributed to the 'recording revolution' that was The Beatles. An essential Beatles recording bible."
--Alan Parsons, engineer/producer (The Beatles, Pink Floyd, Wings, The Alan Parsons Project)

"Recording The Beatles is quite superb. The research, the content, the overall appearance, are unparalleled. It is a work of art. I have nothing but praise for it."
--Norman Smith, engineer/producer (The Beatles, Pink Floyd, Pretty Things)

"I was at Abbey Road for a number of years and this book tells me things I never even knew. It is amazing and should be requisite reading for anyone with the slightest interest in the making of records. It shows where many of today's commonplace recording techniques originated and what may have been lost in the translation."
--Ken Scott, engineer/producer (The Beatles, David Bowie, Elton John, George Harrison)

"Musicians, producers and engineers of all generations will find this an invaluable guide to the Golden Decade of British Recording. Brian and Kevin's extraordinary research process -- which included intense cross-referencing of recollections and anecdotes by Abbey Road staffers, past and present -- achieves the most accurate document of The Beatles' recording techniques yet published."
--John Kurlander, engineer (The Beatles, Paul McCartney, Lord of the Rings Trilogy)

"An amazingly detailed book that shows -- both in picture and text -- details that have never before been revealed about Abbey Road Studios. A great read for anyone interested in any aspect of recording."
--Richard Lush, engineer (The Beatles, John Lennon, Badfinger, Paul McCartney)

"To this day the question keeps coming up: 'How did the Beatles do it?' Kevin and Brian's book leaves no stone unturned in revealing Abbey Road's contribution to these unique recordings. A magnificent effort. The amount of detail is quite amazing and provides a wonderful insight into the technology and methods used at the studio in the 60s. This is a definitive piece of work."
--Martin Benge, engineer (The Beatles, George Harrison) former Vice President EMI Music Studios

The Beatles - UK EP Collection - Vol. 1 (DESS Mono Compilation - Parlophone)

Label: Dr. Ebbetts, EPC-CD044

1. Twist And Shout
2. A Taste Of Honey
3. Do You Want To Know A Secret
4. There's A Place
5. From Me To You
6. Thank You Girl
7. Please Please Me
8. Love Me Do
9. I Saw Her Standing There
10. Misery
11. Anna (Go To Him)
12. Chains
13. All My Loving
14. Ask Me Why
15. Money
16. P.S. I Love You
17. Long Tall Sally
18. I Call Your Name
19. Slow Down
20. Matchbox
21. I Should Have Known Better
22. If I Fell
23. Tell Me Why
24. And I Love Her
25. Any Time At All
26. I'll Cry Instead
27. Things We Said Today
28. When I Get Home
29. No Reply
30. I'm A Loser
31. Rock And Roll Music
32. Eight Days A Week

Notes
Volume 1 contains the Beatles first 8 U.K. mono EPs in excellent sound quality. Volume 2 contains the last 6 EPs.

The Revolutionary Artist: John Lennon's Radical Years

By Patrick Cadogan

“I’ve always been politically minded, you know, and against the status quo. It’s pretty basic when you’re brought up, like I was, to hate and fear the police as a natural enemy and to despise the army as something that takes everybody away and leaves them dead somewhere. I mean, it’s just a basic working class thing, though it begins to wear off when you get older, get a family and get swallowed up in the system. In my case I’ve never not been political, though religion tended to overshadow it in my acid days; that would be around ‘65 or ‘66. And that religion was directly the result of all that superstar shit – religion was an outlet for my repression. I thought, ‘Well, there’s something else to life, isn’t there? This isn’t it, surely?’”
– John Lennon, 1971

John Lennon began his career as a regular pop star who happened to make extraordinary music. All that changed in 1966 when Lennon was criticized for remarking that the Beatles were “more popular than Jesus.” Ticket sales soon dwindled in United States during what was to be their final tour. The Beatles were now a studio band and could write songs for themselves, rather than to please the public. Lennon was free to write about his childhood (“Strawberry Fields Forever”), his personal state of mind (“I’m So Tired,” “Yer Blues”) or politics (“Revolution”). Meeting and falling in love with Yoko Ono fueled his creativity in songwriting and other fields of art. John also gained the confidence to express his politics publicly and take action in promoting peace. Radicalized through meetings and associations with Tariq Ali, Jerry Rubin, Abbie Hoffman, and Phil Ochs, John now called himself a “revolutionary artist.” Focusing primarily on his radical years (1968-1972), The Revolutionary Artist is an examination of Lennon’s forays into activism, his political views, and the music he created during the period. Specific areas of focus include:

• An in-depth look at the 1969 Montreal bed-in, with extensive and wide-ranging interviews
• Lennon’s 1969 testimony concerning drugs at the Le Dain Commission in Canada
• Previously unreleased transcript of peace seminar Lennon attended at the University of Ottawa
• Unheard discussions between John and Yoko recorded during their Primal Therapy sessions in 1970
• A song-by-song analysis of Lennon’s first three solo releases (Plastic Ono Band, Imagine, and Some Time in New York City), with commentary from John
• Lennon in 1972 running through and commenting on all of the songs that he and Paul wrote as the Beatles

Review

What new materials could possibly be out there be when it comes to a subject like John Lennon? The answer is apparently quite a lot when it comes to The Revolutionary Artist, a new book that takes a look at the period where John actively promoted peace and wrote some of his best music. Here are some of the highlights:

