Beatles' Era - Rome Pop Festival 1968

David Bowie sings The Beatles

1 - Mother
2 - Across The Universe
3 - Working Class Hero
4 - Imagine
5 - Penny Lane

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The Beatles - At The Royal Variety & More

The Beatles - At The Royal Variety Performance Nov.4, 1963

1 - Introduction By Dickie Henderson
2 - From Me To You
3 - She Loves You
4 - Till There Was You

5 - Twist And Shout
THE BLACKPOOL NIGHT OUT 1. AUG. 1965
6 - I Feel Fine
7 - I'm Down
8 - Act Naturally
9 - Ticket To Ride
10 - Yesterday
11 - Help!
ROYAL VARIETY SHOW 4. NOV. 1963

12 - From Me To You (Fade In)
13 - She Loves You
14 - Till There Was You
15 - Twist And Shout
EMPIRE LIVERPOOL 7. DEC. 1963

16 - From Me To You
17 - I Saw Her Standing There
18 - All My Loving
19 - Roll Over Beethoven
20 - Boys
21 - Till There Was You
22 - She Loves You
23 - This Boy
24 - I Wanna Hold Your Hand
25 - Money
26 - Twist & Shout
27 - From Me To You

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The Beatles - 40 Videos

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9

Beatlemania! The first North American release

Beatlemania ! With The Beatles - Capitol Records of CANADA, T-6051 Mono Dic, 2, 1963

When word spread to North America of The Beatles phenomenal success overseas, Capitol of Canada decided to release the Beatles second British LP With The Beatles. The label altered the front cover of the album by adding favorable quotes and retitling the record Beatlemania! With The Beatles.This LP holds the distinction of being the FIRST Beatles album in North America (2 December 1963), preceding Vee-Jay's "Introducing The Beatles and Capitol's Meet The Beatles.
The back cover of the Canadian release is essentially the same as that of the British LP, with both featuring the same liner notes by Tony Barrow.Beatlemania ! was issued as part of the label's 6000 Series,which concentrated on pop albums, and was assigned number T-6051.The LP was ONLY ISSUED IN MONO. Unlike Vee-Jay and Capitol in the U.S., Capitol of Canada did not delete any songs from the British album.Thus, Canadian purchasers were luckily treated to all fourteen songs.

Note: Different edition of official album. Just to know it. No download here.

Beatles' Covers

Yes - Every Little Thing

Beatles' Lyrics

Every Little Thing
(Lennon & McCartney)
from: Beatles For Sale

When I'm walking beside her
People tell me I'm lucky
Yes I know I'm a lucky guy
I remember the first time
I was lonely without her
Yes I'm thinking about her now

Ev'ry little thing she does she does for me yeah
And you know the things she does she does for me yeah

When I'm with her I'm happy
Just to know that she loves me
Yes I know that she loves me now
There is one thing I'm sure of
I will love her forever
For I know love will never die

Ev'ry little thing she does she does for me yeah
And you know the things she does she does for me oo
Ev'ry little thing...

A Beatles Timeline and Notes on Beatles Songs - E

Eight Days a Week (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 6 Oct 64
Released: 15 Feb 65 (US), on "Beatles for Sale": 4 Dec 64 (UK), on "Beatles VI": 14 Jun 65 (US)
Notes: Knocked out quickly. Ringo suggested the title, or in another version, a driver did so.

Eleanor Rigby (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 28, 29 Apr, 6 Jun 66
Released: 5 Aug 66 (US and UK), on "Revolver": 5 Aug 66 (UK), 8 Aug 66 (US)
Notes: "Darning socks" from Ringo. Temporary lyrics were "Ola Na Tungee/Blowing his mind in the dark/With a pipe full of clay/No-one can say." Paul claims Eleanor was not based on a real person and the name and surname came independently. There is a gravestone in a chuchyard where they hung out with that name. But Paul says Eleanor came from Eleanor Bron (one of John's girlfriends) and Rigby came from a shop sign "Rigby & Evans Ltd., Wine & Spirit Shippers." Father McKenzie was originally Father McCartney; McKenzie came from the phone book. This was a real change in Paul's writing. Her name was originally "Miss Daisy Hawkins." Paul's first attempt at serious music.

The End (Lennon and McCartney)
Real Author: Paul
Recorded: 23 Jul, 5, 7, 8, 15, 18 Aug 69
Released: on "Abbey Road": 26 Sept 69 (UK), 1 Oct 69 (US)

Everybody's Got Something to Hide Except for Me and My Monkey (Lennon and McCartney)
Real Author: John
Recorded: 27 Jun, 1, 23 Jul 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Monkey is Yoko, and heroin (monkey on back). Originally "Come on, come on."

Every Little Thing (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 29, 30 Sep 64
Released: on "Beatles for Sale": 4 Dec 64 (UK), on "Beatles VI": 14 Jun 65 (US)
Notes: Filler. Written for Jane.

John Lennon - The Complete Imagine

Alternate Takes for the Imagine Album

1.Imagine
2.Crippled Inside
3.Jealous Guy
4.It's So Hard
5.How Do You Sleep
6.Give Me Some Truth
7.Oh My Love
8.How Do You Sleep
9.How
10.Oh Yoko!
11.San Fransisco Bay Blues

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...or you may prefer to get this one:

John Lennon - Imagine... All The Outtakes

CD 1:
1 - Imagine - Version 2, Take 1
2 - Crippled Inside - Take 17
3 - Jealous Guy - Take 2
4 - It's So Hard - Take 2
5 - I Don't Want To Be A Soldier, I Don't Want To Die - Take 2
6 - Give Me Some Truth - Alternate Vocal
7 - Oh My Love - Take 2
8 - How Do You Sleep - Alternate Vocal
9 - How - Alternate Vocal
10 - Oh Yoko! - Take 9
11 - Just A Little Story... - Studio Monologue
12 - Well (Baby Please Don't Go) - Take 1

CD 2:
1 - Imagine - Take 1
2 - Imagine - Take 2
3 - Imagine - Take 3
4 - Imagine - Alternate Vocal
5 - Crippled Inside - Take 2
6 - Jealous Guy - Take 1
7 - Jealous Guy - Take 7
8 - Jealous Guy - Vocal Take 20
9 - I Don't Want To Be A Soldier, I Don't Want To Die - Take 1 With Sax
10 - I Don't Want To Be A Soldier, I Don't Want To Die - Alternate Mix
11 - Oh My Love - Alternate Take 1A
12 - Oh My Love - Alternate Take 1B
13 - How - Take 12
14 - How - Alternate Vocal B
15 - How - Original Take 2
16 - Oh Yoko! - Take 7
17 - I'm The Greatest - Piano Demo
18 - Imagine - Rehearsal
19 - San Francisco Bay Blues - Impromptu Studio Solo

CD 3:
1 - How Do You Sleep - Rehearsal 1
2 - Tuning Jam
3 - How Do You Sleep - Rehearsal 2
4 - How Do You Sleep - Rehearsal 3
5 - How Do You Sleep - Version 2
6 - How Do You Sleep - Take 2
7 - How Do You Sleep - Version 3
8 - How Do You Sleep - Alternate Vocal B
9 - Oh My Love - Acoustic Demo A (Late 1968)
10 - Oh My Love - Acoustic Demo B (Late 1968)
11 - How - Piano Demo (Late 1970)
12 - People Get Ready-How - Piano Demo (Late 1970 - Early 1971)
13 - How-Child Of Nature-Oh Yoko - Piano Demo (Late 1970 - Early 1971)
14 - Oh Yoko! - Acoustic Demo (Mid 1969)
15 - Oh Yoko! - Piano Demo (Late 1970 - Early 1971)
16 - It's So Hard - Sax Overdub (7-4-71 Nyc)
17 - I Don't Want To Be A Soldier, I Don't Want To Die - Sax Overdub (7-4-71 Nyc)
18 - How Do You Sleep (Reprise)

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Natasha Emily singing Working Class Hero

Beatles' Covers

Ozzy Osbourne - Working Class Hero

Beatles' Covers

Marilyn Manson - Working Class Hero

Beatles' Covers

Manic Street Preachers - Working Class Hero

Beatles' Covers

Pain of Salvation - Working Class Hero

Beatles' Covers

Noir Désir - Working Class Hero

Beatles' Covers

Green Day - Working Class Hero

Beatles' Covers

Cyndi Lauper - Working Class Hero

Beatles' Covers

Marianne Faithfull - Working Class Hero

Beatles' Era - David Bowie

Acetate (1967)

1. Everything Is You
2. Social Girl

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John's Writings: A Spaniard in the Works 1

A Spaniard in the Works is a book from 1965 by John Lennon. The book consists of nonsensical stories and drawings similar to the style of his previous book, 1964's In His Own Write.

A Spaniard in the Works

Jesus El Pifco was a foreigner and he knew it. He had imigrateful from his little white slum in Barcelover a good thirsty year ago having first secured the handy job as coachman in Scotland. The job was with the Laird of McAnus, a canny old tin whom have a castle in the Highlads. The first thing Jesus E1 Pifco noticed in early the days was that the Laird didn't seem to have a coach of any discription or even a coach house you know, much to his dismable. But-and I use the word lightly-the Laird did seem to having some horses, each one sporting a fine pair of legs. Jesus fell in love with them at first sight, as they did with him, which was lucky, because his quarters were in the actually stables along side his noble four lepered friends
Pretty polly one could see Jesus almost every day, grooming his masters horses, brushing their manebits and hammering their teeth, whistling a quaint Spanish refrain dreaming of his loved wombs back home in their little white fascist bastard huts.
'A well pair of groomed horses I must say,' he would remark to wee Spastic Sporran the flighty chamberlain, whom he'd had his good eye on eversince Hogmanose.
'Nae sa bad' she would answer in her sliced Aberdeen, martin accent. 'Ye spend more time wi'yon horses than ye do wi' me,' with that she would storm back to her duties, carefully tying her chastity negro hardly to her skim.
Being a good catholic, Jesus wiped the spit from his face and turned the otha cheese-but she had gone leaving him once small in an agatha of christy.
'One cave she wolf go too farther, and I wolf leaf her' he said to his fave rave horse. Of course the horse didn't answer, because as you know they cannot speak, least of all to a garlic eating, stinking, little yellow greasy fascist bastard catholic Spaniard. They soon made it up howevans and Jesus and wee Spastic were once morphia unitely in a love that knew no suzie. The only thing that puzzled Jesus was why his sugarboot got so annoyed when he called her his little Spastic in public.
Little wonder howeapon, with her real name being Patrick, you see?
'Ye musna' call me Spastic whilst ma friends are here Jesus ma bonnie wee dwarf' she said irragated.
'But I cannot not say Patrick me little tartan bag' he replied all herb and angle inside. She looked down at him through a mass of naturally curly warts.
'But Spastic means a kind of cripple in English ma sweet wee Jesus, and ai'm no cripple as you well known!'
'That's true enough' said he 'but I didn't not realize being a foreigner and that, and also not knowing your countries culture and so force, and anywait I can spot a ample anywhere.'
He rambled on as Patrick knelt down lovingly with tears in her eye and slowly bit a piece of his bum. Then lifting her face upwarts, she said with a voice full of emulsion 'Can ye heffer forgive me Jesus, can ye?' she slobbed. He looked at her strangely as if she were a strangely, then taking her slowly right foot he cried; 'Parreesy el pino a strevaro qui bueno el franco senatro!' which rugby transplanted means-'Only if you've got green braces'-and fortunately she had.
They were married in the fallout, with the Lairds blessing of course, he also gave them a 'wee gifty'as he put it, which was a useful addition to their bottom lawyer. It was a special jar of seaet ointment made by generators of his forefingers to help get rid of Patricks aabs which she had unluckily caught from the Laird of McAnus himself at his late wifes (Lady McAnus') wake. They were overjoyced, and grapenut abun and beyond the call of duty.
'The only little crawlie things we want are babies,' quipped Jesus who was a sport. 'That's right sweety' answered Patrick reaching for him with a knowsley hall.
'Guid luck to you and yours' shouted the Laird from the old wing.
'God bless you sir' said Jesus quickly harnessing his wife with a dexterity that only practice can perfect. 'Come on me beauty' he whispered as he rode his wife at a steady trot towards the East Gate. 'We mustn't miss the first race my dear.'
'Not likely' snorted his newly wed wife breaking into a gullup. 'Not likely' she repeated.
The honeymood was don short by a "elephant from Mrs El Pifco (his mother) who was apparently leaving Barcelunder to see her eldest sod febore she died laughing, and besides the air would do her good she added. Patrick looked up from her nosebag and giggled.
'Don't joke about Mamma please if you donlang, she are all I have loft in the world and besides your mother's a bit of a brockwurst herselves' said Jesus, 'And if she's still alive when she gets here we can throw up a party for her and then she can meet all our ugly Scottish friends' he refleacd. 'On the other handle we can always use her as a scarecrab in the top field'said Patrick practically.
So they packed their suitcrates marked 'his and hearse' and set off for their employers highly home in the highlies.
'We're home Sir' said Jesus to the wizened tartan figure knelt crouching over a bag of sheep.
'Why are ye bask so soon'' inquired the Laird, immediately tecognizing his own staff through years of experience. 'I've had some bad jews from my Mammy-she's coming to seagull me, if its all ripe with you sir.' The Laird thought for a mumble, then his face lit up like a boiling wart.
'You're all fired' he smiled and went off whistling.

The Fat Budgie

I have a little budgie He is my very pal I take him walks in Britain I hope I always shall.
I call my budgie Jeffrey My grandads name's the same I call him after grandad Who had a feathered brain.
Some people don't like budgies The little yellow brats They eat them up for breakfast Or give them to their cats.
My uncle ate a budgie It was so fat and fair. I cried and called him Ronnie He didn't seem to care
Although his name was Arthur It didn't mean a thing. He went into a petshop And ate up everything.
The doctors looked inside him, To see what they could do, But he had been too greedy And died just like a zoo.
My Jeffrey chirps and twitters When I walk into the room, I make him scrambled egg on toast And feed him with a spoon.
He sings like other budgies But only when in trim But most of all on Sunday Thats when I plug him in.
He flies about the room sometimes And sits upon my bed And if he's really happy He does it on my head.
He's on a diet now you know From eating far too much They say if he gets fatter He'll have to wear a crutch.
It would be funny wouldn't it A budgie on a stick Imagine all the people Laughing till they're sick. So that's my budgie Jeffrey Fat and yellow too I love him more than daddie And I'm only thirty two.

Snore Wife and Some Several Dwarts

Once upon upon in a dizney far away-say three hundred year agoal if you like-there lived in a sneaky forest some several dwarts or cretins; all named-Sleezy, Grumpty, Sneeky, Dog, Smirkey, Alice? Derick-and Wimpey. Anyway they all dug about in a diamond mind, which was rich beyond compere. Every day when they came hulme from wirk, they would sing a song-just like ordinary wirkers-the song went something like-'Yo, ho! Yo, ho! it's off to wirk we go!'-which is silly really considerable they were comeing hulme. (Perhaps ther was slight housework to be do.)
One day howitzer they (Dwarts) arrived home, at aprodestant six o'cloth, and who?-who do they find?-but only Snore Wife, asleep in Grumpty's bed. He didn't seem to mine. 'Sambody's been feeding my porrage!' screams Wimpey, who was wearing a light blue pullover. Meanwife in a grand Carstle, not so a mile away, a womand is looging in her daily mirror shouting, 'Mirror mirror on the wall, whom is de fairy in the land.' which doesn't even rhyme. 'Cassandle!' answers the mirror. 'Chirsh O'Malley' studders the womand who appears to be a Queen or a witch or an acorn.
'She's talking to that mirror again farther?' says Misst Cradock, 'I've just seen her talkmg to that mirror again.' Father Cradock turns round slowly from the book he is eating and explains that it is just a face she is going through and they're all the same at that age. 'Well I don't like it one ti,' continhughs Misst Cradock. Father Cradock turns round slowly from the book he is eating, explaining that she doesn't have to like it, and promptly sets fire to his elephant. 'Sick to death of this elephant I em,' he growls, 'sick to death of it eating like an elephant all over the place.'
Suddenly bark at the Several Dwarts home, Snore Wife has became a firm favourite, especially with her helping arm, brushing away the litele droppings. 'Good old Snore Wife!' thee all sage, 'Good old Snore Wife is our fave rave.' 'And I like you tooth!' rejoices Snore Wife, 'I like you all my little dwarfs.' Without warping they hear a soddy voice continuallykhan shoubing and screeging about apples for sale. 'New apples for old!' says the above hearing voice. 'Try these nice new apples for chrissake!' Grumpy turnips quick and answers shooting 'Why?' and they all look at him.
A few daisy lately the same voice comes hooting aboon the apples for sale with a rarther more firm aproach saying 'These apples are definitely for sale.' Snore Wife, who by this time is curiously aroused, stick her heads through the window. Anyway she bought one-which didn't help the trade gap at all. Little diggerydoo that it was parsened with de'athly arsenickers. The woman (who was the wickered Queen in disgust) cackled away to her carstle in the hills farfing fit to bust.
Anyway the handsome Prince who was really Misst Cradock, found out and promptly ate the Wicked Queen and smashed up the mirror. After he had done this he journeyed to the house of the Several Dwarts and began to live with them. He refused to marry Snore Wife on account of his health, what with her being poissoned and that, but they came to an agreement much to the disgust of Sleepy-Grumpty-Sneeky-Dog-Smirkey-Alice?-Derick and Wimpy. The Dwarts clubbed together and didn't buy a new mirror, but always sang a happy song. They all livered happily ever aretor until they died-which somebody of them did naturally enough.

The Greatest Beatles' Covers Encyclopedia Ever - Vol. 5 of 14

VOL. 5
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Beatles' Memorabilia

Beatles fan club badges, 1963/4

These four official Beatles badges could only be ordered from the fan club. A copy of the order form and the letter that was sent out with the badges, signed by Norman Drees, Beatle Fan Club, are also in the collection.
The badges are displayed here with the order form and fan club letter.