• Yoko's thoughts on John, and the other Beatles, recorded on a tape made during the recording sessions for "Revolution." Interestingly, she is much more fearful here of her tenuous relationship with John than is typically portrayed in Beatles books. She also is quite positive in her feelings about Paul McCartney: "He’s treating me with respect," she says.
• Tells how George Harrison left the group in January 1969. John's only response to him was: "We aim to please." Also has a conversation between John and Paul soon afterwards recorded secretly by Let It Be director Michael Lindsay-Hogg where they discuss George and problems internal to the group.
• Several interviews with John during the Montreal bed-in for peace event, including a wide-ranging discussion on various topics such as war, student radicals, systems of government, nationalism, the generation gap, parent-child relationships, educational systems, marriage, meditation, religion, money, censorship, and music records.
• Testimony from John at a government commission on the use of drugs: "The problem still remains that all of us needs a drug," he says, "whether it is sleeping pills, barbiturates, alcohol or what have you."
• John's last interview promoting a Beatles LP -- discussing Abbey Road in 1969.
• John talking about his association with the family of James Hanratty and Michael X (there's one tense moment where a TV host refuses to shake Michael's hand and John interjects: "“Racialism! I saw it.”).
• Canadian Prime Minister Pierre Trudeau giving his thoughts on meeting with John and Yoko.
• A great discussion on the songs of the Plastic Ono Band LP vis-a-vis Dr. Arthur Janov's ideas on Primal Therapy and how they influenced the material. There is also a lengthy section on some private discussion recorded by John and Yoko at the Primal Therapy Institute where they carry out exercises prescribed by Janov and run through their histories of relationships.
• Lennon talking to Phil Spector on Paul's (and Wings') Wild Life ("It’s really bad," Spector says).
• John discussing the tracks of Imagine and Some Time in New York City ("If it’s a choice between the IRA or the British army, I’m with the IRA," John says at one point).
• Frank Zappa talking about how John ripped him off in releasing the live cuts on the Some Time in New York City album.

Probably the most fascinating section is the final chapter (#9), where in 1972 John discusses all the Beatles tracks he wrote with Paul, giving his thoughts on each and pointing out who wrote what (it also includes a few of George's tracks that he contributed to). It goes all the way from "Love Me Do" to the Beatles' last single, "The Long and Winding Road" (it also includes the so-called "songs the Beatles gave away," like "Hello Little Girl," "Bad to Me," etc.). The thoughts are then augmented with occasional affirmations or rebuttals from Paul, who offers his own insights on the tracks (it's interesting to note that in 1972, they only disagreed on one song as to who wrote which part).

All in all, worth picking up if you're interested in some of the above-mentioned topics, especially John's music from the Beatles era to circa 1972. Those were the days, my friend...

Beatle News

Beatle Holidays

Paul and Ringo returned looking very brown; John came back with twice the energy and George reckons St. Louis is almost as good as Liverpool.

Comments from the boys:

Paul: "The Greeks thought our clothes were real mad!!! They used to look at us in amazement wherever we went. Ringo and I went to a Wine Festival. They gave us a decanter each and then told us to go ahead and try ALL the 200 different wines they had and then fill it up with the one we liked best. I reckon we'd have been well away by number 34 if we'd done as they said!"

Ringo: "I did a lot of swimming during the day while Paul had a bash at the water skiing. During the evenings we used to join in with the local Greek group called the Trio Athenia. 'Course they didn't play pop stuff--not until we turned up at any rate. Now they'll have a go at half our Top Ten."

George: "I thought America was really great. I met Tony Newley over there. He'd never heard any of our numbers so I played him some of our recordings. When I left he said he wanted to record 'I Saw Her Standing There.'"

John: "Paris is a really fab place. I just wandered around and tried to see everything. At night it's fantastic. The whole city becomes one big night club."

But they all said: "It's great to be back again."

Film Being Considered

Brian Epstein has found a film script which might be suitable for the boys. But they've no intention of rushing into anything.

"We'll wait for just as long as it takes to find just what we want," he says.

Fan Club Tops 20,000

Britain's fastest growing community -- Beatletown -- now numbers over 20,000 citizens. And between 750 and 1,000 new Beatle People move in every week. Fan club secretaries are having a bit of a job answering the thousands of enquiries, but they promise that patience will always be rewarded.

New Guitar for George

George decided to join John's exclusive club and buy a Rickenbacker guitar while he was in America. It was stolen from their van outside the theatre in Glasgow, but, luckily the Police were watching and it was recovered immediately.

Strange Coincidence

(Extract from "Echo")

Mr. George Harrison (60) of Pound Lane, Burley, worker in the New Forest for over 20 years, was very annoyed this morning at stories which suggested he had been deprived of his job as a "Beetle Catcher." "They are making a mug out of me," he said.


My very grateful thanks to everybody who sent me so many wonderful cards and presents on my birthday. I wish it were possible for me to write and thank you all personally. JOHN.

Tremendous Reception in Scotland

The boys have been completely overwhelmed by their audiences in Scotland. In fact the balcony audiences went so wild that a piece of stonework was dislodged.

The Fourmost Thank John and Paul

Another Lennon and McCartney penned number goes racing up the charts. This time it's Brian O'Hara, Mike Millward, Billy Hatton and Dave Lovelady known collectively as the Fourmost who have to thank the top songwriting twosome.

Sweden Wants the Beatles

The boys paid a visit to Sweden at the end of October, where they are in big demand following the terrific success of their discs.