Butchering The Beatles

A heavy metal tribute to The Beatles

1. "Hey Bulldog"
- Alice Cooper, vox; Steve Vai, guitars
Duff McKagen (Velvet Revolver / Guns N Roses), bass
Mikkey Dee (Motorhead), drums
2. "Back In The USSR"
- Lemmy Kilmister (Motorhead), vox/bass
John5 (Marilyn Manson / Rob Zombie), guitars
Eric Singer (Kiss / Alice Cooper), drums
3. "Lucy In The Sky With Diamonds"
- Geoff Tate (Queensryche), vox
Michael Wilton (Queensryche), guitar
Craig Goldy (Dio), guitar; Rudy Sarzo (Dio), bass
Simon Wright (Dio), drums; Scott Warren (Dio), keys
4. "Tomorrow Never Knows"
- Billy Idol, vox; Steve Stevens (Billy Idol), guitars
Blasko (Ozzy Osbourne), bass; Brian Tichy (Billy Idol), drums
5. "Magical Mystery Tour"
- Jeff Scott Soto (Yngwie Malmsteen / Soul Sirkus), vox
Yngwie Malmsteen (Rising Force / Alcatrazz), lead guitar
Bob Kulick, (Meat Loaf / Paul Stanley Band), rhythm guitar
Jeff Pilson (Dokken / Foreigner), bass
Frankie Banali (Wasp / Quiet Riot), drums
6. "Revolution"
- Billy Gibbons (ZZ Top), vox / guitar; Vivian Campbell (Def Leppard), guitar
Mike Porcaro (Toto), bass
Gregg Bisonnette (David Lee Roth / Ringo Starr Band), drums
Joseph Fazzio (Superjoint Ritual), drums
7. "Day Tripper"
- Jack Blades (Night Ranger / Damn Yankees), vox
Tommy Shaw (Styx / Damn Yankees), vox
Doug Aldrich (Whitesnake / Dio), guitars
Marco Mendoza (Whitesnake / Thin Lizzy), bass
Virgil Donati (Steve Vai / Soul Sirkus / Planet X), drums
8. "I Feel Fine"
- John Bush (Anthrax), vox; Stephen Carpenter (Deftones), guitar
Mike Inez (Ozzy Osbourne / Alice In Chains), bass
John Tempesta (The Cult / Testament), drums
9. "Taxman"
- Doug Pinnick (Kings X), vox; Steve Lukather (Toto), guitar
Tony Levin (John Lennon / Peter Gabriel), bass
Steve Ferrone (Eric Clapton / Tom Petty), drums
10. "I Saw Her Standing There"
- John Corabi (Motley Crue), vox;
Phil Campbell (Motorhead), guitar;
C.C. Deville (Poison), guitar;
Chris Chaney (Jane's Addiction), bass;
Kenny Aronoff (Smashing Pumpkins / Jon Bon Jovi), drums
11. "Hey Jude"
- Tim "Ripper" Owens (Judas Priest / Iced Earth), vox
George Lynch (Dokken / Lynch Mob), guitar
Bob Kulick (Meat Loaf / Paul Stanley Band), rhythm guitar
Tim Bogert (Vanilla Fudge / Beck / Bogert & Appice), bass
Chris Slade (AC/DC), drums
12. "Drive My Car"
- Kip Winger (Winger), vox; Bruce Kulick (Kiss / Grand Funk), guitar
Tony Franklin (The Firm / Whitesnake), bass
Aynsley Dunbar (Whitesnake / Journey), drums

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Introducing The Twickenham Sessions

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The Beatles - The Twickenham Sessions 1969

The group began rehearsals at Twickenham Studios on 2 January 1969. No multi-track recordings were made of these sessions, as the Beatles were rehearsing for the live show rather than attempting to record an album. (Despite this, there are widely available bootlegs taken from the mono recordings that were synchronized to the film cameras.) A number of possible locations for the live show were discussed during the Twickenham rehearsals, with the leading candidates being a Roman amphitheatre in North Africa or a cruise ship. At one point, Lennon sarcastically suggested that they perform in "an insane asylum".
Everyone involved in the Twickenham rehearsals considered them to be disastrous. By the third day of rehearsal the group openly discussed whether they should break up. Lennon had all but withdrawn creatively from the Beatles, seldom contributing even to the arrangements of his own songs. Harrison was increasingly resentful; while he was treated respectfully by musical colleagues such as Bob Dylan and Eric Clapton, when working within the Beatles his songs usually were either derided or ignored. McCartney's attempts to hold the band together and rally spirits came across as controlling. The constant presence of Lennon's companion and artistic partner Yoko Ono -- who often spoke on Lennon's behalf as he sat silently by -- was a major source of tension. The intrusive film cameras and the cold, unfamiliar settings of Twickenham Studios also contributed to ill feelings. Finally, Harrison became fed up with Lennon's creative and communicative disengagement from the band, and on 10 January announced that he was "leaving the band now". Within a few days Harrison was persuaded to return to the group, who moved to their own Apple Studios.

Disc 1: "I Like Simple Tunes"
1. Don't Let Me Down / "I Like Simple Tunes" / Dig A Pony / Everybody Got Song / Don't Let Me Down
2. Long & Winding Road** / Oh! Darling** / unknown** / Maxwell's Silver Hammer**
3. Jam "My Name Is Ted"** / Crackin' Up (long jam)** / Crackin' Up / All Shook Up / Your True Love / Blue Suede Shoes / Three Cool Cats
4. One After 909** / "I'll Wait Till Tomorrow" / Hippy Hippy Shake / Two Of Us / Two Of Us**
5.Money (3.54) / Give Me Some Truth / All Things Must Pass / All Things Must Pass**
6.Let It Down** / Improvisation** / Dizzy Miss Lizzy / Money / Fools Like Me / Sure To Fall / Right String, Wrong Yo-Yo

Disc 1-1 Disc 1-2

Disc 2: "You Better Take Control John!"
1. Two Of Us / When The Saints Go Marching In / Loop De Loop / Two Of Us / Hear Me Lord / Across The Universe** 8:55
2. All Things Must Pass** / Let's Dance / All Things Must Pass 7:34
3. She Came In Through The Bathroom Window / Carry That Weight 4:03
4. Long & Winding Road / Golden Slumbers - Carry That Weight / Long & Winding Road / Instrumental ("King Of The Birds") 11:48
5. I've Got A Feeling / Improvisation / Maxwell's Silver Hammer / "Woman Where You Been So Long" / "Oh Julie, Julia" / Oh! Darling / Long & Winding Road / Maxwell's Silver Hammer 16:21
6. Improvisation / A Shot Of Rhythm And Blues / (You're So Square) Baby I Don't Care / Across The Universe 12:36
7. Across The Universe / Rock And Roll Music / Lucille / Lotta Lovin' / Across The Universe / Gone Gone Gone / Dig A Pony / One After 909 12:38

Disc 2-1 Disc 2-2

Disc 3: "Come On Harrison, Lift Us Out Of This Mrrh"
1. Revolution / A Case Of The Blues / Be Bop A Lula / Medley: Lotta Lovin' - Something Else - Improvisation 4:25
2. School Day / F.B.I. / She Came In Through The Bathroom Window 4:34
3. Medley: Improvisations - Honey Hush 4:07
4. Honey Hush / Stand By Me / Hara Krishna Mantra / "Well, If You're Ready" / Hara Krishna Mantra / Two Of Us / "Two Of Us Wearing Postcards" / You Got Me Going / Twist And Shout / Don't Let Me Down / I've Got A Feeling 16:04
5. One After 909 / To Bad About Sorrows / Just Fun / She Said She Said / She Came In Through The Bathroom Window** / One Way Out** / Improvisation** / Unknown** / All Things Must Pass 14:50
6. Mean Mr. Mustard / Don't Let Me Down / All Things Must Pass / Fool Likes Me / You Win Again / Improvisation / She Came In Through The Bathroom Window 15:39
7. Unknown** / I Me Mine** 3:42
8. "That song always frightens me" / Sweet Little Sixteen / Malaguena / Almost Grown / What Am I Living For / Rock And Roll Music / I Me Mine

Disc 3-1 Disc 3-2

Disc 4: "The Thing That's Up Ahead"
1. Dialogue / Another Day / Rupert tune** / Instrumental / Let It Be / The Long And Winding Road** 15:58
2. Let It Be / Her Majesty / Golden Slumbers / Carry That Weight / The Long And Winding Road 16:18
3. The Long And Winding Road / Oh! Darling / Instrumental medley** 16:09
4. Unknown - unknown (aka "King Of The Birds") / Upbeat instrumental** / For You Blue** / For You Blue / For You Blue** 16:11
5. For You Blue / Improvisation 9:21

Disc 4-1 Disc 4-2

Disc 5: "Dance Steps Like The Shadows"
1. Two Of Us / Baa, Baa, Black Sheep / Don't Let Me Down ("Don't Let Me Scream". / Suzy Parlour / I've Got A Feeling 15:51
2. Get Back / Get Back a la Mother Mary** / Get Back jam** / Instrumental / La Penina / Instrumental / Across The Universe ("Across The Unicorn") 15:44
3. Tennessee / Across The Universe / House Of The Rising Sun / "Comonwealth" / "Aw, Enoch Powell" / "Get Off" / For You Blue 15:51
4. "Get Off" / Honey Hush / For You Blue / For You Blue** 12:45
5. Let It Be / That'll Be The Day / I've Got A Feeling / Medley: Jenny Jenny / Slippin' And Slidin' / Let It Be 11:53

Disc 5-1 Disc 5-2

Disc 6: "Dick James Is A Fascist Bum"
1. unknown** / piano improvisation** / Lond And Winding Road** 5:09
2. Let It Be** / Don't Let Me Down** / Maxwell's Silver Hammer** / I've Got A Feeling** / Long And Winding Road** / Piano improvisations** / Get Back** 16:36
3. I've Got A Feeling** / Get Back** / Lady Madonna** / Get Back** 7:55
4. Get Back** / Hi Heeled Sneakers 7:22
5. Hi Heeled Sneakers / Long Tall Sally** / Get Back (jam)** 8:53
6. Improvisation** / (Don't Worry Kyoko / A Quick One) / Improvisation / Improvisation** / I've Got A Feeling** / yodeling jam** / Don't Let Me Down** / Till There Was You / Come On Everybody** / Unknown** / Maxwell's Silver Hammer / Mack The Knife / Teddy Boy** / Maxwell's Silver Hammer 16:16
7. Maxwell's Silver Hammer / Don't Be Cruel / Medley: "On A Sunny Island" / Brazil / Groovin' / I Got Stung / Brazil / It's Only Make Believe / "Through A London Window" 11:41

Disc 6-1 Disc 6-2

Disc 7: "We Should Just Go On As If Nothing's Happened?"
1. The Long And Winding Road / Adagio for Strings 12:11
2. Martha My Dear / Martha - Yoko medley** / Instrumental ("King Of The Birds" / Yoko jam)** / Instrumental jam "one more time!"** / feedback and Yoko** 16:28
3. Get Back** / Get Back 16:10
4. Get Back / Get Back** 7:59
5. San Francisco Bay Blues / Lady Jane** / Lady Jane** 1:57
6. Lady Jane / improvisation ("Jazz Piano Song") / Woman / Cocaine Blues / "Flushed You From The Bathroom Of My Heart" / On A Clear Day You Can See Forever / Improvisation 16:00
7. Back Seat Of My Car / Conversations / Improvisation / Song Of Love 1:58

Disc 7-1 Disc 7-2

Disc 8: "Ringo, It's Been Great Working With You Man!"
1. Song Of Love / Song Of Love / "As Clear As A Bell..." / Hello Dolly / "You are defenitely Inclined Towards It" 7:56
2. "Madman" / Medley: Mean Mr. Mustard - "Madman" 16:15
3. "Watching Rainbows" / improvisation / improvisation** / Take This Hammer 15:10
4. Jonny B. Goode** / Get Back** / blues jam - blues madman** / "Madman" / You Know My Name 11:54
5. Oh! Darling** / Oh! Darling / Ob-La-Di, Ob-La-Da 11:27

Disc 8
Artwork and Booklet

The Beatles Story, Albert Dock

"Experience eighteen audio visual sets which tell it all. From the harmony to the disharmony. Walk the streets of Hamburg then stand in the Cavern Club as it was, re-created in sight, sound and even smell.
You'll be moved by John's recording of "Imagine" in the mysterious white room, and a splendid time is guaranteed for all.
For fans of the Fab Four, or even for those who want to see what the fuss was about, the Beatles Story is a fascinating glimpse into the past. "

Britannia Vaults, Albert Dock. Tel: 0151-709 1963

Open "Eight days a week" 10.00-6.00, last admission 5.00.
Admission: Contact above phone number for current prices.

The Beatles North American Concert Tickets - 2

Carnegie Hall, New York - February 12, 1964

The Beatles played two 35-minute shows at Carnegie Hall, at 7:00pm and 9:30pm. Capitol Records had planned to record both shows and release a live album. In a letter to Carnegie Hall dated February 3rd, 1964, Capitol agreed to provide letters of permission from Brian Epstein and Sid Bernstein for tape recording the show. They also agreed to pay Carnegie Hall $300 to record the event, and another $300 to use "Recorded at Carnegie Hall" on an album cover. Capitol had already planned the placement of the recording equipment, but at the last minute was prevented from doing so by the American Federation of Musicians union.

Parquet White $ 5.50

First Tier Box Red $ 5.50

The Beatles At Carnegie Hall U.K. magazine

Deauville Hotel Mau Mau Club, Miami - February 16, 1964 (Ed Sullivan Show)

General Admission Blue Complimentary Rehearsal

Guest letter from the Casablanca hotel offering two complimentary tickets to their guests for the main show at 8:00pm. The Versailles hotel also offered free tickets, but for the dress rehearsal.

The Blues Meets the Beatles

1. She Loves You - Webb, Stan
2. From Me To You - Green, Earl
3. I'm Down - James, Fred
4. Don't Let Me Down - Walker, Charles
5. Norwegian Wood - Lamb, Paul
6. Come Together - Jones, Johnny
7. I Saw Her Standing There - Webb, Stan
8. Run For Your Life - Green, Earl
9. Word - Garner, Al
10. You Can't Do That - Turner, Ruby
11. Oh Darling - Gaines, Earl
12. Why Don't We Do It In The Road - James, Fred
13. I Call Your Name - Mo Indigo
14. Get Back - Lamb, Paul
15. Let It Be - Shelton, Roscoe
16. I Feel Fine - Wilson, Tony

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The Official Beatles

A list of all 212 Beatles' songs and covers officially released on record between 1962 and 1970
by Ger Tillekens

The official Beatles' canon covers all songs the Beatles recorded and authorized for publication in their years as a performing group. In those years between 1962 and 1970 the Beatles released 219 songs or song variants, which are listed below in order of appearance. In this list there are 24 covers (C), and 1 traditional (T), leaving us with up to 194 released recordings of original Beatles' songs. Among those 194 we find 9 song variations and 1 song fragment. Of those 10 performances most authors of Beatles' books and commentaries discard 7 tracks as just variants or invalid members of the Beatles' songbook, leaving us with exactly 187 canonical Beatles' originals, 24 covers and 1 traditional: a total of 212 songs. [1] The links on this page all point towards Alan W. Pollack's Notes on ... Series. MD-numbers refer to the standard "MacDonald Verzeichnis" of the Beatles' songs.

1 Single: Love Me Do (released: 05.10.1962 [UK] on Parlophone 45-R 4949)
001 / MD001: Love Me Do (with Ringo on drums)
002 / MD002: P.S. I Love You
2 Single: Please Please Me (released: 11.01.1963 [UK] on Parlophone 45-R 4983)
003 / MD003: Please Please Me
004 / MD004: Ask Me Why
3 LP: Please Please Me (released: 22.03.1963 [UK] on Parlophone PMC 1202 [mono]; Parlophone PCS 3042 [stereo])
005 / MD006: I Saw Her Standing There
006 / MD008: Misery
C01 / MD009b: Anna (Go To Him)
C02 / MD009d: Chains
C03 / MD009c: Boys
004 / MD004: Ask Me Why
003 / MD003: Please Please Me
007 / MD001: Love Me Do (drums played by Andy White)
002 / MD002: P.S. I Love You
C04 / MD009e: Baby It's You
008 / MD007: Do You Want To Know A Secret
C05 / MD006b: A Taste of Honey
009 / MD005: There's A Place
C06 / MD009f: Twist and Shout
4 Single: From Me To You (released: 11.04.1963 [UK] on Parlophone R 5015)
010 / MD010: From Me To You
011 / MD011: Thank You Girl
5 Single: She Loves You (released: 23.08.1963 [UK] on Parlophone R 5055)
012 / MD012: She Loves You
013 / MD013: I'll Get You
6 LP: With The Beatles (released: 22.11.1963 [UK] on Parlophone PMC 1206 [mono]; Parlophone PCS 3045 [stereo])
014 / MD014: It Won't Be Long
015 / MD018: All I've Got To Do
016 / MD015: All My Loving
017 / MD020: Don't Bother Me
018 / MD017: Little Child
C07 / MD013e: Till There Was You
C08 / MD013f: Please Mister Postman
C09 / MD014b: Roll Over Beethoven
019 / MD009: Hold Me Tight
C10 / MD013b: You Really Got A Hold On Me
020 / MD016: I Wanna Be Your Man
C11 / MD013d: Devil In Her Heart
021 / MD019: Not A Second Time
C12 / MD013c: Money (That's What I Want)

7 Single: I Want To Hold Your Hand (released: 29.11.1963 [UK] on Parlophone R 5084)
022 / MD021: I Want To Hold Your Hand
023 / MD022: This Boy
8 Single: Komm, Gib Mir Deine Hand (released: March 1964 [BRD])
024: Komm, Gib Mir Deine Hand
025: Sie Liebt Dich
9 Single: Can't Buy Me Love (released: 20.03.1964 [UK] on Parlophone R 5114)
026 / MD023: Can't Buy Me Love
027 / MD024: You Can't Do That
10 EP: Long Tall Sally (released: 19.06.1964 [UK] on Parlophone GEP 8913)
C13 / MD029b: Long Tall Sally
028 / MD030: I Call Your Name
C14 / MD032b: Slow Down
C15 / MD031b: Matchbox
11 Single: A Hard Day's Night (released: 10.07.1964 [UK] on Parlophone R 5160)
029 / MD031: A Hard Day's Night
030 / MD035: Things We Said Today
12 LP: A Hard Day's Night (released: 26.06.1964 [US]; 10.07.1964 [UK] on Parlophone PMC 1230 [mono]; Parlophone PCS 3058 [stereo])
029 / MD031: A Hard Day's Night
031 / MD026: I Should Have Known Better
032 / MD028: If I Fell
033 / MD029: I'm Happy Just To Dance With You
034 / MD025: And I Love Her
035 / MD027: Tell Me Why
026 / MD023: Can't Buy Me Love
036 / MD034: Any Time At All
037 / MD032: I'll Cry Instead
030 / MD035: Things We Said Today
038 / MD036: When I Get Home
027 / MD024: You Can't Do That
039 / MD033: I'll Be Back
13 Single: I Feel Fine (released: 23.11.1964 [US]; 27.11.1964 [UK] on Parlophone R 5200)

040 / MD045: I Feel Fine
041 / MD044: She's A Woman
14 LP: Beatles For Sale (released: 04.12.1964 [UK] on Parlophone PMC 1240 [mono]; Parlophone PCS 3062 [stereo])
042 / MD042: No Reply
043 / MD038: I'm A Loser
044 / MD037: Baby's In Black
C16 / MD046c: Rock And Roll Music
045 / MD046: I'll Follow The Sun
C17 / MD038b: Mr. Moonlight
C18 / MD044b: Kansas City - Hey, Hey, Hey, Hey
046 / MD043: Eight Days A Week
C19 / MD046d: Words Of Love
C20 / MD046e: Honey Don't
047 / MD039: Every Little Thing
048 / MD040: I Don't Want To Spoil The Party
049 / MD041: What You're Doing
C21 / MD046b: Everybody's Trying To Be My Baby
15 Single: Ticket To Ride (released: 09.04.1965 [UK] on Parlophone R 5265)
050 / MD047: Ticket To Ride
051 / MD050: Yes It Is
16 LP: Beatles VI (released: 14.06.1965 [US] on Capitol T 2358 [stereo])
C18 / MD044b: Kansas City - Hey, Hey, Hey, Hey
046 / MD043: Eight Days A Week
052 / MD052: You Like Me Too Much
C22 / MD056c: Bad Boy
048 / MD040: I Don't Want To Spoil The Party
C19 / MD046d: Words Of Love
049 / MD041: What You're Doing
051 / MD050: Yes It Is
C23 / MD056b: Dizzy Miss Lizzy
053 / MD054: Tell Me What You See
047 / MD039: Every Little Thing
17 Single: Help! (released: 19.07.1965 [US]; 23.07.1965 [UK] on Parlophone R 5305)
054 / MD056: Help!
055 / MD058: I'm Down
18 LP: Help! (released: 06.08.1965 [UK] on Parlophone PMC 1255 [mono]; Parlophone PCS 3071 [stereo])
054 / MD056: Help!
056 / MD051: The Night Before
057 / MD053: You've Got To Hide Your Love Away
058 / MD049: I Need You
059 / MD048: Another Girl
060 / MD055: You're Going To Lose That Girl
050 / MD047: Ticket To Ride
C24 / MD060b: Act Naturally
061 / MD060: It's Only Love
052 / MD052: You Like Me Too Much
053 / MD054: Tell Me What You See
062 / MD057: I've Just Seen A Face
063 / MD059: Yesterday
C23 / MD056b: Dizzy Miss Lizzy
19 Single: We Can Work It Out (released: 03.12.1965 [UK] on Parlophone R 5389 as double A-side single)
064 / MD068: We Can Work It Out

065 / MD065: Day Tripper
20 LP: Rubber Soul (released: 03.12.1965 [UK] on Parlophone PMC 1267 [mono]; Parlophone PCS 3075 [stereo])
066 / MD064: Drive My Car
067 / MD063: Norwegian Wood (This Bird Has Flown)
068 / MD075: You Won't See Me
069 / MD069: Nowhere Man
070 / MD073: Think For Yourself
071 / MD074: The Word
072 / MD071: Michelle
073 / MD072: What Goes On
074 / MD076: Girl
075 / MD070: I'm Looking Through You
076 / MD067: In My Life
077 / MD061: Wait
078 / MD066: If I Needed Someone
079 / MD062: Run For Your Life
25 Single: Paperback Writer (released: 30.05.1966 [US]; 10.06.1966 [UK] on Parlophone R 5452 as double A-side single)
080 / MD080: Paperback Writer
081 / MD081: Rain
21 Single: Eleanor Rigby (released: 05.08.1966 [UK] on Parlophone R 5493 as double A-side single)
082 / MD086: Eleanor Rigby
083 / MD088: Yellow Submarine
22 LP: Revolver (released: 05.08.1966 [UK] on Parlophone PMC 7009 [mono]; Parlophone PCS 7009 [stereo])
084 / MD084: Taxman
082 / MD086: Eleanor Rigby
085 / MD085: I'm Only Sleeping
086 / MD079: Love You To
087 / MD091: Here, There, And Everywhere
083 / MD088: Yellow Submarine
088 / MD092: She Said She Said
089 / MD090: Good Day Sunshine
090 / MD083: And Your Bird Can Sing
091 / MD087: For No One
092 / MD082: Doctor Robert
093 / MD089: I Want To Tell You
094 / MD078: Got To Get You Into My Life
095 / MD077: Tomorrow Never Knows
23 Single: Strawberry Fields Forever (released: 13.02.1967 [US]; 17.02.1967 [UK] on Parlophone R 5570 as double A-side single)
096 / MD093: Strawberry Fields Forever
097 / MD095: Penny Lane
24 LP: Sgt. Pepper's Lonely Hearts Club Band (released: 01.06.1967 [UK] on Parlophone PMC 7027 [mono]; Parlophone PCS 7027 [stereo])
098 / MD097: Sgt. Pepper's Lonely Hearts Club Band
099 / MD107: With A Little Help From My Friends
100 100 / MD103: Lucy In The Sky With Diamonds
101 / MD104: Getting Better
102 / MD099: Fixing A Hole
103 / MD106: She's Leaving Home
104 / MD101: Being For The Benefit Of Mr. Kite
105 / MD105: Within You Without You
106 / MD094: When I'm Sixty-Four
107 / MD102: Lovely Rita
108 / MD098: Good Morning, Good Morning
109 / MD108: Sgt. Pepper's Lonely Hearts Club Band (Reprise)
110 / MD096: A Day In The Life
26 Single: All You Need Is Love (released: 07.07.1967 [UK] on Parlophone R 5620; the title song was aired on the Eurovision program "Our World" on 25.06.1967)
111 / MD114: All You Need Is Love
112 / MD110: Baby You're A Rich Man
27 Single: Hello Goodbye (released: 24.11.1967 [UK] on Parlophone R 5655)
113 / MD120: Hello Goodbye
114 / MD116: I Am The Walrus
28 LP: Magical Mystery Tour (released: 27.11.1967 [US])
115 / MD109: Magical Mystery Tour
116 / MD119: The Fool On The Hill
117 / MD118: Flying
118 / MD117: Blue Jay Way
119 / MD115: Your Mother Should Know
114 / MD116: I Am The Walrus
113 / MD120: Hello Goodbye
096 / MD093: Strawberry Fields Forever
097 / MD095: Penny Lane
112 / MD110: Baby You're A Rich Man
120 / MD114: All You Need Is Love (Refrain only)
29 EP: Magical Mystery Tour (released: 08.12.1967 [UK] on Parlophone MMT-1 [mono] and SMMT-1 [stereo])
115 / MD109: Magical Mystery Tour
119 / MD115: Your Mother Should Know
114 / MD116: I Am The Walrus
116 / MD119: The Fool On The Hill
117 / MD118: Flying
118 / MD117: Blue Jay Way
30 Single: Lady Madonna (released: 15.03.1968 [UK] on Parlophone R 5675)
121 / MD122: Lady Madonna
122 / MD121: The Inner Light
31 Single: Hey Jude (released: 26.08.1968 [US]; 30.08.1968 [UK] on Apple/Parlophone R 5722)

123 / MD137: Hey Jude
124 / MD132: Revolution
32 LP: The Beatles [White Album] (released: 22.11.1968 [UK] on Parlophone PMC 7067-7068 [mono]; Parlophone PCS 7067-7068 [stereo])
125 / MD142: Back In The USSR
126 / MD143: Dear Prudence
127 / MD144: Glass Onion
128 / MD131: Ob-La-Di, Ob-La-Da
129 / MD141: Wild Honey Pie
130 / MD154: The Continuing Story Of Bungalow Bill
131 / MD136: While My Guitar Gently Weeps
132 / MD148: Happiness Is A Warm Gun
133 / MD151: Martha My Dear
134 / MD153: I'm So Tired
135 / MD128: Blackbird
136 / MD147: Piggies
137 / MD140: Rocky Raccoon
138 / MD126: Don't Pass Me By
139 / MD155: Why Don't We Do It In the Road
140 / MD145: I Will
141 / MD156: Julia
142 / MD146: Birthday
143 / MD139: Yer Blues
144 / MD138: Mother Nature's Son
145 / MD129: Everybody's Got Something To Hide Except For Me And My Monkey
146 / MD135: Sexy Sadie
147 / MD134: Helter Skelter
148 / MD152: Long, Long, Long
149 / MD125: Revolution (1)
150 / MD149: Honey Pie
151 / MD150: Savoy Truffle
152 / MD133: Cry Baby Cry
153: Can You Take Me Back (untitled song fragment)
154 / MD127: Revolution #9
155 / MD130: Good Night
33 LP: Yellow Submarine (released: 13.01.1969 [US]; 17.01.1969 [UK] on Parlophone PMC 7070 [mono]; Parlophone PCS 7070 [stereo])
083 / MD088: Yellow Submarine
156 / MD100: Only A Northern Song
157 / MD111: All Together Now
158 / MD124: Hey Bulldog
159 / MD113: It's All Too Much
111 / MD114: All You Need Is Love
34 Single: Get Back (released: 11.04.1969 [UK] on Apple/Parlophone R 5777)
160 / MD160: Get Back (with Billy Preston on piano)
161 / MD159: Don't Let Me Down (with Billy Preston on piano)
35 Single: The Ballad Of John And Yoko (released: 30.05.1969 [UK] on Apple/Parlophone R 5786)
162 / MD168: The Ballad Of John And Yoko
163 / MD169: Old Brown Shoe
36 LP: Abbey Road (released: 26.09.1969 on [UK] Parlophone PCS 7088 [stereo])
164 / MD179: Come Together
165 / MD170: Something
166 / MD178: Maxwell's Silver Hammer
167 / MD171: Oh! Darling
168 / MD172: Octopus's Garden
169 / MD167: I Want You (She's So Heavy)
170 / MD177: Here Comes The Sun
171 / MD185: Because
172 / MD173: You Never Give Me Your Money
173 / MD181: Sun King
174 / MD182: Mean Mr Mustard
175 / MD183: Polythene Pam
176 / MD184: She Came In Through The Bathroom Window
177 / MD175: Golden Slumbers
178 / MD176: Carry That Weight
179 / MD180: The End
180 / MD174: Her Majesty
37 Single: Let It Be (released: 06.03.1969 [UK] on Apple/Parlophone R 5833)
181 / MD164: Let It Be (with Billy Preston on piano)
182 / MD112: You Know My Name (Look Up The Number)
38 LP: No One's Gonna Change Our World (World Wildlife Fund Charity LP, released: 12.12.1969 [UK] on Regal Starline SRS 5013)
183 / MD123: Across The Universe (with wildlife sound effects)
39 LP: Let it Be (released: 08.05.1970 [UK] on Apple/Parlophone PCS 7096 [stereo])
184 / MD161: Two Of Us
185 / MD157: Dig A Pony
186 / MD123: Across The Universe (remixed)
187 / MD186: I Me Mine
188 / MD162: Dig It
189 / MD164: Let It Be (with Billy Preston on piano; produced by Phil Spector)
T01 / MD161b: Maggie Mae
190 / MD158: I've Got A Feeling
191 / MD166: One After 909
192 / MD165: The Long And Winding Road
193 / MD163: For You Blue
194 / MD160: Get Back (with Billy Preston on piano; produced by Phil Spector)
40 Single: Free As A Bird (released: 04.12.1995 on Apple/EMI CDR 6422, CD-single)
195 / MD187: Free As A Bird
41 Single: Real Love (released: 04.03.1996 on Apple/EMI CDR 6425, CD-single)
196 / MD188: Real Love

Notes
1. Those seven discarded songs are all doubles:
007: Love Me Do, double of 001, but with Andy White sitting behind the drums;
024: Komm, Gib Mir Deine Hand, German version of 022: I Want To Hold Your Hand (same basic track with added vocals and handclaps);
025: Sie Liebt Dich, German version of 012: She Loves You (commonly taken as a complete rerecording of the original, but maybe just like 024 the same basic track with new vocals);
120: refrain of 111: All You Need Is Love;
186: Across The Universe, remix by Phil Spector of 183: Across The Universe without wildlife sounds;
189: Let It Be, remix by Phil Spector of the single version 181: Let It Be (same take, but slightly longer and with a different solo guitar track);
194: Get Back, mixed by Phil Spector from a take that was recorded a day before (27.01.69) that of the single 160: Get Back;
The one song fragment can be found on the White Album midbetween "Cry Baby Cry" and "Revolution #9":
153: Can You Take Me Back (untitled song fragment by McCartney on the White Album).
This "ditty" was written and sung by Paul McCartney at the recording sessions of "I Will" on 16th September 1968 as take 19 of this song. The full song lasts 2'21 minutes and is not copyrighted. Most Beatles' commentaries exclude it from their lists. Having listened to the take several times, I'm inclined to do the opposite.
The other two songs, that are usually counted as legal canonical songs are:
109: the Reprise of 098: Sgt. Pepper's Lonely Hearts Club Band on the album with the same name;
149: Revolution 1, a variant of 124: Revolution with slight but significant differences in the lyrics.

Beatles' Lyrics

I Am The Walrus
(Lennon & McCartney)
from: Magical Mystery Tour EP 1967

I am he as you are he as you are me and we are all together
See how they fly like pigs from a gun see how they fly,
I'm cry-i-ng.
Sitting on a cornflake - waiting for the van to come.
Corporation teashirt, stupid bloody tuesday man you been a
nau-ghty boy you let your face grow long.
I am the eggman, they are the eggmen - I am the walrus GOO GOO GOO JOOB
City policemen sitting pretty little policemen in a row, see how they fly like Lucy in the sky - see how they run
I'm crying - I'm crying - I'm crying
Yellow matter custard dripping from a dead dogs eye.
Crabalocker fishwife pornographic priestess boy you been a
nau-ghty girl, you let you kni-ckers down
I am the eggman, they are the eggmen - I am the walrus GOO GOO GOO JOOB
Sitting in an English garden waiting for the sun, if the sun don't come, you get a tan from standing in the Eng-lish rain
I am the eggman, they are the eggmen - I am the walrus GOO GOO GOO JOOB
Expert texpert choking smokers don't you think the joker laughs at you?
Hahaha!
See how they smile, like pigs in a sty, see how they snied.
I'm crying
Semolina pilchard climbing up the Eiffel Tower.
Elementry penguin singing Hare Krishna man you should have seen them kicking Edgar Allen POE.
I am the eggman, they are the eggmen - I am the walrus GOO GOO GOO JOOB GOO GOO GOO JOOB GOO GOOGOO-OOOOOOOO-OJOOOOOB

Beatles' Era - The Easybeats

Sorry (1966)
The Easybeats were a beat group from Australia. They formed in Sydney in late 1964 and split at the end of 1969.

Beatles' Era - The Spencer Davis Group

German TV show "Beat Beat Beat", 1966 Pt. 1. The Spencer Davis Group perform "Somebody Help Me" and "Sittin' And Thinkin'" on German TV show "Beat Beat Beat", July 1st, 1966.

Beatles' Era - The Spencer Davis Group

German TV show "Beat Beat Beat", 1966 Pt. 2. The Spencer Davis Group perform "Please Do Something" and "Keep On Running" on German TV show "Beat Beat Beat", July 1st, 1966.

Beatles' Era - The Small Faces

German TV show "Beat Beat Beat", 1966 Pt. 1. The Small Faces perform "Hey Girl" and "All Or Nothing", October 21st, 1966.

Beatles' Era - The Small Faces

German TV show "Beat Beat Beat", 1966 Pt. 2. The Small Faces perform "What'cha Gonna Do About It" and "Sha-La-La-La-Lee", October 21st, 1966.

Beatles' Era - Ray Conniff

Golden Earrings (1963 TV)

Beatles' Era - Ray Conniff

Ray Conniff. Yes! With this guy, you got it all: massive horn arrangements, space age pop attitude, light 'n dreamy vocals, musical, theatre and jazz, jazz, jazz!Here is a really nice 45 from the man and his orchestra, with four quality tracks.

Ray Conniff Presents Irving Berlin - Dreaming Of Broadway (1962)
A1. Cheek To Cheek
A2. Say It Isn't So
B1. They Say It's Wonderful
B2. Say It With Music

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The Beatles - Revolving

The Beatles - Revolving

CD 1
1.He Said He Said
2.He Said He Said
3.He Said He Said
4.He Said He Said
5.She Said She Said
6.She Said She Said
7.She Said She Said
8.Tomorrow Never Knows
9.Got To Get You Into My Life
10.Got To Get You Into My Life
11.Paperback Writer
12.Paperback Writer
13.And Your Bird Can Sing
14.And Your Bird Can Sing
15.Taxman
16.Eleanor Rigby
17.I'm Only Sleeping
18.I'm Only Sleeping
19.For No One
20.For No One
21.For No One
22.For No One
23.Yellow Submarine
24.Here, There And Everywhere
25.Here, There And Everywhere
26.For No One
27.For No One
28.For No One
29.For No One
30.Here, There And Everywhere
31.Here, There And Everywhere
32.Here, There And Everywhere
33.Here, There And Everywhere

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CD2

1.Taxman
2.Eleanor Rigby
3.I'm Only Sleeping
4.Love You To
5.Here, There And Everywhere
6.Yellow Submarine
7.She Said She Said
8.Good Day Sunshine
9.And Your Bird Can Sing
10.For No One
11.Doctor Robert
12.I Want To Tell You
13.Got To Get You Into My Life
14.Tomorrow Never Knows
15.Paperback Writer
16.Rain
17.I'm Only Sleeping
18.And Your Bird Can Sing
19.Doctor Robert
20.Tomorrow Never Knows
21.Paperback Writer
22.I'm Only Sleeping
23.Doctor Robert

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The Beatles' Era

The 60's on WMFE-TV!

The Beatles' Era

60s tribute

The Beatles' Era

A Video Tribute to the 60s

The Beatles' Era

Images from Beatles era, perhaps you will remember some of them, some good some not so good : it was the '60s after all..

Introducing A Beatles Timeline and Notes on Beatles Songs - D

The Beatles - A Day in the Life. Rare Promo Video

Introducing A Beatles Timeline and Notes on Beatles Songs - D

Peter and Gordon - I Don't Want to See You Again - Original Capitol 45 RPM Vinyl record. Released 10/3/1964 and peaked at #16.

A Beatles Timeline and Notes on Beatles Songs - D

A Day in the Life (Lennon and McCartney)
Real Author: Mostly John
Recorded: 19 Jan, 10 Feb (orchestra), 22 feb (final chord)
Released: on "Sgt. Pepper's Lonely Hearts Club Band": 26 May 67 (UK), 2 Jun 67 (US)
Notes: Includes reference to the Liverpool bus which allowed smoking on the upper deck. Paul's contribution was "I'd love to turn you on." John read a story about the Guiness heir (Tara Browne) who died in accident 18 Dec 66 (coroner's report issued in Jan 67 which is what John saw on 7 Jan issue of the "Daily Mail") and on 17 Jan how many potholes there were in Blackburn, Lancashire (Terry Dolan suggested Albert Hall). For recording chord, many came, including Marijke and Simon of "The Fool" Dutch designers dressed as Tarot characters. Also Mike Jagger, Maryanne Faithful, Keith Richard, Mike Nesmith and Donovan. Film about English winning the war was "How I Won the War."

Day Tripper (Lennon and McCartney)
Real Author: Mostly John
Recorded: 16 Oct 65
Released: 3 Dec 65 (UK), 6 Dec 65 (US)
Notes: About girls who were casual LSD users, compared to John and Paul. "She's a big teaser" was "She's a prick teaser."

Dear Prudence (Lennon and McCartney)
Real Author: John
Recorded: 28, 29, 30 Aug 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Prudence Farow is Mia Farrow's sister, who in India wouldn't come out of her meditation cabin. becasue of to deeply in trance. John and George were sent to entice her out, but they never sang this to her. Guitar style was learned from Donovan in India.

Dig a Pony (Lennon and McCartney)
Real Author: John
Recorded: 30 Jan 69
Released: on "Let it Be": 8 May 70 (UK), 18 May 70 (US)
Notes: Originally "Con a Lowry." Words made up as they went. Chorus is from a song about Yoko; "I Need You."

Dig It (All Four)
Real Author: Mostly John
Recorded: 26 Jan 69
Released: on "Let it Be": 8 May 70 (UK), 18 May 70 (US)
Notes: Written in the studio. Matt Busby was a soccer manager.

Do You Want to Know a Secret? (Lennon and McCartney)
Real Author: Mostly John
Recorded: 11 Feb 63
Released: 23 Mar 64 (US), 10 Aug 64 (UK), on "Please Please Me": 22 Mar 63 (UK), on "Introducing the Beatles": 22 Jul 63 (US), on "The Early Beatles": 22 Mar 65 (US)
Notes: Hack job written for George; tune based on Disney's "Wishing Well" from "Snow White," which John's mother used to sing to him. "Wanna know a secret? Promise not to tell? We are standing by a wishing well." John had just gotten Cynthia pregnant and married her. George claimed real inspiration was "I Really Love You" by the Stereos.

Doctor Robert (Lennon and McCartney)
Real Author: Mostly John
Recorded: 17, 19 Apr 66
Released: on "Revolver": 5 Aug 66 (UK)
Notes: About a real LSD supplying NY (East 78th St) dentist, Robert Freymann.

Don't Bother Me (Harrison)
Real Author: George
Recorded: 11, 12 Sep 63
Released: on "With the Beatles": 22 Nov 63 (UK), on "Meet the Beatles": 20 Jan 64 (US)
Notes: First of George's songs to be recorded. Written Aug 63, when sick in a Bournemouth hospital. He didn't want to be bothered.

Don't Let Me Down (Lennon and McCartney)
Real Author: John
Recorded: 28 Jan 69
Released: 11 Apr 68 (UK), 5 May 68 (US)
Notes: About Yoko.

Don't Pass Me By (Starkey)
Real Author: Mostly Ringo
Recorded: 5, 6, 12 Jun, 22 Jul (piano) 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Written in 1963 and polished with help from all the others.

Don't Want to See You Again (Lennon and McCartney)
Real Author: Paul

Drive My Car (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 13 Oct 65
Released: on "Rubber Soul": 3 Dec 65 (UK)
Notes: Woman has/is the car.

Beatles' Picture Discs

The Greatest Beatles' Covers Encyclopedia Ever - Vol. 4 of 14

VOL. 4
Download

Apple @ 45 rpm: The Us Singles List

Apple by Numbers: U.S. Single Releases

2276 Hey Jude/Revolution
The Beatles
Issued originally with the "Capitol logo" b-side
and a black sleeve (with no hole in the middle) which
stated "The Beatles on Apple." All Apple records
from this point on which did not have picture sleeves
were issued in black Apple sleeves with a hole in the
middle stating either "The Beatles on Apple" or simply
"Apple." This first Apple single was released in mono,
as were most singles of the day. The industry moved
toward stereo singles being the norm within six months,
but this was not the case...yet. The 2000 series was
Capitol's main series of singles, which the Beatles as
a group (and two solo singles) were still contracted to
be part of. Apple's singles series started with 1800.
Copies can be found with or without various bits of
information on the label.
1800 Thingumybob/Yellow Submarine
John Foster & Sons Ltd. Black Dyke Mills Band
Originally, it seems that Apple was to be given its
own set of matrix numbers. The first few Apple singles
have a matrix number in the 70000's marked out and a
new matrix number in the 46000's written in its place.
This single was the only one by Foster. The A-side is
a Lennon-McCartney compostion. Copies can be found
which credit the authorship to McCartney-Lennon. Apropos
enough since Paul wrote the song and produced the record.
Copies pressed in Los Angeles for a time showed "Yellow
Submarine" as the A-side (unsliced side) of the record.
This is a mono record.

1801 Those Were the Days/Turn Turn Turn
Mary Hopkin
Mary sang the a-side in English, French, Spanish, Italian,
and I believe German. The US issue was, of course, the
English issue. A big hit to start Mary's career. Produced
by Paul McCartney. This is a mono record.
1802 Sour Milk Sea/The Eagle Laughs at You
Jackie Lomax
Of Apple's first four, which were released together, 1800
is the hardest to find, followed by this first single by Jackie
Lomax. The A-side was to be reissued at a later date when
his album (Is This What You Want?) was issued. This is
a mono record. The a-side was written by George Harrison.
1803 Maybe Tomorrow/Daddy's a Millionaire
The Iveys
The Iveys were soon to become Badfinger. This single
did not sell well, perhaps their only Apple single that did
not. This is a mono record.
1804 Road to Nowhere/Illusions
Trash
Trash's first single, and not an easy one to find. Trash
recorded several singles for Apple, none of which were
strong sellers.
PRO-4671/4672 Road to Nowhere/Road to Nowhere
Trash
The B-side was the normal 5:07 in length, but the A-side
was trimmed for radio to 3:06.
1805 Carolina In My Mind/Taking It In
James Taylor
Apple's first stereo single, in February of 1969. For
reasons unknown, the b-side was immediately withdrawn.
The word "stereo" is not found on the label. All of these
copies have a misspelled a-side title. (see below)
PRO-4675 More Apples Radio Co-Op Ads
Modern Jazz Quartet and James Taylor
This one-sided single contains a blank Capitol-logo label
on the b-side. The a-side contains 60 second spots for
the upcoming James Taylor and MJQ albums. The title
suggests that there was a previous release of this type,
but none has surfaced so far.
1805 Carolina In My Mind/Something's Wrong
James Taylor
The first issue of the promo and commercial singles
wrongly show the title as "Carolina On My Mind." Later
copies list the album title and number on the label. The
first issues also do not say "stereo" on the label. This
was quickly corrected. Later copies credit the publisher
as Blackwood Music. Early copies say "Apple Music."
The promo copy is labeled "PRO-1805" instead of the
usual "P-1805."
1806 Goodbye/Sparrow
Mary Hopkin
Apple's first official double-A-side, and the first Apple
record to feature a full-fledged picture sleeve. "Goodbye"
was written by Paul and is credited to Lennon-McCartney.
A demo exists of Paul singing this song for Mary.
2490 Get Back/Don't Let Me Down
The Beatles with Billy Preston
The first Beatles single to be issued in stereo in the US.
In England, the single was issued in mono. First copies
of this single on the west coast fail to list the times.
2531 Ballad of John and Yoko/Old Brown Shoe
The Beatles
In case you didn't notice, all Apple records from this
period can be found with a variety of label styles. Capitol
itself was in the process of switching labels and had not
yet decided how they wanted the print. For example,
some copies of this single can be found with STEREO in
large letters. On other copies from the same factory, the
word is found in small print. The single was issued with
a picture sleeve, notable because Yoko Ono appears with
the Beatles in both photographs.
Another Beatles single, right on the heels of "Get Back"
1807 New Day/Thumbin' a Ride
Jackie Lomax
This is one of the hardest to find of all Apple commercial
singles. Although a stereo record, not all labels indicate
this.
1808 That's the Way God Planned It/What About You?
Billy Preston
Billy's first Apple single, although he had recorded "Get
Back" with the Beatles earlier in the year. This is a mono
single, and some later copies indicate so on the label. Later
copies also may give the album title and number on the label.
The single was issued with a picture sleeve depicting Billy
holding his hands to his headphones as he sings loudly into
a microphone.
1809 Give Peace a Chance/Remember Love
Plastic Ono Band/Yoko Ono
John's first single without Paul, George, or Ringo. The a-side
was recorded live in a motel room; the b-side was recorded in
England. The a-side became an anthem for the late sixties.
Issued with a picture sleeve, which has been counterfeited.
1810 Hare Krishna Mantra/Prayer to the Spiritual Masters
Radha Krishna Temple (London)
A nice single, actually.

2654 Something/Come Together
The Beatles
First pressings from Jacksonville, IL have the Capitol logo b-side
and strange print overall. Copies of Capitol albums (including
Abbey Road) pressed at around this time have the 'strange'
print. A monster single, whose a-side and b-side both made it
to #1 (if you compare charts).
1811 Golden Slumbers-Carry That Weight/Trash Can
Trash
Some copies separate the a-side titles with a slash. Other
copies use "and".
1812 Give Peace a Chance/Living Without Tomorrow
Hot Chocolate Band
The a-side wasn't near the success for them as it was for the
Plastic Ono Band. This is a mono single.
1813 Cold Turkey/Don't Worry Kyoko
John Lennon
This single is rare with the Capitol logo label. Some copies
of the single were defective, skipping at one point and sounding
like "Cold Tea." Issued with a black "x-ray" picture sleeve
that has been widely counterfeited. The PS was rare before
1981, when numerous copies were discovered.
1814 Everything's All Right/I Want to Thank You
Billy Preston
Billy's newest single, not issued with a picture sleeve this time.
1815 Come and Get It/Rock of All Ages
Badfinger
Some copies have the Capitol logo label. This was Badfinger's
first monster hit, written and produced by Paul McCartney and
from the upcoming film "The Magic Christian."
1816 Temma Harbour/Lontano Dagli Occhi
Mary Hopkin
Mary's next, issued with a white PS depicting Mary wearing a
floppy hat. This is a mono single.
1817 All That I've Got/As I Get Older
Billy Preston
Billy didn't have much success with this record or the album
it comes from. First pressings credit the publisher as Capitol
Music. Later copies correctly show Apple Music. Issued with
a black PS showing Billy's face from the side.
P-1818 Instant Karma!/-
John Ono Lennon
A one-sided promotional single for John's newest release. The
b-side label is all black with no writing.
1818 Instant Karma!/Who Has Seen the Wind?
John Ono Lennon/Yoko Ono Lennon
This single was a hot seller. Some copies have the Capitol
logo. Yoko's contribution has some nice poetry to it. Issued
with a PS depicting John on one side and Yoko on the other,
with newly cut hair.
1819 How the Web Was Woven/(I) Fall Inside Your Eyes
Jackie Lomax
Issued with a picture sleeve.
2764 Let It Be/You Know My Name
The Beatles
The b-side is in mono, which most copies note. Stereo had
certainly become the norm, though, because an "S" (for stereo)
was etched into the matrix and was crossed out on some
copies. The single is the George Martin mix of "Let It Be."
The single was issued with a PS which resembles the album
cover.
PROMO 1970 Dialogue From the Beatles' Motion Picture "Let It Be"
The Beatles
White label; one sided. The b-side has a blank label and is grooved.
Fakes exist which do not have machine stamped symbols in the
matrix.
1820 Ain't that Cute/Vaya Con Dios
Doris Troy
Doris released two singles for Apple. This was the first. Her
singing was good even if sales were bad.
1821 Govinda/Govinda Jai Jai
Radha Krishna Temple (London)
The Radha Krishna Temple releases another spiritual, this time
with the Capitol logo and a PS depicting Krishna.
PRO-5013/5014 Govinda/Govinda Jai Jai
Radha Krishna Temple (London)
The a-side was edited to 3:18 from the regular single's 4:45 on
this promo single. This is a mono promo.
SPRO-5067/5068 Govinda/Govinda
Features a 3:24 edit and the 4:45 regular version of the song.
This song apparently did not suffer from lack of promotion.
2832 Long and Winding Road/For You Blue
The Beatles
Issued posthumously with PS. Capitol logo copies are tougher
to find. Another hit to end the Beatles' collective career.
1822 No Matter What/Carry On Till Tomorrow
Badfinger
Badfinger's next hit single, featuring songs from their upcoming
album, "No Dice."
1823 Que Sera Sera/Fields of St. Etienne
Mary Hopkin
1824 Jacob's Ladder/Get Back
Doris Troy
Doris Troy's last Apple single.
2969/1826 Beaucoups of Blues/Coochy-Coochy
Ringo Starr
The actual record number is 2969, in the Capitol order, of course.
However, Western copies of the blue PS show the catalog number
mistakenly as 1826. Can be found with Capitol logo.
1825 Think About Your Children/Heritage
Mary Hopkin
Mary bounced back right away with this single, which fared better.
Issued with a PS. 2995 My Sweet Lord/Isn't It a Pity
George Harrison
A double-A-side, and what a hit it was. George's first Apple single,
first in a string of hits. Issued with a PS.
1826 My Sweet Lord/Little Girl
Billy Preston
Right on the heels of George's version came Billy Preston's version,
sung in his own special style.
1827 Mother/Why
John Lennon POB/Yoko Ono
John's lament about his mother Julia is the a-side of this mono
single. Later copies say 'MONO' on the label. Issued with a rare
PS showing the front cover shots to the two Plastic Ono Band
albums (John's and Yoko's).
1828 What Is Life?/Apple Scruffs
George Harrison
Another big hit for George from All Things Must Pass. Issued
with a PS.
OYB-1/GM-1 Open Your Box/Greenfield Morning
Yoko Ono
White label promo. "Made Specially for Yoko Ono" on label.
Allegedly, only 6 copies were made. The a-side wound up as
Hirake on the Fly album, although it was released in England
as the original b-side of "Power to the People".
PRO-6193/6194 Another Day/Oh Woman, Oh Why
Paul McCartney
A mono promo of Paul's latest hit.
1829 Another Day/Oh Woman, Oh Why
Paul McCartney
Paul was again proving himself successful. John referred
to this song as muzak.
1830 Power to the People/Touch Me
John Lennon POB/Yoko Ono POB
John's next anthem song. Issued with a cool PS.
1831 It Don't Come Easy/Early 1970
Ringo Starr
A chart-topping hit and a commentary on the ex-Beatles
situation by the world's greatest drummer. Issued with a
PS.
1832 Try Some, Buy Some/Tandoori Chicken
Ronnie Spector
Ronnie was definitely better with the Ronettes than with
this George Harrison tune. George later stripped her
vocal from the recording and added his own. Issued with
a PS. The L.A. factory had been pressing Apple singles
with a star on the a-side since about the time of "Cold
Turkey." This was the last Apple single which bore the
star.
P-1833 Name of the Game/Name of the Game
Badfinger
This single is rumored to exist. If it does not exist, then
there is no single 1833.
PRO-6240/6241 Sour Milk Sea/(I) Fall Inside Your Eyes
Jackie Lomax
Mono promo version of the following single.
1834 Sour Milk Sea/(I) Fall Inside Your Eyes
Jackie Lomax
Two of Jackie's singles were reissued back to back.
1835 God Save Us/Do the Oz
Bill Elliot & Elastic Oz Band
Issued with PS. This single was written and plugged
by John and Yoko in an effort to save the controversial
Oz magazine.
1836 Bangla Desh/Deep Blue
George Harrison
As the lyrics indicate, the song was written to indicate
the situation of struggling East Pakistan (Bangla Desh).
The live album would come out of this thought.
1837 Uncle Albert/Admiral Halsey//Too Many People
Paul & Linda McCartney
From Paul's new Ram album. Another hit. Promo
copies exist with the songs in mono. Single exists as
a double-A-side also.

1838 Joi Bangla + 2
Ravi Shankar
Issued with PS.
1839 Midsummer New York/Mrs. Lennon
Yoko Ono POB
A custom label single from Yoko, featuring tracks from
her new album, Fly.
1840 Imagine/It's So Hard
John Lennon
A double-A-side from John's newest album, Imagine.
A hot seller, for which John and Yoko made an album
video. Later copies of this single have the label green
instead of white and sport the saying that begins
"All rights reserved."
1841 Day After Day/Money
Badfinger
Yet another hit from Badfinger, off of their latest album,
Straight Up. A white label promo exists.
S45X-47663/47664 Happy Xmas (War Is Over)/Listen, the Snow Is Falling
John & Yoko and the POB with the Harlem Community Choir
White label, black vinyl promo with APPLE in large
letters.
1842 Happy Xmas (War Is Over)/Listen, the Snow Is Falling
John & Yoko and the POB with the Harlem Community Choir
Green vinyl. Issued with a PS showing the choir. First
issues have a custom label showing John's face blending
into Yoko's (in stages). Later issues have a regular apple
label.
1843 Water, Paper, and Clay/Streets of London
Mary Hopkin
Although issued later, LA copies of this record have been
verified to exist with a star on the a-side.
PRO-6498/SPRO-6499 F is Not a Dirty Word/Ballad of New York City
David Peel and the Lower East Side
The a-side was edited for promotional use. The version on
David's album is NOT edited. The a-side is in mono.
1844 Baby Blue/Flying
Badfinger
Another hot single by Badfinger. Issued with PS this time.
Promo copies have white labels.
1845 Sweet Music/Song of Songs
Lon & Derrek VanEaton
Their only single from their only Apple album. Issued with
PS. They were supposed to have had another single,
Sun Song/Mr. Business Man, but this was never pressed,
unless as a promo.
1846
This number was never used, but was probably intended for a John and
Yoko single: Luck of the Irish/Attica State, from their Some Time in
NYC album. It may have been intended also for the following single.
PRO-6545/6546 Hippie From New York City/Ballad of New York City
David Peel and the Lower East Side
Maybe people would play this if the a-side weren't so
controversial? Didn't work. No commercial copies were
issued. In fact, Peel had two promo singles on Apple,
but no commercial singles.
1847 Give Ireland Back to the Irish/Give...Irish (version)
Wings
Paul's first attempt to eliminate the Apple from his records'
labels. This single featured a custom shamrock label. Issued
with a title sleeve (with hole).
1848 Woman Is the Nigger of the World/Sisters, O Sisters
John Lennon POB with
Elephants Memory and Invisible Strings/Yoko Ono
Custom "faces" label. Issued with PS.
1849 Back off Boogaloo/Blindman
Ringo Starr
Ringo was really getting in to T.Rex at about this time and liked
the "boogie" sort of music. "Blindman" refers to a film in which
Ringo appeared. The record was released with a blue Apple label,
Ringo's color of choice. The PS for the record is slightly
different at each of the Capitol factories, coming in black, grey,
and matte varieties. Reissued with regular green Apple labels.
A white label promo exists.
1850 We're On Our Way/Supersoul
Chris Hodge
First of two singles for Hodge. This one came with a white PS.
1851 Mary Had a Little Lamb/Little Woman Love
Wings
Yes, this is the nursery rhyme. Another "Wings" single that
wasn't selling up to Beatles standards, even with two videos.
The single follows Paul's trend of custom labels. The first issue
came in a PS that listed the A-side only. When it was decided that
the B-side should also be promoted, it was added to the reverse of
the PS. This second sleeve is more rare.
1851 Mary Had a Little Lamb/Little Woman Love
Paul McCartney
White label promo. Note the change in artist name from "Wings"
to "Paul McCartney."
1852 Saturday Night Special/Valse de Soleil Coucher
Sundown Playboys
This mono single was the only Apple release by the group.
1853 Now or Never/Move on Fast
Yoko Ono
An "urgent" single from Yoko, with the Lennons' favored white
Apple label. With PS depicting massacre.
1853 Now or Never/Move on Fast (?)
Yoko Ono
Whereas the A-side of the regular single times at 4:05, the
promo copy, also on the custom label, times at 3:59. The
single doesn't have the P prefix, but the master number has
a DJ suffix and the label has promotional markings.

1854 Liberation Special/Madness
Elephant's Memory
This EM single was issued with a PS depicting
the cover to their Apple album. This is a mono single.
1855 Knock Knock, Who's There/International
Mary Hopkin
Mary was getting ready to leave Apple for good. This
was her last single on the label.
1856
This number was never issued but may have been reserved for
"Everglade Woman" by Elephant's Memory. Acetate copies of the
(unnumbered) single exist.
1857 Hi Hi Hi/C Moon
Wings
Custom red label, in keeping with Paul's tradition of
avoiding the apple. Both are interesting songs.
The a-side is a story of sex, drugs, and rock and roll.
The b-side is a teenager's analysis of the generation
gap.
1858 Goodbye, Sweet Lorraine/Contact Love
Chris Hodge
It was "goodbye Chris" from the Apple label after this
single. Not even a PS.
1859 Death of Samantha/Yang Yang
Yoko Ono
A regular Apple label for Yoko. Was she going soft?
1860
Reportedly, this number was reserved for the leadoff single from
George's new album, Living In the Material World. It was never
issued.
1861 My Love/The Mess
Paul McCartney and Wings
Paul claims top billing and scores. By this time,
critics were seriously complaining about Paul's
soppy ballads. He was laughing all the way to
the bank. Once again, a custom label instead of
a regular apple. A white label promo copy exists,
which contains a minimal amount of information.
1862 Give Me Love (Give Me Peace On Earth)/Miss O'Dell
George Harrison
George's new single was picked wisely. A big
hit for an ex-Beatle in favor with the public. The
a-side was, of course, George's plea to God for
peace and other things. The b-side is a song
written for Chris O'Dell, who worked at Apple.
On the 2nd verse, George mistakingly says that
"rice" (rather than "night") is "rolling on right up
to my front porch." Thinking about this cracks
him up. The rest of the song is punctuated with
laughter, some spontaneous and some deliber-
ate. First issues mistakingly list the b-side time
at 2:30 instead of 2:20.
1863 Live and Let Die/I Lie Around
Wings
Finally, Paul returns to a regular apple label.
Oddly, there was no PS for this single, by which
Paul proved himself worthy to join the ranks of
those privileged enough to write for the Bond
films.
1864 Apple of My Eye/Blind Owl
Badfinger
Badfinger's last Apple album, Ass, was available.
This was the last Apple single from one of the
hottest bands of the seventies.
1865 Photograph/Down and Out
Ringo Starr
With help from George, this was another hot hit
for Ringo. Issued with a special "star" label.
The a-side is also marked with a white star.
1866
This is an unissued number, but was originally planned for a George
Harrison single, Don't Let Me Wait Too Long.
1867 Woman Power/Men Men Men
Yoko Ono
A single from Yoko's most feminist album,
Feeling the Space.
P-1867 Woman Power/Woman Power
Yoko Ono
A mono/stereo promo. The mono side is edited
to 3:25 from the usual 4:45.

1868 Mind Games/Meat City
John Lennon
John's first single in what for him was a long time.
Issued with PS. The a-side is an optimistic look
at relationship struggles (perhaps with Yoko?).
The b-side is a solid rocker with a secret message
saying, "Check the album." The album message
was different.
1869 Helen Wheels/Country Dreamer
Paul McCartney & Wings
This was promoted from the start as a double-A-
side, although the b-side is a "sliced" apple. The
A-side was a hot enough hit that Capitol decided
to include it as a bonus track on the Band on the
Run album.
PRO-6787/S45-X-48170 Country Dreamer/Country Dreamer
Paul McCartney & Wings
In addition to the usual stereo/mono promo of
the a-side, P-1869 (with mono number PRO-
6786), Capitol/Apple issued this promo of the
b-side as well. Acetates are numerous listing
the b-side only, so this must have been thought
of as a song with hit potential.
1870 You're Sixteen/Devil Woman
Ringo Starr
The second single off of Starr's hot "Ringo" album,
this one being the cover of a fifties standard. Again
on the custom 'star' label, this single too fared well.
Issued with a blue PS featuring "Ringo". The single
was reissued with regular apple labels. These are
harder to find than the original.
1871 Jet/Mamunia
Paul McCartney & Wings
Leadoff single from Paul's most sucessful Apple
album, recorded in Lagos, Nigeria. Some copies
of the single feature an incorrect intro time. Others
feature an incorrect total time as well. The correct
total time for the a-side is 4:08.
P-1871 Jet/Jet
Paul McCartney & Wings
This mono/stereo promo has the mono side edited
to 2:49.
1871 Jet/Let Me Roll It
Paul McCartney & Wings
The a-side label was corrected and a new b-side
chosen. This version appears to be more common
than the "Mamunia" issue, but not by much.
1872 Oh My My/Step Lightly
Ringo Starr
A third single from the Ringo album! This one fared
well, too. Can be found with the "star" label or a
regular apple label.
P-1872 Oh My My/Oh My My
Ringo Starr
This mono/stereo single has the mono side edited to
3:15 from 3:39.
1873 Band on the Run/Nineteen Hundred & Eighty Five
Paul McCartney & Wings
The second (or third) single for Paul from the BOTR
album, this time the title track, which is a fantasy
commentary on the real life court deliberations involving
the ex-Beatles. The A-side length is 5:09.
P-1873 Band on the Run/Band on the Run
Paul McCartney & Wings
Mono/stereo promo with the mono side edited to 3:50.
P-1873 Band on the Run/Band on the Run
Paul McCartney & Wings
Mono/stereo promo with BOTH sides edited to 3:50.
1874 Whatever Gets You Through The Night/Beef Jerky
John Lennon with the Plastic Ono Nuclear Band
Elton John's influence is obvious on this single, which
was John's first #1.
MBRF-55551 Decade
The Beatles & solo
This promo single has a plain white label and nowhere
indicates that it was pressed by Capitol or Apple,
although the radio spots themselves indicate that the
Beatles catalog is available "on Capitol and Apple
records and tapes." The single is one-sided and contains
two radio spots to promote the entire Beatles/solo
catalog. The "Decade" referred to is 1964-1974. This
single has been counterfeited.
1875 Junior's Farm/Sally G
Paul McCartney & Wings
Another double-A-side from Paul, not on any album.
P-1875 Junior's Farm/Junior's Farm
Paul McCartney & Wings
Mono/stereo promo with the mono side edited to 3:03.
P-1875 Sally G/Sally G
Paul McCartney & Wings
Mono/stereo promo of the b-side, issued at the same
time as the above promo. The two promos illustrate
that Capitol skipped the 7000's in its (S)PRO series.
The mono side of the above is 6999; the mono side of
this promo is PRO-8000.
1876 Only You/Call Me
Ringo Starr
Another Ringo Starr hit. When would it end? This time,
Ringo gets from Harry Nilsson. This song features back-
ward secret messages. Can you hear Harry (backward)
saying, "Money, money..."? The single was issued with
a PS of a blow-up of the cover to Ringo's newest album.
Can be found with a "universe" label or a regular apple.
1877 Dark Horse/I Don't Care Anymore
George Harrison
The song that was to define George's new label. It was
issued with a plain white label and then a custom "face"
label, in blue and white. There was also a PS, although
the sleeve (which features the lyrics) is difficult to find.
P-1877 Dark Horse/Dark Horse
George Harrison
Mono/stereo promo with the mono side trimmed to 2:48.
This promo was issued later than the regular mono/
stereo promo which has the mono side at 3:52. There
is also mention of the album on the label. Issued
about 3 months after the single came out.
1878 #9 Dream/What You Got
John Lennon
The second hit from Walls and Bridges. This one
focuses on John's and Yoko's 'lucky number.' A
double A-side. The a-side time is 4:44.
P-1878 What You Got/What You Got
John Lennon
Mono/stereo promo for the b-side. The mono number
is PRO-8030.
P-1878 #9 Dream/#9 Dream
John Lennon
Mono/stereo promo with BOTH sides edited
to 2:58, which was better suited for radio.
The stereo master number is SPRO-8035
1879 Ding Dong; Ding Dong/Hari's On Tour (Express)
George Harrison
A new years single issued in late February. Issued
with a custom "face" label and a title sleeve.
P-1879 Ding Dong; Ding Dong/Ding Dong; Ding Dong
George Harrison
Mono/stereo promo with both sides edited to 3:12.
1880 No No Song/Snookeroo
Ringo Starr
Ringo Starr and Harry Nilsson clown around on
another Ringo single, which is really quite good.
Universe label. Stereo/stereo and mono/mono
promos exist with white labels.
1881 Stand By Me/Move Over Ms. L
John Lennon
First (last?) single for John from his album of
oldies. The non-l.p. b-side is terrific.
1882 It's All Down to Goodnight Vienna/Oo-Wee
Ringo Starr
Not truly a double-A-side, although promo singles
of each side were issued. Perhaps a double b-side.
Issued with the "universe" label and a PS depicting
Ringo sitting on a star made of stars. The single
version is atypically longer than the l.p. version.
This was Ringo's last Apple single.
P-1882 Oo-Wee/Oo-Wee
Ringo Starr
Mono/stereo promo of the b-side, issued at the
same time as the promo for the a-side.
1883 Ain't That a Shame/Slippin' and Slidin
John Lennon
This single was never issued, but mono/stereo
promos of each side were sent to radio stations.
Each of these is a rare item. John's last single
for five years.
1884 You/World of Stone
George Harrison
Paul had left Apple for Capitol. John had retired.
Ringo had recorded his last for Apple. The custom
label for this single and the Extra Texture album
is a custom label featuring an apple core. Issued
with a PS, Apple's last, promoting the album.
1885 This Guitar/Maya Love
George Harrison
This last original Apple single, issued five years
to the day before John Lennon's murder, failed to
chart. A feeble end for a label with fine aspirations.

The Beatles - Sour Milk Sea

Recorded around may 1968 at George's house in Esher where the Beatles demo'd songs for the White Album.

George Harrison - Sour Milk Sea

Mono Version

Jackie Lomax - Sour Milk Sea

Thanks to a friend for pointing us this.

The Apple Singles Collection - Apple # 3

Donated by Chris. Many thanks

Jackie Lomax: Sour Milk Sea

Jackie Lomax was the first artist signed to the Beatles' Apple Records and one of the first non-Beatles artists to have his name on that famous logo.
Released on September 6, 1968 the Sour Milk Sea/The Eagle Laughs At You single was a part of a four single box set called Our First Four showcasing the new talents at Apple Records plus the Beatles new single Hey Jude.
The A-Side Sour Milk Sea was written and produced by George Harrison and features an all-star backin' band: George Harrison and Eric Clapton played double lead guitar. McCartney is on bass, Ringo's hittin' the skins and Nicky Hopkins is on piano.

A Side: Sour Milk Sea Download here
B Side: The Eagle Laughs At You Download here

John Lennon & Plastic Ono Band - Home & Studio 1970

Home & Studio

1. Love
2. Mother
3. My Mummy's Dead
4. My Mummy's Dead
5. I Found Out
6. I Found Out
7. God
8. God
9. God
10. God
11. Yoko Ono Poem Game
12. When A Boy Meets A Girl
13. When A Boy Meets A Girl
14. Well,Well,Well
15. Mother
16. Mother
17. Mother
18. Hold On
19. I Found Out
20. I Found Out
21. Working Class Hero
22. Isolation
23. Remember
24. Remember
25. Love
26. Well,Well,Well
27. Look At Me
28. Look At Me
29. Look At Me
30. God
31. Studio Remix: That's All Right(Mama)/Glad All Over/Honey Don't/Don't Be Cruel/Hound Dog/Unknown/Matchbox
32. Long Lost John
33. Something More Abstract
34. Between The Takes
35. Slow Blues Jam
36. Faster Rocker
37. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City
38. Love (1982 Stereo Remix)(Bonus Track)

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PW: florcitaycamilo.blogspot.com

Note: According to Steve (see Tell Yours Here comments section...) track 37 is missing. May anybody help us wiyh this song?

The Unreleased Beatles?

20 OF THE MOST INTERESTING KNOWN AND RUMORED UNRELEASED BEATLES RECORDINGS THAT HAVE YET TO CIRCULATE



A list, in chronological order of their interest, of 20 of the most intriguing as-yet-uncirculated known and rumored recordings covered in the book The Unreleased Beatles: Music and Film.

1. Live at the Cavern, mid-1962: Auctioned to Paul McCartney on August 29,1985, this tape contains 18 songs, mostly covers, including a few of which no Beatles version circulates. Those covers, and the versions on which they were modeled, are: "Hey! Baby" (Bruce Channel), "If You Gotta Make a Fool of Somebody" (James Ray), "Sharing You" (Bobby Vee), and "What's Your Name" (possibly Don & Juan's doo-wop hit of the same title). As McCartney owns it and nothing was used on Anthology 1, however, we can probably assume the sound quality's not too good.

2. "Sheila," October 26, 1962, BBC: Occasionally at their BBC sessions, the Beatles taped numbers that weren't used in the actual broadcast. This cover of Tommy Roe's chart-topping Buddy Holly soundalike "Sheila" is one of them, and though a poor-fidelity live version that the group taped a couple of months later in Hamburg was issued as part of the Star-Club tapes, this would presumably be both better sounding and a better performance. It's likely, however, that the tape was erased or has vanished forever.

3. "Three Cool Cats," January 16, 1963, BBC: Another instance of a Beatles song taped at a BBC session, but not broadcast. There is a version of "Three Cool Cats" from their January 1, 1962 Decca audition that's easily available. But it's a shame this BBC version doesn't survive, as presumably it would be a considerably improved rendition, the group having improved so much in general in the ensuing year.

4. "Hold Me Tight," studio outtake, February 11, 1963: It's known the Beatles attempted an early version of "Hold Me Tight," later redone for With the Beatles, at their Please Please Me sessions. It's likely the tapes (along with about half the session tapes for Please Please Me) no longer exist, but stranger things have miraculously turned up.

5. "Do You Want to Know a Secret," demo tape, early 1963: Billy J. Kramer remembers hearing a demo tape of this song before he covered it for his debut single on March 21, 1963. As he revealed in the liner notes to the CD The Best of Billy J. Kramer & the Dakotas: The Definitive Collection, "I had this tape given to me, and it was John Lennon singing it with an acoustic guitar. On the tape he said, 'I'm sorry for the sound quality, but it's the quietest room I could find in the whole building.' Then he flushed the toilet."

6. "Three Cool Cats," July 2, 1963, BBC: Yet another version of this Coasters cover, taped at a BBC session in July 1963, but—like the one they taped for the BBC in January—not broadcast.

7. "World Without Love," demo tape, circa early 1964: Peter Asher of Peter & Gordon has said he has a tape of Paul McCartney's demo of "World Without Love" without the bridge, before it was covered by Peter & Gordon for a #1 hit.

8. Beatles-Carl Perkins session, June 1, 1964: The late rockabilly great Carl Perkins claimed on several occasions that he and the Beatles recorded in the studio together on June 1, 1964. The songs they did varied according to the account, but they might have included "Blue Suede Shoes," "Honey Don't," "Everybody's Trying to Be My Baby," "Your True Love," "Sawdust Dance Floor," and others. No tape has surfaced, however, and it seems possible that if such a session took place, it might not have even been taped. For while Perkins remembered staying in the studio until almost three in the morning, no Beatles recording session officially ran past midnight until October 13, 1965.

9. "You're My World," studio outtake, June 3, 1964: A strange song for the group to be covering, "You're My World" was not a Beatles original, but a song that had just gotten to #1 in the UK for Cilla Black. As it turns out, however, it's reported that the version lasts just 33 seconds.

10. "It's For You," demo, mid-1964: Cilla Black has remembered getting a demo of this Lennon-McCartney song that she covered on a 1964 single (and of which the Beatles never released their own version), featuring just Paul and guitar.

11. "No Reply," demo, mid-1964: Before the Beatles recorded this for Beatles for Sale, there had been thoughts of "giving" it away to another Brian Epstein-managed act, Tommy Quickly, though Quickly never did release his own version. Colin Manley, who played guitar on Tommy Quickly's unreleased cover of "No Reply," told Kristofer Engelhardt in Beatles Undercover that "I don't think the Anthology 1 version is the demo we heard; it's too complete. I wish it would have been the one we heard. I'd back my life that the demo we used had no middle eight; it didn't have any clue as to the rhythm we should use. It contained the sound of a toilet flushing at the end which we thought was hilarious because it was typical of John's humor. I think we were told it was recorded in a hotel room. We immediately noticed when the Beatles put it on their album Beatles for Sale that it had a middle eight."

12. "In My Life," private tape, 1965: In his 1980 Playboy interview with David Sheff, John Lennon said he probably had an original (presumably home) tape of "In My Life." John's memory wasn't always faultless, but in the same answer, he also remembered having tapes of "Strawberry Fields Forever" and "We Can Work It Out," both of which did turn up. Like "Strawberry Fields Forever," "In My Life" is known to have mutated considerably in the course of its composition—in an early draft, it referred to numerous Liverpool landmarks by name—which could make pre-studio tapes of the song fascinating.

13. "What Goes On," private tape, late 1965: In the April 1966 issue of The Beatles Monthly Book, Neil Aspinall reported that "when Paul wanted to show Ringo how 'What Goes On' sounded he made up a multi-track tape. Onto this went Paul singing, Paul playing lead guitar, Paul playing bass and Paul playing drums. Then Ringo listened to the finished tape and added his own ideas before the recording session."

14. "Love You To," take 1 (studio outtake), April 11, 1966: The most intriguing of the Revolver outtakes known to have been taped is an acoustic version of George Harrison's "Love You To" with Paul McCartney on backing vocals that must have been considerably different in this early form than the Indian-flavored final album track.

15. Paul McCartney home tapes, circa 1966: In the biography Many Years from Now, Paul remembered using a studio in Montagu Square in London to "demo things. I'd just written 'Eleanor Rigby' and so I went down there in the basement on my days off on my own. Just took a guitar down and used it as a demo studio." A very brief snippet of Paul on acoustic guitar singing "Eleanor Rigby" has shown up that might be from this period, but no other such tapes have circulated.

16. "Carnival of Light," studio outtake, January 5, 1967: One of the most legendary never-heard Beatles "songs," "Carnival of Light" was actually an experimental sound collage, lasting almost 14 minutes, made for (and played at) a countercultural media event of the same name at the Roundhouse Theatre in London on January 28 and February 4 in 1967. There's an entire 12-page chapter on the recording in Ian Peel's book The Unknown Paul McCartney: McCartney and the Avant-Garde, for further details. Since it was compared by McCartney biographer Barry Miles to the Mother of Invention's searingly jarring, side-long 1966 Freak Out! avant-garde cut "The Return of the Monster Magnet" in Paul McCartney: Many Years from Now, however, it can be assumed that it's neither too tuneful nor too characteristic of the Beatles, even in their psychedelic period.

17. "Good Night," mid-1968: Beatles engineer Geoff Emerick's memoir, Here, There and Everywhere: My Life Recording the Music of the Beatles (co-written with Howard Massey), mentions that John made a demo of "Good Night" for Ringo that was played back a couple of times in the studio. "It's a shame that this particular tape has been lost to the world, and that nobody will ever hear the gorgeous way John sang his tender little song," wrote Emerick. "In comparison, I really don't think Ringo did the song justice."

18. "Helter Skelter, take 3 (studio outtake), July 18, 1968: Perhaps the Holy Grail of unheard Beatles outtakes is this legendary 27-minute version of "Helter Skelter," at a session also producing ten- and twelve-minute versions. In The Beatles Recording Sessions, Mark Lewisohn noted that "each take developed into a tight and concisely played jam with long instrumental passages." The four-and-a-half-minute edit of take 2 on Anthology 3 lowered expectations, however, as even this truncated version both veered on tedium and was far inferior to the final arrangement, with its dragging tempo and rote blues-rock guitar licks. Explaining why a longer version was not chosen for the Anthology CD compilations in a 1995 Dutch interview (as seen in the bonus disc of the bootlegged director's cut of the Anthology documentary), George Martin was blunt: "I think it gets boring." His elaboration perhaps gave away more than he would have liked about the core philosophy behind the Anthology collections: "In making these records, my consideration has been to put in works that are interesting to the majority of people. Not to Beatle fanatics. And I have to look at the public as a broad, interesting thing. And I don't want to put anything that people are going to say"—here he yawned for emphasis—"'I wonder when this is gonna finish.' And that's what that would do. Now, there are the hardcore Beatle fanatics who would love to have this. But they already have it on bootleg." Most Beatles fanatics love George Martin for what he did with the group, but most could have told him that he was wrong—we don't have it on bootleg, as none of the long versions have ever made it onto that format. (In fact, the over-halved edit of take 2 on Anthology 3 is the only version of "Helter Skelter" from this session to have made it into circulation.)

19. "Etcetera," studio outtake, August 20, 1968: The second most sought-after outtake from The White Album is Paul McCartney's "Etcetera," recorded as a one-take demo by the composer. Recalled by EMI technical engineer Alan Brown as a beautiful ballad, the tape's apparently no longer in EMI's vaults. That could be because Paul, contrary to Brown's estimation, didn't rate the song highly when he spoke about it in Barry Miles's McCartney biography Paul McCartney: Many Years From Now, where he remembered it has having been written with a Marianne Faithfull cover in mind.

20. "The Long and Winding Road," studio outtake, circa late 1968: It's also known that Paul, playing piano, did a demo of "The Long and Winding Road" at some time during the White Album sessions, in advance of it being rehearsed and recorded at the Get Back/Let It Be sessions in January 1969.
Honorable mention: George quits the band, January 10, 1969: The tape was rolling at the precise moment when George Harrison quit the Beatles (for just a few days, as it turned out) during the Get Back/Let It Be sessions—but the discussion/reaction immediately following that moment is missing from the circulating unreleased tapes.

The Beatles - Yellow Submarine Demos

. All Together On The Wireless Machine (Paul on the BBC 25.11.67)
2. Magical Mystery Tour (film version)
3. The Fool On The Hill (take 1 - demo version)
4. Magical Mellotron Music (incidental music)
5. Aerial Tour Instrumental (alternate version of "FLYING")
6. Where's The Bus (dialogue)
7. I Am The Walrus (take 7 - instrumental - a breakdown)
8. I Am The Walrus (take 9 - instrumental)
9. I Am The Walrus (final 'basic' version without overdubs)
10. Jessie's Dream (incidental music)
11. Blue Jay Way (rough mix)
12. They're Having A Lovely Time (dialogue)
13. Your Mother Should Know (take 1)
14. Hello Goodbye (take 1 - instrumental)
15. All You Need Is Love (original mono-mix with longer fade-out)
16. It's All Too Much (film version)
17. New Blue Meanies (dialogue)
18. All Together Now (mono-mix)
19. Hey Bulldog (mono-mix)
20. Across The Universe (alternative mix)
21. It's All Too Much (unedited long version)
22. Think For Yourself (studio talk 1965, part of which was used in the "YELLOW SUBMARINE" film)

Total duration: 63:59
Artwork included

Part 1 Part 2 Part 3 Part 4

The Beatles - Magical Mystery Tour Outtakes

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Meanwhile, replaced by the one above

Beatles' Era - Vanilla Fudge

You Keep Me Hangin' On from The Ray Anthony Show (1968)

Beatles' Era - Lemon Pipers

Green Tambourine - Number one hit from 1968. From the "Upbeat" TV Show.

Beatles' Era - Tommy James & The Shondells

Tommy James and the Shondells was a 1960s American rock and roll group. They had two number one singles in the U.S. — "Hanky Panky" (1966) and "Crimson and Clover" (1968) — but also released five other top ten hits, including "I Think We're Alone Now," "Mony Mony," and "Crystal Blue Persuasion."

Hanky Panky (1966)

1. Hanky Panky 2:52
2. I'll Go Crazy 2:16
3. I'm So Proud 3:20
4. The Lover 2:07
5. Love Makes The World Go Round 2:21
6. Good Lovin' 2:23
7. Say I Am 2:31
8. Cleo's Mood 2:22
9. Don't Throw Our Love Away 2:54
10. Shake A Tail Feather 2:33
11. Soul Searchin' Baby 2:46
12. Lots Of Pretty Girls 2:04

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Beatles Cartoon - And Your Bird Can Sing

The Beatles - And Your Bird Can Sing

Beatles in Japan picks and an alternate take of the song

The Beatles - And Your Bird Can Sing

Revolver Session Take 2

Beatles' Lyrics

And Your Bird Can Sing
(Lennon & McCartney)
from: Revolver (1966)

You tell me that you've got everything you want
and your bird can sing but you don't get me
You don't get me

When you prized possessions start to wear you down
Look in my direction
I'll be round - I'll be round
You say you've seen seven wonders
and your bird is green but you can't see me
You can't me

When your bird is broken will it bring you down
You may be awoken
I'll be round - I'll be round
Tell me that you've heard ev'ry sound there isA
nd your bird can swing but you can't hear me
You can't hear me.

Funk Up! The Beatles Vol. 2

Funk Up! The Beatles Vol. 2

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The Beatles - Ain't She Sweet/Cry For a Shadow/Searchin'

Ain't She Sweet
Cry For A Shadow
Brian Epstein Speaking
Searchin'

A Beatles Timeline and Notes on Beatles Songs - C

Can't Buy Me Love (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 29 Jan 64
Released: 16 Mar 64 (US), 20 Mar 64 (UK), on "A Hard Day's Night": 26 Jun 64 (US), 10 Jul 64 (UK)
Notes: Written in Paris, January, 1964.

Carry That Weight (Lennon and McCartney)
Real Author: Paul
Recorded: 2, 3, 4, 30 Jul, 15 Aug 69
Released: on "Abbey Road": 26 Sept 69 (UK), 1 Oct 69 (US)
Notes: About Paul's darkest hours.

Come Together (Lennon and McCartney)
Real Author: John
Recorded: 21, 22, 23, 25, 29, 30 Jul 69
Released: 6 Oct 69 (US), 31 Oct 69 (UK); on "Abbey Road": 26 Sept 69 (UK), 1 Oct 69 (US)
Notes: Used phrase "here comes old flat top" from Chuck Berry song. "Come Together" was a Timothy Leary phrase (taken from the I Ching) and was originally written as the campaign song for his presidential run of '70. Written after his auto accident. John says "shoot me" over and over, but the bass covers the "me."

The Continuing Story of Bungalow Bill (Lennon and McCartney)
Real Author: John
Recorded: 9 Oct 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Inspired by a preppie guy in India, Richard Cooke III, who took a break from meditating to go shoot tigers with his mother. Combines Buffalo Bill and Jungle Jim. All meditators in Rishkesh lived in bungalows.

Cry Baby Cry (Lennon and McCartney)
Real Author: John
Recorded: 16, 18 Jul 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Inspired by a TV commercial. Based on fairy tales. Donovan helped. Some lyrics from "Sing a song of sixpence." Kilkardy is a town in Scotland, where the Beatles played on 5 Oct 63.

Cry For a Shadow (Lennon and Harrison)
Real Author: ?
Recorded: 61
Released: 28 Feb 64 (UK), 27 Mar 64 (US)

The Beatles - Come Together

1969 footage

Beatles on 45 - 8

Beatles’ rare 45 rpm sleeves from all over the world.



Vol. 8: 43 sleeves of Something+Come Together/ Let It Be / The Long And Winding Road (rar file 1.1 MB)



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Introducing the Ed Sullivan Show 1964

It was one of the great moments in the history of show business: It was 1:20 p.m., the 7th of February 1964, and Pan Am Yankee Clipper flight number 101 taxied down the runway at New York's Idlewild airport, carrying a human cargo of four young British musicians who were destined to conquer Great Britain's former colony, the U.S.

Introducing the Ed Sullivan Show 1964

The Beatles first appearence on Feb 9, 1964.

The Beatles at the Ed Sullivan Show (Video)

The Beatles at the Ed Sullivan Show (American TV 1964)

1. Ed Sullivan Show - 1st Appearance (1964).mpg
2. Ed Sullivan Show - 2nd Appearance (1964).mpg
3. Ed Sullivan Show - 3rd Appearance (1964).mpg
4. Ed Sullivan Show Rehearsel (Deauville Hotel, Miami - Feb.16, 1964).avi



What the Fab Four sang on their first three Sullivan appearances?

Feb 9: "All My Loving", "Till There was You", "She Loves You," "I Saw her Standing There" and "I Want to Hold Your Hand."

Feb 16: "She Loves You", "This Boy", "All My Loving", "I Saw Her Standing There," "From Me To You" and "I Want To Hold Your Hand."

Feb 23: "Twist and Shout,"Please Please Me" and "I Want To Hold Your Hand"

February 16, 1964: The Beatles second appearance on the Ed Sullivan Show, watched by over 70 million people. This was recorded live at the Deauville Hotel where they were staying.

Download torrent (598.66 MB)

Introducing Funk Up! The Beatles

Ella Fitzgerald - Hey Jude (Montreux 1969)

Introducing Funk Up! The Beatles

Gabor Szabo - Lucy In The Sky With Diamonds

Having grown up in Hungary, Szabo moved to the US in the 50s and in a few years became one of the most respected jazz guitarists in the world. He frequently covered pop songs in his repertoire. This mellow, drawn-out version of "Lucy in the Sky with Diamonds" comes from his 1967 live album "More Sorcery". The album was assembled from performances recorded at both the Monterey Jazz Festival and the Jazz Workshop in Boston.

Funk Up! The Beatles Vol. 1

Funk Up! The Beatles Vol. 1

1) While My Guitar Gently Weeps - Jimmy Ponder
2) Baby It's You - Smith
3) If I Needed Someone - Bit.A.Sweet
4) I Want You (She's So Heavy) - Sarah Vaughn
5) Come Together - The Supremes
6) A Day In The Life - Le Demerle
7) And I Love Her - The Detroit Emeralds
8) Eleanor Rigby - George Shearing
9) Dear Prudence - Gabor Szabo
10 ) Hey Jude - Overton Berry Trio
11) Hey Jude - Ella Fitzgerald
12) Let It Be - Gladys Knight & The Pips

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Beatles' Memorabilia

Beatles jigsaw
Original boxed 340 piece jigsaw of the Beatles performing on stage at the Cavern.

Introducing Reel Music

I Am The Walrus (Magical Mystery Tour)

Introducing Reel Music

I Need You from the movie Help! but not included in Reel Music... but mainly one of the greatest of the second-line gratest Beatles' songs...

Introducing Reel Music

Help! DVD Trailer (2007)

Directed by Richard Lester, who also directed the band's debut feature film 'A Hard Days Night', 'Help!' made its theatrical debut in 1965. The story follows The Beatles as they become passive recipients of an outside plot that revolves around Ringo's possession of a sacrificial ring, which he cannot remove from his finger. As a result, he and his bandmates John, Paul and George are chased from London to the Austrian Alps and the Bahamas by religious cult members, a mad scientist and the London police. In addition to starring the Beatles, 'Help!' has a witty script, a great cast of British character actors and features 7 classic Beatles tracks.

Introducing Reel Music

Help! Movie Trailer (1965)

Introducing Reel Music

A Hard Day's Night

The Beatles - Reel Music

The Beatles - Reel Music
Part One Part Two

Beatles Special Editions

Reel Music Tranparent Yellow Vynil

Weil ein Zug ohne Zug kein Zug ist

A Hard Day's Night auf deutsch

The Beatles auf Deutsch

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What are all those flat-sevenths doing in the Beatles' Revolver?

A flood of flat-sevenths.
Or, what are all those flat-sevenths doing in the Beatles' Revolver?
by Ger Tillekens

According to many pop-musicologists the flat-seventh chord, or subtonic, can be regarded as one of the marks of the Beatles' experimental period. Some of them even view the way in which the group handled this chord in their songs as one of their real musical innovations. On the Beatles' 1966 album Revolver, this chord is paired to a lavish use of quartal harmonies. Is this peculiar chord, along with the quartal harmonies, responsible for the album's meditative atmosphere? Answering this question, Ger Tillekens here takes a closer look at the flat-seventh in songs like "Taxman," "I'm Only Sleeping," "Love You To" and "Here, There, and Everywhere."

1
A closer look at just one chord. Revolver is the first Beatles' album showing the combined marks of the group's experimental period. The compositions exploit the sound and feel of Classical and Indian instruments, the mood of nostalgic and drowsy, psychedelic lyrics and the impact of subtle studio sound effects. In their harmonies we also find a real flood of flat-sevenths. The Revolver recording project, realized between April 1, 1966, and October 31, 1966, all in all includes sixteen songs: to the fourteen tracks on the album we have to add the songs of the double A single "Paperback Writer" and "Rain." In no less than seven out of those sixteen songs, almost half of them, the flat-seventh one way or another makes its presence heard. Four of those songs were written by Lennon, two by Harrison and, remarkably, only one by McCartney.

The flat-seventh chord, or subtonic, often is taken as one of the marks of the Beatles' experimental period (Eerola, 1998), by some even as one of the group's real musical innovations (O'Grady, 1979; 1983). On Revolver this chord appears in close connection to the Beatles' use of quartal harmonies. Does this have something to do with the album's atmosphere? Answering this question, we here will take a closer look at this particular chord. Looking at the harmonic technicalities of the Revolver compositions, we will show how the Beatles successfully put the flat-seventh chord to full use in that album: harmonically to underpin their surprising melodies, and semantically to stress the meaning of their lyrics.

2
An overload of chords. Now we have grown used to them, but at the time of their release the songs on Revolver evoked many startled comments. For a moment even McCartney himself seemed overcome with doubts:
"... I was in Germany on tour just before Revolver came out. I started listening to the album and I got really down because I thought the whole thing was out of tune. Everyone had to reassure me that it was all okay" (Garbarini, 1980).
So even to McCartney the songs of the album, or at least some of them, seemed out of key. It was not the first time this remark was made in respect to the Beatles' songs. Other people had said the same thing before of the group's early songs. From the start of their career the Beatles filled their songs with daring harmonic experiments and that to some people did made their songs go wrong. To Classical trained critics, the songs sounded harsh and sometimes even downright out of key. Blues-oriented critics complained that the Beatles did not apply the right blue notes. Others, however, liked the songs for that very same reason. To their ears the compositions of the Beatles, though harmonically adventurous, were also remarkably melodious.

In their own way both the critical and the affirmative responses to the Beatles' songs were right. The musical style of the Beatles was so new and unusual, that one had to get used to it. To enjoy their songs one's ears first had to learn the musical grammar and to adapt to the underlying musical structure of the harmonies. What was so special about the Beatles' harmonies? The sheer number of chords the Beatles performed in their compositions, offers a first clue for an answer to that question. Compared with the standards of earlier popular music, the Beatles' songs show far too many chords. Most simple harmonies are built upon the three basic chords: the tonic (I), the subtonic (IV) and the dominant (V).

Figure 1: Tone material of the three basic chords

The tone material of these three chords defines seven to eight notes unequivocally, starting from the root of the tonic (Figure 1). Not by accident these notes coincide with the diatonic scale. Of course, we can add chords like the subtonic (bVII) — the flat-seventh — one fourth below the root of the subdominant, or the supertonic (II) — one fifth above the root of the dominant. This, however, imports ambiguous tones in the tone material. In the key of C, for instance, the supertonic (II) adds an A — at first sight the same tone that also regularly belongs to the subdominant (IV). However, though both tones share their names, they are not exactly the same. They differ by slightly more than one tenth of a full tonal distance — to be more exact a microtonal distance of 21.5 cent. Other chords add similar "enharmonic" tones with even greater distances. On hearing these tones on well-tempered instruments a listener has to reinterpret them unconsciously, or else a composition threatens to sound out of key (Helmholtz, 1862). That's why, in the system of Western diatonic music, the tonal key is so important. It also explains why composers usually tend to keep to a small supply of chords.

The Beatles' songbook, however, is quite another story. To play a Beatles' song the right way, chances are a guitarist has to master far more than three chords. Listen for example to Revolver's fifth track, McCartney's composition "Here, There, And Everywhere." (1) The song's harmonies count up to no less than ten chords: G (I), G minor (i), A minor (ii), B-flat (bIII), B (III), C (IV), C minor (iv), D (V), E minor (vi) and F# minor (vii). To account for all these chords from a Classical perspective, we have to assume that some parts of the song modulate or shift to other keys. The home key of G Major, no doubt, dominates the intro, the verse and the coda. For the middle of the verse section, however, we have to resort to the key of the relative minor (E minor) and for the bridge section even to the keys of the parallel minor (G minor) and its relative Major (B-flat).

3
Diagonal substitutions. So, to analyse and explain the harmonic structure of "Here, There, And Everywhere" from a Classical perspective we have to write down at least four different keys. Seen from this perspective, the alternating sections of the song confront the listener with no less than eleven subsequent modulations, tonal oscillations or key shifts within the song's short duration of 2:26 minutes. In its harmonic complexity "Here, There, And Everywhere" is no exception in the Beatles' songbook (Riley, 1988: 55). On average the songs of their complete work have a stock of about eight to nine chords with a maximum of twenty-one for "You Never Give Me Your Money." Blurring Major and minor modes or importing new enharmonic enharmonic tones, such numbers of chords endanger the key and, moreover, unexpected chords tend to be perceived as syntactical disturbances of the musical grammar (Mulder, 2000). To denote the Beatles' extended chord material, some musicologists even speak of an "exploding functional harmony" (Johansson, 1999). In short, there is reason enough for someone to get lost in the harmonic maze of the songs. For the naïve and willing listener the harmonies, however, also possess a natural feeling preventing this from happening. Clearly, the Beatles' songs have some self-explanatory power, helping the listener to adapt to their intricate harmonic twists. If we want to explain the Beatles' songs in a musicological way, however, we are still confronted by severe problems.

Because of their harmonic peculiarities, the Beatles' songs have been called a-tonal or non-tonal. Others have said that the Beatles did retreat to premodern tonal systems, pointing at the way chords are combined in Renaissance Music according to the principle of common tones (2). In a similar way their songs have been qualified as modal — i.e. built upon a tonic with one or more related co-tonics — mostly a combination of Major and minor modes. This use of co-tonics facilitates addressing additional chords and notes. That way the Beatles' style can be seen as a return to premodern music (Mellers, 1969; 1973), or as an extension of an earlier trend in popular music (Van der Merwe, 1989). However, the Beatles' chords are not always connected by common tones, and, though the group was not averse of modulations and an intermingling of minor and Major modes, most of time their songs tend to keep to one solid tone centre.

Figure 2: The tone grid of diagonal substitution

Instead of going back in time, the Beatles rather took a step forward (Peyser, 1969). Adding up all the chords used in their songbook and relating them to a common key, some kind of system emerges (Figure 2). All possible chords are related to each other in a fixed grid, keeping to a fixed tone centre (Tillekens, 1998). Along the diagonal lines, chords are treated as substitutes for the subtonic, tonic and dominant. So in "Here, There, And Everywhere" the tonic G (I) sometimes is replaced by E minor (vi), sometimes by G minor (i) or again sometimes by B-flat (bIII). The subdominant C (IV) can be swapped for C minor (iv), A minor (ii) and even F# minor (vii). The B chord (III) in turn functions as a stand-in for the dominant D (V). In that way the principle of diagonal substitution accounts for all of the song's chords.

The Beatles developed and explored this system from the start of their career — not guided by theory, of course, but by a felt need to express themselves musically. Piecing chords together seemed their way of composing. Or, as Ian MacDonald (1994: 10) says: "In short, they had no preconceptions about the next chord, an openness which they consciously exploited (...)." With each new song and record their experiments became more daring. At first they sought some support in standard chord sequences like the chain of fifths (II-V-I) and the turn-around (I-vi-IV-V). Later on, in their songs any chord seemed fit to follow any other (Widders-Ellis and Gress, 1994), at least if the sequences could be smoothed by some good leading notes. To that end the Beatles took to exploiting the possibilities of the microtonal differences of the tones in their system more fully. They could take their pick. For their compositions the Beatles had an extended tonal array at their disposal, as the diagonal tone grid comprises twenty-four different tones.

On a modern, well-tempered instrument we find only half this amount and each tone of the chromatic scale seems to appear twice in the tone grid. Though called "enharmonic," each pair of tones differs significantly by microtonal distances. The grid itself, however, will help the listener in interpreting which tone is which. If a listener, be it unconsciously, knows the place of the accompanying chord within the grid, the tones are defined accordingly. When the tones are part of a melody line or a sung harmony, they must be sung pure. This, in turn, helps the listener to locate the chord within the grid. That is one of the reasons why the sung harmonies of the Beatles, built upon the chords they played on their guitars (Valdez, 2001), were so important. Their songlines glued the chords together by using many of these microtonal differences as leading notes.

Figure 3: The chorus of "Help!"

In the third and fourth measure of the chorus of "Help!" the Beatles, for instance, sing a D that belongs to the G chord. In the fifth measure the same note is sung, this time accompanied by the E seventh (Figure 3). Though seemingly the same, both notes differ by nearly a quarter of a tonal distance, which the Beatles knew to catch perfectly (Kramarz, 1983: 137). This mark of many Beatles' songs also explains why their compositions seem to integrate harmony and melody. The system of diagonal substitution thus accounts for most of the Beatles' chord and song characteristics. Some chords, however, ask for another explanation.

4
Variants of the flat-seventh. About 66 out of the 187 canonical Beatles' songs incorporate the flat-seventh chord. That is over one third of the complete corpus. The flat-seventh has its own place within the system of diagonal substitution. With the flat-submediant (bVI) and the flat-mediant (bIII) the subtonic forms a triplet of substitutions for the subdominant, the tonic and the dominant respectively. The roots of these chords are the flat-thirds of the roots of the basic chords. Because of their resemblance to similar chords in the Classical Style, these chords sometimes are called Neapolitan chords (3). However, the use of these chords in popular music probably has other origins as their roots coincide with the so-called blue notes. In the idioms of parlour music, blues and folk, these blue notes made an early entrance as accidental notes, sometimes accentuated in the melody lines, sometimes also added to the chord settings.

The blue notes are an integral part of the blues idiom, where much of their attraction lies in their variability of microtonal colours. As the tone grid indicates, the blue seventh (b7) for instance can be interpreted as the fourth of the subdominant's root, as well as the minor third of the dominant's root. To this we can add its interpretation as a perfect seventh to the tonic's root itself. These tones really do sound different as the distance between the last two variants amounts to a quarter of a whole tone step. Moreover, with their microtonal differences, each of these variants seems to accentuate a separate meaning. The first variant — sounding 3.9 cent lower than the well-tempered tone of the same name on a keyboard — transmits a feeling of distance and loss; the second one — reaching up to 17.6 cent higher than its well-tempered relative — expresses a deep felt and urgent private emotion. And, the perfect seventh — by no less than 31.2 cent lower than its keyboard equivalent — supplies the tonic with a feeling of completeness by its consonant qualities, and thereby suggests a sense of healing (Tillekens, 1998).

Unknowlingy, good blues and pop singers are able to catch these small tonal differences. next to the voice, though, a guitar is also an excellent instrument to play, or at least to hint at them. By bending the strings with their left-hand fingers on the neck of their instruments, guitarists can accentuate these different meanings. As an accidental note, sevenths can be added to every chord. Applied to the tonic, however, its semantic power seems at its strongest. That way the Beatles use it, for instance, in "I Wanna Be Your Man" where the verse centres on just this only chord, adorned with flat-sevenths. Listen for instance tot the first line of the song's lyrics: "I wanna be your lover, baby, I wanna be your man." Here the flat-seventh is emphasized in the melody line on both occurrences of the verb "be" and the first syllable of "baby." Just like in many blues songs, the seemingly sober harmony gets its thrill out of a subtle variation in "longing," "distance," and "healing."

Accidental blue notes never have disappeared from the idiom of popular music, but in time they also developed into full-blown chords. In pre-war popular music, the Neapolitan chords were approached by introducing a chain of fifths starting from the tonic and modulating to the root of the flat-third (I-IV-bVII-bIII) (Forte, 1995). Later on, in blues and folk music we find more adlib insertions. The growing popularity of the guitar furthered the use of these chords by facilitating so-called chord streams, stepwise root movement of chords. Guitarists adapted the style of ragtime and jazz to their instrument by picking a barré chord and sliding the whole hand one of more frets up or down on the neck of the guitar. The intro of Elvis Presley's "Hard Headed Woman" offers a good example (Van der Merwe, 1989: 265-266). Chord streams and incidental, isolated Neapolitan chords first made their entrance in popular music especially in the intro and the coda of songs. Later on, in the Brill Building and British appropriation of Rock and Roll, the harmonizing of the blue notes almost came to be a standard (Kramarz, 1983: 51 ff.).

Figure 4: A chord stream in "I'm Only Sleeping"

All these elements reappear in the early Beatles' songs. Stepwise diatonic or chromatic chord progressions, for instance, can be found in songs as early as "P.S. I Love You," "Ask Me Why" and "Do You Want To Know A Secret." Likewise on Revolver the refrain of Lennon's "I'm Only Sleeping" is built upon such a chord stream (Figure 4). Isolated, as incidental chords, Neapolitan chords show up in "I Saw Her Standing There." All this was not new within the musical idiom of popular music. The songs of Buddy Holly and Carl Perkins, for instance, predate those of the Beatles in their use of the flat-sixth. Learning from these examples and importing all the tricks and treats of Rock and Roll and Rhythm and Blues, the Beatles fitted them into their own overarching style. The same goes for the flat-seventh, to which the Beatles were acquainted by their cover song "A Taste of Honey." For their own songs they applied it in the intro of "Thank You Girl." The same chord also provides the powerful opening — like an exclamation mark — of "A Hard Day's Night," the verse of "I'll Be Back" and, of course, the adventurous intro of "Help!" (Figure 3), which opens with the daring sequence: ii-bVII-V-I.

On the album Help! and next on Revolver this trend of using the flat-seventh chord is extended and even more daringly applied. "Doctor Robert," also written by Lennon, for instance, opens with a four-measure vamp on the A chord, which is further sustained for no less than eight measures in the verse. This gives the listener the impression that this chord is the tonic. Afters six bars of accompaniment by the F# chord, the harmony reaches its tonic in the last measure of the verse by a sequence of E-F#-B. This last sequence only can be interpreted as IV-V-I, thus forcing the listener to interpret the A chord in retrospect as the flat-seventh. That way the flat-seventh helps to give the opening lyrics their feeling of an urging insistence, making it an uncensored utterance of deep-felt feelings. In the refrain — "Well, well, well, I'm feeling fine" — this tonal drift at last keeps to its definite tonic, turning the anxiety of the verse into a sudden calmness and thereby suggesting the soothing effects of Doctor Robert's drugs (Wagner, 2001: 95).

Harmonizing the blue notes deprives them of their ambiguity. That's one of the reasons why many of the blue notes of the Beatles and other British groups did sound wrong, or at least not flexible enough, to the ears of blues fanatics. This also goes for the chord forms, at least for the flat-sixth and the flat-third. These chords only appear as the minor thirds of the subdominant and the tonic respectively. The flat-seventh, however, also can represent another chord in the tonal grid, i.e. the fourth of the subdominant. This chord lies farther away from the tonic and so it stresses the feeling of distance and loss. This is also the preferred treatment of this chord in the idiom of folk music. In the Beatles' song repertoire this use of the flat-seventh, for instance, shows up in their ballad "Things We Said Today," where the four-bar chord sequence I-I-IV-bVII underlines the lyrics: "Someday when I'm lonely, wishing you weren't so far away."

Sometimes, as in "All My Loving," where the flat-seventh behaves like a connecting chord between the ii and V chords, the flat-seventh is more folk-oriented — accentuating the separation from a distant lover. In other instances the blues interpretation of strongly felt feelings dominates, like in "We Can Work It Out," where the opening verse starts with an alternating I-bVII sequence. To discriminate both, almost identical chords, we here shall call the first one the folk variant and the second one the blues variant. Giving them different names, however, not always will make it easier to discriminate both variants. In the songs of the Beatles the flat-seventh often will shift back and forth between its folk and blues variants.

In his analysis of the Beatles' songs Walter Everett (1999) points toward one their favourite chord progressions, the "Hey-Jude" progression (bVII-IV-I), we can hear for instance in "You Never Give Me Your Money" and, of course in the jamming phrase ("na, na, na ...") of "Hey Jude." Everett calls this sequence a "double plagal cadence," thereby suggesting that the chord equivocally is our folk variant. But in reality in "Hey Jude" it is not — at least not always — the folk variant we hear. The first time we hear the chord in this sequence it is the blues variant, with its root on the flat-third of the dominant. The second time the sequence comes around it is the folk variant. Here the Beatles make good use of the ambiguous character of this chord. In the verse of "For No One," McCartney turns the sequence just the other way around. Now it becomes: IV-bVII-I, which makes the flat-seventh into a kind of pseudo-dominant. Again, however, the chord is used ambiguously. The last two chords of this progression accompany the lyrics: "When she no longer needs you." Here we hear a subtle shift from the experience of distance of the folk variant to the deep-felt feeling of the blues variant of the flat-seventh. Clearly, its ambiguity is what makes the chord so interesting (Figure 5).

Figure 5: Shifts of the flat-seventh between the folk and blues variants

As "For No One" shows, the ambiguous character of the flat-seventh is being cleverly exploited on Revolver. This intermingling of both flat-sevenths and their meanings can also be heard on the album's first track, Harrison's "Taxman." The song's verse is built out of three parts, of which the third and last one opens with the flat-seventh. The chord is kept on for two bars, followed by one bar for the subdominant and next by two bars for the tonic: bVII-bVII-IV-I-I. Apart from its unusual five-measures length, this part of the song conforms to the blues-form. Again, both variants of the flat-seventh show up. In first bar, accompanying the lines "Cause I'm the taxman," we hear a blues flat-seventh. Next, in the second bar and underlining the phrase "Yeah, I'm the ...," the folk variant appears, creating the impression that the dreaded taxman is nearing from a distance, moving from the background to the foreground.

5
Quartal harmonies. The Beatles developed and explored the principle of diagonal substitution in their early songs. After their experimental period, they returned more fully to this system, as can be shown by the interplay of chords traditionally ascribed to the keys of A Major, A minor, and C Major in the "Abbey Road Medley." Many tracks on Revolver, however, show a predilection for so-called quartal harmonies, i.e. harmonies in which the key leans towards the roots of the subdominant or even the subtonic. These quartal harmonies play with horizontal movements through the harmonic grid, leaning downward to the subdominant and the subtonic — in this case our folk variant (4).

Just like the blue notes, quartal harmonies by themselves are not special for the Beatles' songs. The blues preference for the subdominant above the dominant can be interpreted as an inclination toward quartal harmonies. The same goes for the preference in Rock and Roll and Rhythm and Blues for the plagal cadence (IV-I). Maybe this preference even can be held responsible for the introduction of the flat-seventh chord itself (Wagner, 2001: 94). Many good Rock and Roll songs, moreover, like to blur the key, at least in the intro taking it as far as possible into the verse. These songs just start with harmonic ostinato's of two alternating chords a fifth apart, postponing the third chord which will decide the exact key as long as possible. As their covers show, the Beatles learned this trick from Chuck Berry's "Roll Over Beethoven," Little Richard's performance of "Kansas City," Buddy Holly's "Words Of Love." Their first official song "Love Me Do" and later on "I Should Have Known Better" prove that the Beatles had learned this game quite as well.

As we have seen, the subtonic adds a surplus of meaning to the lyrics of popular songs. The same goes for the three basic chords. The lyrics of popular songs generally regard conversations (Tillekens, 2001). As a rule the dominant stresses the voicing of a public statement toward someone else. The subdominant underlines a retreat into thinking things over in the back of one's mind, an inner monologue. In between, the tonic accentuates the grounding of a decision. So, a long alternation of just two basic chords at the start of a song not only creates uncertainty about it being a sequence of I-V or IV-I. It also leaves it up to the listener to decide if the singer is voicing his inner thoughts or bringing them out into the open. By the way, this same chord movement also is responsible for creating the two-chord walking rhythm of many Rock and Roll songs. In "Love Me Do," for instance, it strengthens the impression of someone walking to his lover, voicing his thoughts in an inner monologue and preparing to voice his commitment to her in the open. When at last we do hear the dominant, this chord underscores that the singer at last has resolved his doubts and is ready to confess his love to his girl friend.

Quartal harmonies accentuate that the singer is biding his time — daydreaming, still being busy thinking things over and postponing final decisions — and thus offer a powerful means of accentuating the meaning of the song lyrics. They can be effectuated by different harmonic tricks. A subtler variant lies in the use of suspended chords, like those applied by Harrison in his "I Want To Tell You." Here the guitar ostinato's vary on two instances of the tonic, A7 and A7sus4, in which musicologist Alan Pollack (1995, #101), by the way, also discovers traces of an embedded "Hey Jude" progression. Quartal inclinations also show up in one of the Beatles' more adventurous modulations of which "She Said She Said," recorded in the key of B-flat, again offers a good example (Figure 6).

Figure 6: Downward modulation in the bridge of "She Said She Said"

In "She Said She Said," we find a clear modulation to Eb — the root of the subdominant (IV) — in the bridge, pivoting on the F minor chord (v). At the time this modulation was not new to the Beatles' songbook. They had performed this feat before in the middle eight of "From Me To You," and at that moment is was a real musical discovery (Kramarz, 1983: 51-53). "From Me To You" is written in the key of C and so the minor dominant is G minor. In respect to this song McCartney himself voiced it this way in an interview with Mark Lewisohn (1988: 10):

"... that middle eight was a very big departure for us. Say you're in C then go to A minor, fairly ordinary, C, change it to G. And then F, pretty ordinary, but then it goes [sings] 'I got arms' and that's a G minor. Going to G minor and a C takes you to a whole new world. It was exciting."

The new world, McCartney here is referring to, not only implies an expansion of the chord material for the composer, but also an extension of the semantic scope of the writer of the song lyrics. Turning the subdominant into the tonic can be used to signify a retreat into the inner self. Once they had discovered it, the Beatles used this harmonic manoeuvre more often. They repeated it in the middle-eight of "I Want To Hold Your Hand" and as we have seen in "She Said She Said." Here it is aptly applied to signify a retreat into a memory of lost innocence, when Lennon sings: "When I was I boy, everything was right." It doesn't stop there, as the bridge of "I'm Only Sleeping" again takes this move one step further, by using the flat-seventh itself as a pivot chord to modulate and even doing it twice (5) (Figure 7).

Figure 7: Downward and upward modulations in the bridge of "I'm Only Sleeping"

With this modulation the bridge directly jumps into a deeper introspection. In the song Lennon is expressing the feeling of being half-awake, half-sleeping. Again the modulation is used for a further retreat into the inner world of reflective thought. Lennon tries to explain his mental state, assuming there is an outsider who's threatening to wake him fully. In the bridge he defines the semi-awareness of waking up to himself: "Keeping an eye on the world outside, taking my time ..." The use of the flat-seventh, with its subtle variations, as a pivot chord instead of the minor dominant, softens the transition between the song sections.

6
Indian inspirations. The overflow of flat-sevenths can have implications that are seemingly difficult for those unknown to the intricacies of musicology. One of those is the preference of transcribers for Mixolydian or other outlandish modes and scales. The reference to Greek musical scales of old is not as difficult as it may seem at first sight. Most of the time the qualification Mixolydian, for instance, just means that the seventh step of the Major scale is replaced by the flat-seventh. In that case using the key of the subdominant for the end of transcription facilitates the notation of songs on sheet music. The qualification Mixolydian again offers an indication for the use of quartal harmonies in a song. Many of the songs mentioned above, like "Love Me Do," fall into this category. Not all songs qualified as Mixolydian always are pure examples of this scale. Mostly this scale is applied to account for the ample use of the flat-seventh as an accidental tone. Just like the key of "Love Me Do" fluctuates between G and C, the tone centre of "She Said She Said" moves around the keys of Bb and Eb. "She Said She Said," however, can be qualified as pure Mixolydian Major, as the song's harmonies forego the use of the dominant and show a preference for the subtonic instead.

An inclination to the Dorian mode can be found in "Love You To." In this mode the third step and seventh step of the Major scale are both flattened, thus addressing two blue notes. Most Beatles' songs are not so shy as to keep to only one scale. Combinations of Mixolydian, Dorian and more common Major modes, for instance, can be found both on Revolver's "Taxman," which skips the use of the dominant and "Tomorrow Never Knows," a Lennon' composition deserving special attention, because it shows a specific use of the flat-seventh.

Figure 8: A vacillating drone in the verse of "Tomorrow Never Knows"

The key of "Tomorrow Never Knows" is a Mixolydian C, which is equivalent to F Major. The second half of virtually every verse is built out of eight measures of an alternating bVII-I sequence, which all in all is repeated seven times (Figure 8). Again the lyrics express a retreat into a distanced, deep inner feeling, the first time saying: "It is not dying." In this case it not even is the flat-seventh chord itself that is directly addressed. There is only, as Pollack (1995, #103) calls it, an "implied vacillation" toward the flat-seventh. Many songs that were recorded during the Revolver recording project, possess this drone-like — we could almost say "revolving" — quality. The effect can result out of a slowing down of the two-chord walking rhythm of an alternating tonic and the subdominant, like we hear in "Paperback Writer." It can be strengthened by treating the subdominant as a suspended chord, like we hear in the coda — right after the modulation — of "I'm Only Sleeping," as well as in the refrain of "Rain." A more powerful effect results from leaving the subdominant out and implying it by alterations of the tonic, like Harrison's guitar ostinato's do in "I Want To Tell You."

The use of these harmonic tricks turns the original walking rhythm of Rock and Roll into a more quiet rocking feeling. The negligence of the dominant takes away any sense of fulfilment and determined action. Keeping to the tonic itself and just hinting at the subdominant strengthens this effect, and, by inserting the flat-seventh instead, the walking rhythm even becomes quieter still (6). With subtle microtonal transitions, the flat-seventh is addressed in both its meanings — placing the violence of private, uncensored inner feelings themselves at a distance. This calms down the pace of revolving thoughts, leading to a feeling of detachment. Here we find a seeming paradox: the flat-seventh, though in a musicological sense a syntactical disturbance, gives the song and the phrasing of the lyrics a soothing quality, quieting the inner voice even further. It almost stops the flow of time, inherent in any music, by creating an oscillating, standing wave of deep feelings and distancing. Of course, the song effectuating this effect to the full is Harrison's "Love You To," which brings us to quite another question.

Both "Tomorrow Never Knows" and "Love You To" make ample use of the sitar. This seems to imply that the growing influence of Classical Indian music promoted the use of flat-sevenths in the Beatles' songs. At that time there, certainly, was something hanging in the air. Classical Indian influences already had made themselves felt in the streams of Jazz, Folk and Classical Music from the mid-fifties on. McCartney confirms this influence in regard to the drone we hear in "Tomorrow Never Knows" (Miles, 1997: 290-291):

"This was because of our interest in Indian music. We would be sitting around and at the end of an Indian album we'd go, 'Did anyone realise they didn't change chords?' It would be like 'Shit, it was all in E! Wow, man, that is pretty far out.' So we began to sponge up a few of these nice ideas."

Here McCartney is suggesting the Indian sound of the song all came from outside influences. And, indeed, there are some strong resemblances between the musical idiom applied in many Revolver's songs and the Classical Indian Style. Apart from all the intricacies of the Indian raga as a tonal framework for composition and improvisation, Indian scales are true scales. They are built around a tonic and a perfect fifth or fourth. These tones are used to set up a drone. The other tones of the scale are variable. The tunes make subtle variations and ornamentations, often with microtonal distances. In combination with the tonic, the flat-seventh proves to be a good chord to imitate an Indian sound, at least to Western ears, as both variants of this chord offer some of the same microtonal distances that are familiar to the idiom of Indian music. So, being part and parcel of the Beatles' compositional techniques, the flat-seventh itself maybe accustomed them to the sound of Indian music. This, at least, seems to go for other British groups who imported Indian sounds into their songs at about the same time.

George Harrison came across the sitar during the takes for the film Help! in London. It would, however, not be until October 12, 1965 before the first fruits of his study of the instrument would be used in recording "Norwegian Wood." In the meantime, other British groups, also known for their use of the flat-seventh, had begun experimenting with Indian sounds (Harrison, 2001). Here the inspiration worked the other way around. It seems to be their use of the flat-seventh that accustomed and sensitised them to Indian music. As soon as they heard the sounds of Indian chants or sitars, they felt the correspondence with their own kind of music. That is how the Kinks, who had shown a predilection for the flat-seventh chord before (Fitzgerald, 2000: 69), for instance, came to the idea of imitating a sitar in their song "See My Friends." The group got the idea during a short stay in Bombay on the way back from their Australian tour. The same goes for the Yardbirds, who preceded the Kinks by a few months, when they added some Indian flavour to their song "Hearts Full Of Soul" because, as they said themselves, the riff on an earlier demo already seemed to suggest the use a sitar. Neither song used a sitar as an instrument. By a fraction the Yardbirds missed the opportunity to be the first rock group to do this. Jeff Beck performed an expert imitation of a sitar on his guitar after the hired studio musician failed to get the song lines right on his sitar. So for these groups, and probably the Beatles as well, it was something already present in their own musical idiom, which seem to ask for some Indian additions. If so, maybe the secret in the fascination of the Beatles for Indian music also lays in their adoption of the flat-seventh and a renewed perception of its ambiguity.

7
Stopping the flow of time. Quartal harmonies, strengthened by the use of suspended chords and flat-sevenths, dominate many of the Revolver songs. The use of flat-seventh (bVII) and the minor fifth (v) in this way meant a deviation from the preferred method of diagonal substitution and songs like these are a subcategory in the Beatles' canon. As we have seen the flat-seventh chord was there all along before Revolver. This album, however, shows their most creative use of it. The use of the inherent ambiguity of the subtonic softens the walking and dancing character of early rock music and also points the way to the adoption of Indian sounds and music. This inclination to quartal harmonies and the flat-seventh may rest on their power to suggest a peace of mind, an end to longing and a recourse to a nostalgic past.

Maybe that is the reason why McCartney initially had the impression of the album being out of tune. Clearly, he hadn't yet incorporated the extreme use of the flat-seventh, as he himself only wrote one song with this particular chord, "For No One," which at that time was rather ordinary for a Beatles' composition. Maybe, in his personal life at that time McCartney felt less need than the others of stopping the flow of time. He must have had some feel for it, however. McCartney, answered to Lennon's "I'm Only Sleeping" by writing "Good Day Sunshine." This song has the same horizontal movements, but inverted, directed toward the dominant and the supertonic as the pure fifth of the dominant. Consequently the song's atmosphere is more open, lending a more outward-bound feeling to the lyrics. Soon he would prove his abilities, when the Beatles gave a new interpretation of nostalgia with "Penny Lane" and "Strawberry Fields." In the last song Lennon again plays with quartal harmonies (Thompson, 2001), in the former McCartney, showing that had acquired a taste for the new sound of the group, performs a direct pivot modulation in the transition of verse to refrain towards the key of the flat-seventh.

Notes
1. The presented chord sequences are checked against the transcriptions of Tetsuya Fujita, Yuji Hagino, Hajime Kubo and Goro Sato (Beatles, 1989) and Alan W. Pollack's "Notes on ... Series" (Pollack, 1989-2001).
2. See for this mark of Renaissance music: Bettens, 1998. Some Beatles' bootleg records, so called Beatlegs, even present the group as "The Renaissance Minstrels."
3. In what must be the first academic Ph.D. on the Beatles, Steven Porter (1979: 72) builds his case for the influence of European Western music on the style of the Beatles on their use of just these Neapolitan chords. At the end of his study he, however, has to admit that the Beatles use these chords in their own manner.
4. This same movement, by the way, is called "vertical" in respect to medieval polyphony and early music (cfr. Schulter, 1998).
5. Just like their cover song "A Taste Of Honey," both "Love You To" and "I'm Only Sleeping" are written in a minor key. Therefore, strictly speaking, the bvii should be written as the vii, as in the minor mode the flat-seventh is native to key. Here, however, we will keep to the conventions presented in the tone grid.
6. At about the same time, the Beatles slowed down the rhythmic patterns of their songs, thereby creating, as Len McCarthy (2001) argues, a new rhythmic paradigm for pop and rock music.
This article was originally published in: Russell Reising (red.), Every sound there is. The Beatles' Revolver and the transformation of Rock and Roll. Aldershot, London: Ashgate, 2002, 121-136

Beatles' Memorabilia

Beatles wallpaper

Roll of Beatles wallpaper displayed in a suitcase
Original 1960s wallpaper printed with head and shoulder and full length portraits of the Beatles, with their facsimile signatures. This wallpaper gave avid fans the opportunity to have their heroes on their very own bedroom walls.

Beatles' Era - Wallace Collection

Daydream (1969)

Beatles' Era - Wallace Collection

Daydream (1969)

Beatles' Era - Wallace Collection

The Wallace Collection were a Belgian group founded in 1968. The mixture of pop, jazz and classical influences gave birth to the typical sound of the Wallace Collection.

In February 1969, EMI chose a track called "Daydream" to launch the career of the group, because this tune contained a fade-out similar to the one of "Hey Jude" by The Beatles, who had had a smash hit with this in the whole world the year before.
EMI was right: Daydream took the hit parades by storm in the whole world.It became number one in more than twenty countries! The "Laughing Cavalier" album in general (recorded in Abbey Road by the audio engineer Geoff Emerick) was even considered by Beatles producer George Martin as being the best to emanate during the year 1969.

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Beatles' Era - Wallace Colection Singles Sleeves

Introducing Germany Tapes: Geh Raus

German version of Get Back

The Beatles - Germany Tapes

1- Sie Liebt Dich (She Loves You)

2- Komm Gib mir Deine Hand (I Want To Hold Your Hand)

3- Geh Raus (Get Back)

4- Mein Herz Ist Bei Dir Nur (My Bonnie)

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Introducing The Beatles Songs Timeline - B

Blue Jay Way

A Beatles Timeline and Notes on Beatles Songs - B

Baby You're a Rich Man (Lennon and McCartney)
Real Author: 50/50
Recorded: 11 May 67
Released: 7 Jul 67 (UK), 17 Jul 67 (US), on "Magical Mystery Tour" 27 Nov 67 (US)
Notes: John's part was first ("one of the beautiful people"); Paul's was the "Baby, you're a rich man." John sang to Brian, "baby, you're a rich fag Jew." Natural E/naturally pun.

Baby's in Black (Lennon and McCartney)
Real Author: 50/50
Recorded: 11 Aug 64
Released: on "Beatles for Sale": 4 Dec 64 (UK), "Beatles '65": 15 Dec 64 (US)

Back in the USSR (Lennon and McCartney)
Real Author: Paul
Recorded: 22, 23 Aug 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Inspired by Beach Boys (and Chuck Berry's 1959 "Back in the USA"). Paul plays lead guitar, drums and piano, John and George bass. Mike Love of the Beach Boys may have had a hand in India. The BOAC (British Overseas Airline Corp) reference is a joke; early in the career, they exchanged free travel on BEA (the European arm) for the Beatles plugging the company. It was a joke how they could fit the initials into a song.

Bad to Me (Lennon and McCartney)
Real Author: Mostly John
Recorded: ?
Released: June, 1963
Notes: Written for Billy Jo Kramer and the Dakotas.

The Ballad of John and Yoko (Lennon and McCartney)
Real Author: John
Recorded: 14 Apr 69
Released: 30 May 69 (UK), 4 Jun 69 (US)
Notes: Written in Paris on Honeymoon. Recorded by John (guitars) and Paul (bass, piano, maracas and drums). Written and recorded same day.

Because (Lennon and McCartney)
Real Author: John
Recorded: 1, 4, 5 Aug 69
Released: on "Abbey Road": 26 Sept 69 (UK), 1 Oct 69 (US)
Notes: Moonlight Sonata chords played backwards, John said, but actually copied forwards.

Being for the Benefit of Mr. Kite (Lennon and McCartney)
Real Author: John
Recorded: 17, 20 Feb, 28, 29, 31 Mar 67
Released: on "Sgt. Pepper's Lonely Hearts Club Band": 26 May 67 (UK), 2 Jun 67 (US)
Notes: Essentially every word (except Henry the Horse) from a circus poster, circa 1800s. Horse is not heroin, he says, since his heroin period came later. Taped steam organs and cut tape loops.

Birthday (Lennon and McCartney)
Real Author: Mostly Paul
Recorded: 19 Sep 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Inspired by "Happy Birthday, Baby" and "Happy, Happy Birtday," by the Tuneweavers in 57. One of the few White Album songs not written in India, instead perhaps started in India to celebrate Patti's birthday, but at least mostly written in the studio. Probably for Linda's 26th which was six days later. Yoko and Pattie sing a line.

Blackbird (Lennon and McCartney)
Real Author: Paul
Recorded: 11 Jun 68
Released: on "The Beatles": 22 Nov 68 (UK), 25 Nov 68 (US)
Notes: Written in India about a bird outside window, according to one story. Song came effortlessly. Tune from Bach, which both he and George had learned as children. Paul says was about black women, Bird sound from EMI sound archives.

Blue Jay Way (Harrison)
Real Author: George
Recorded: 6, 7 Sept, 6 Oct 67
Released: on "Magical Mystery Tour" 27 Nov 67 (US), 8 Dec 67 (UK EP)
Notes: Written 1 Aug 67, ostensibly while waiting in SF for Derek and Joan Taylor, delayed by fog in LA. George was on Blue Jay Way.

Dedicated to Mariska Veres

Mariska Veres, singer for the Dutch group Shocking Blue who had a worldwide hit with their song Venus in 1970, died aged 59 in 2006.

Beatles' Era - Shocking Blue

Venus (1970)
Shocking Blue was a Dutch pop group formed in 1967. Their biggest hit, "Venus," went to #1 on the Billboard Hot 100 in February 1970.

Beatles' Era - Aphrodite's Child

Rain and Tears (1968)
Aphrodite's Child were a Greek beat group formed in 1967 by Vangelis Papathanassiou (keyboards), Demis Roussos (bass guitar and vocals)and Loukas Sideras (drums).

Beatles' Era - Los Bravos

Black Is Black (1966)
Los Bravos were a Spanish beat group, formed in 1965.

Beatles' Era - Claudine Longet

Michele Monet (Claudine Longet) sings a strangely hypnotic song in the 1968 Peter Sellers movie, The Party (directed by Blake Edward)

The Greatest Beatles' Covers Encyclopedia Ever - Vol. 3 of 14

VOL. 3
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Beatles on 45 - 7

Beatles’ rare 45 rpm sleeves from all over the world.

Vol. 7: 55 sleeves of Hey Jude / Get Back / Ballad Of John and Yoko (rar file 1.45 MB)

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Beatles' Memorabilia

Beatles stamps
Limited edition Beatles stamp set containing 5 stamps
originally published in 1964 by Hallmark

The Beatles - Early vintage 60's live footage

Vintage early 60's live footage from the Beatles (back in London-London Airport, live in Holland 1964, Buckingham Palace, Hamburg, a.o.). Includes live version of their 7" single I Saw Her Standing There (live Veilinghal Blokker 1964), etc.

The Beatles Live in Indianapolis 1964 Part1

The Beatles Live in Indianapolis 1964 Part2

The Beatles - Indianapolis 1964

State Fair, Indianapolis, September 3, 1964
1 Intro
2 Twist and Shout
3 You Can't Do That
4 All My Loving
5 She Loves You
6 Things We Said Today
7 Roll Over Beethoven
8 Can't Buy Me Love
9 If I Fell
10 I Wanna Hold Your Hand
11 Boys
12 Hard Day's Night
13 Long Tall Sally

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Introducing The Beatles Songs Timeline - A

Any Time At All

A Beatles Timeline and Notes on Beatles Songs - A

Across the Universe (Lennon and McCartney)

Real Author: John

Recorded: 4, 8 Feb 69

Released: on "Let it Be": 8 May 70 (UK), 18 May 70 (US)

Notes: Started out about his wife Cynthia going on and on, and ruminating on "pools of sorrow, waves of joy." John really liked it, and thought Paul sabatoged it. Written after the Bangor trip but before the India trip, it mentions Maharishi's guru, Guru Dev.

All I've Got To Do (Lennon and McCartney)

Real Author: John

Recorded: 11 Sep 63

Released: on "With the Beatles": 22 Nov 63 (UK), on "Meet the Beatles": 20 Jan 64 (US)

Notes: "One of my my biggies," based on Smokey Robinson.

All My Loving (Lennon and McCartney)

Real Author: Paul

Recorded: 30 Jul 63

Released: on "With the Beatles": 22 Nov 63 (UK), on "Meet the Beatles": 20 Jan 64 (US)

Notes: First song where lyrics written first; written on tour.

All Together Now (Lennon and McCartney)

Real Author: Mostly Paul

Recorded: 12 May 67

Released: on "Yellow Submarine": 13 Jan 69 (US), 17 Jan 69 (UK)

Notes: Deliberately tried to write a sing-along nursery rhyme. Paul Horn says tune written in India,but it appears to have been written in the studio. Derives from Paul's earlier "Jumping Round the Room," which had lyric, "lying on your backs, skipping round the room, jumping in the air..."

All You Need is Love (Lennon and McCartney)

Real Author: John

Recorded: 14 Jun 67

Released: 7 Jul 67 (UK), 17 Jul 67 (US), on "Magical Mystery Tour" 27 Nov 67 (US), on "Yellow Submarine": 13 Jan 69 (US), 17 Jan 69 (UK)

Notes: Written for "Our World" simulcast of 25 Jun 67, the largest audience till that time. Inspired by "We Shall Overcome."

And I Love Her (Lennon and McCartney)

Real Author: Mostly Paul

Recorded: 25, 27 Feb 64

Released: 20 Jul 64 (US), on "A Hard Day's Night": 26 Jun 64 (US), 10 Jul 64 (UK), on "Something New": 20 Jul 64 (US)

Notes: Written for Jane shortly after moving in to her house.

And Your Bird Can Sing (Lennon and McCartney)

Real Author: John

Recorded: 26 Apr 66Released: on "Revolver": 5 Aug 66 (UK)

Notes: Considered it a throwaway.

Another Girl (Lennon and McCartney)

Real Author: Paul

Recorded: 15, 16 Feb 65

Released: on "Help!": 6 Aug 65 (UK), 13 Aug 65 (US)

Notes: Written in Hammamet, Tunisia artists colony.

Any Time At All (Lennon and McCartney)

Real Author: John

Recorded: 2 Jun 64

Released: on "A Hard Day's Night":10 Jul 64 (UK), on "Something New": 20 Jul 64 (US)

Notes: A rewrite of "It Won't Be Long."

Ask Me Why (Lennon and McCartney)

Real Author: Mostly John

Recorded: 26 Nov 62

Released: 11 Jan 63 (UK), 25 Feb 63 (US); on "Please Please Me": 22 Mar 63 (UK), on "Introducing the Beatles": 27 Jan 64 (US), on "The Early Beatles": 22 Mar 65 (US)

Notes: Written in Spring, 1962, influenced by Smokey Robinson and the Miracles.

Picture Discs

The Rolling Stones

Inroducing Blackpool Night Out

Yesterday

Introducing Blackpool Night Out

Help!

Introducing Blackpool Big Night Out

The Beatles - Blackpool Night Out 1965 (Video)

Blackpool Night Out - 1.8.65: I Feel Fine / I'm Down / Act Naturally / Ticket To Ride / Yesterday / Help!
InterTel VTR Services - 23.11.65: I Feel Fine / (Fish & Chips)

Rear Cover Notes:
This Video CD Features The Beatles Performing Live At The ABC Theatre, Blackpool, For Their Appearance OnThe Variety Show 'Blackpool Night Out' On August 1, 1965. Presented Here Are All Six Songs Including Paul Singing 'Yesterday' For The First Time On Television. As A Bonus, We Have Also Included A Rare Outtake For The Promotional Film Of 'I Feel Fine', Recorded By InterTel In November 1965. The Beatles Can Be Seen Eating 'Fish & Chips' Whilst Attempting To Mime To The Record. Video Footage Can Be Viewed By The Player On Disc, Or By Using Windows Media Player. High Resolution Artwork Of The CD Covers Are Also Included On Disc.

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The Greatest Beatles' Covers Encyclopedia Ever - Vol. 2 of 14

VOL. 2
Part One Part Two

Beatles' Era - Cilla Black

A song of Cilla Black with Lennon and McCartney shortly appearing at the end of the performance. Taken from the 1965 TV show "Lennon/McCartney Songs".

Introducing The Songs The Beatles Gave Away

Billy J. Kramer and the Dakotas perform "Little Children," "Bad To Me," "I'll Keep You Satisfied," and "From A Window." (1964)

Introducing The Songs The Beatles Gave Away

Peter and Gordon - A World Without Love (1964)

Donation: The Songs The Beatles Gave Away

Hey, what a great blog.
I took this wonderful "songs the beatles gave away" comp from strawberry lane blog last year, converted the ogg files to mp3 files and uploaded for you guys. basically, songs written by johnny & macca and recorded by other artists. the original poster made a nice cover art with some information and all, and i'd like to share it with you.

Part One Part Two

thanx for your nice posts
GLAUBER [brazil]

...and many thanx to you. Beatlesite.

Further notes:
This album concerns itself with material written by John and/or Paul quite early in their career. As a rule the Beatles did NOT write songs specifically for other artists to perform, almost all songs were written as potential tracks for The Beatles. But if requests came in for material, they would simply pick something out from the "spare" songs. Of course, most requests would be turned down, but it was almost impossible to refuse Brian Epstein himself. Brian, appreciating the hit writing capabilities of his star performers, would often ask for something to be tailored to launch many of his new signings. In this way he arranged for Lennon-McCartney to supply songs for the initial recordings of: Billy J. Kramer, Tommy Quickly, The Fourmost, and Cilla Black. Of course, this album is by no means complete (Mary Hopkin, Badfinger, to name two), but serves as a terrific example of the early writing talents of Lennon and McCartney.

Original Lp content:

Side 1
1 Ringo Starr - I`m The Greatest
Lennon 23/11/1973 - Apple PCTC 252
From the album Ringo
2 The Strangers with Mike Shannon - One And One Is Two
Lennon-McCartney 08/05/1964 - Philips BF 1335 Did not chart.
3 Billy J. Kramer with The Dakotas - From A Window
Lennon-McCartney 17/07/1964 - Parlophone R 5156
4 Peter and Gordon - Nobody I Know
Lennon-McCartney 29/05/1964 - Columbia DB 7292
5 The Applejacks - Like Dreamers Do
Lennon-McCartney 05/06/1964 - Decca F 11916
6 Billy J. Kramer with The Dakotas - I'll Keep You Satisfied
Lennon-McCartney 01/11/1963 - Parlophone R 5073
7 Cilla Black - Love Of The Loved
Lennon-McCartney 27/09/1963 - Parlophone R 5065
8 Peter and Gordon - Woman
Webb 11/02/1966 - Columbia DB 7834
Paul decided to try an experiment to see if his songs were strong enough to sell off their own back, but without a Beatle name against it. "Woman" became the lowest chart performing release for Peter and Gordon only reaching No. 28.
9 Tommy Quickly - Tip Of My Tongue
Lennon-McCartney 30/07/1963 - Picadilly 7N 35137
Failed to chart, although later in 1964, Tommy reached the lower reaches of the chart wih "Wild Side OF Life".
10 The Fourmost - I'm In Love
Lennon-McCartney 15/11/1963 - Parlophone R 5078
Side 2
1 The Fourmost - Hello Little Girl
McCartney-Lennon 30/08/1963 - Parlophone R 5056
2 P.J. Proby - That Means A Lot
Lennon-McCartney 17/09/1965 - Liberty 10215
Already a big hit artist, this was his sixth release, and reached no.30 in the chart. The Beatles did actually record this track on 20th February 1965, it can be heard on Anthology 2.
3 Cilla Black - It's For You
Lennon-McCartney 31/07/1964 - Parlophone R 5162
Her fourth release, following two chart-toppers, reached no.7
4 Carlos Mendes - Penina
McCartney 18/071969 - Parlophone QMSP 16459
A song given to Carlos by Paul when he was on holiday in Portugal. Released only in Portugal.
5 Cilla Black - Step Inside Love
Lennon-McCartney 08/03/1968 - Parlophone R 5674
Reached no.8 in the chart. Paul made a recording of this song on 16th September 1968 as can be heard on Anthology 3.
6 Peter and Gordon - World Without Love
Lennon-McCartney 28/02/1964 - Columbia DB 7225
The first non-NEMS artists to be given a Beatles song.
7 Billy J. Kramer with The Dakotas - Bad To Me
Lennon-McCartney 26/07/1963 - Parlophone R 5049
8 Peter and Gordon - I Don't Want To See You Again
Lennon-McCartney 11/09/1964 - Columbia DB 7356
Failed to chart.
9 Billy J. Kramer with The Dakotas - I'll Be On My Way
McCartney-Lennon 26/04/1963 - Parlophone R 5023
10 The Chris Barber Band - Catcall
McCartney 20/101967 - Marmalade 598-005
Did not chart. This tune was also known as "Catswalk"

The Beatles - Ballad of John and Yoko (1969)

John Lennon Gets Mocked ! (circa 1969 )

Invited by Beatle John to his peace bed-in in Montreal, Cartoonist Al Capp shows up and immediately attacks John and Yoko's hypocrisy (as Capp percieves it) thru sarcastic and sardonic gibes.

Introducing John and Yoko

The bed-in at Amsterdam Hilton Hotel (1969)

A conversation with John Lennon and Yoko Ono (1969)

London, October 1969
by Robbie Dale

October 1969, Robbie Dale interviewed John Lennon and Yoko Ono in the executive offices of the Apple corporation, Saville Road in London. They told him freely about their new band, the Plastic Ono Band, their new records and their then-current plans. The interview was lost for over 35 years and now is published for the first time.

The following conversation took place between John Lennon of the Beatles, his wife Yoko Ono, and Robbie Dale in the executive offices of the Apple corporation, Saville Road in London. Robbie Dale encountered the Lennon's sitting down to a linen, crystal and silver spread for a mid-afternoon breakfast. The interviewer, Robbie Dale, otherwise known as the Admiral, is a former English pirate disc jockey from Radio Caroline. He currently has his own television show for the second year in Holland. Titled "Jam," a monthly, hour-long show. It features British and American pop groups, current fashion and pop news. He continues to work for radio on a nationwide pop station, has recently released his own record and is the owner of the Admiralty Publishing company in London. Robbie Dale's opening remarks carried greetings from Amsterdam, the site of their last meeting. John Lennon's reply went: "Dank u wel [Dutch for thank you] and hot chocolate.

Robbie Dale interviews John and Yoko, while drinking hot chocolate, at their bed-in in the Amsterdam Hilton Hotel (1969)

Robbie Dale: Last time we met was when you were on your honeymoon lying in bed in Amsterdam. That had a great reaction from the Dutch people and the results, I'm sure, gave you a great sense of achievement. Yoko Ono: Oh yes, we had a beautiful time. John Lennon: We miss Amsterdam already. It's like remembering Paris in the springtime without even getting out of bed. We really miss the window and the view from the top floor of the Hilton Hotel. We did another bed-in in Montreal. It was different. It was great, but a completely different atmosphere.

Robbie Dale: Which was the better bed-in? John Lennon: They were completely different. Amsterdam was romantic because it was the honeymoon. Montreal was much tougher and more like hard work because there were a lot of Americans there and the pressure was much greater.

Robbie Dale: Well, since then, you have formed your Plastic Ono Band and the record "Give Peace A Chance" was a great hit in many countries and a number one in Holland. John Lennon: Great! Fantastic!

Robbie Dale: Can you tell me a little about the conception of the Plastic Ono Band? John Lennon: It originally started off as Yoko's idea as a band a kind of joke, a concert band that didn't exist. Like people manufacture the Monkeys or the so-called bubblegum groups in the States. You know, where a guy gets a bunch of lads together and then gets a computer to write the music. And then they put it out and have hits. It's valid music, of course. But Yoko came up with the idea for a band that were really plastic. They were physically plastic, transparent, like ghosts. So we made that band and it played tapes and records and it even had television. It was like a giant juke box in a way. We hoped to go on tour with it. Yoko Ono: All this materialized with John's help, of course. It always happens this way whatever we do because most of my ideas are conceptual and when they are just about ready to disappear, we pick up each others ideas and get them to materialize. It happens very nicely that way. John Lennon: So, we turned it from a conceptual band into a real band. It really happened because we made the "Give Peace A Chance" recording in the second bed-in in Montreal and we thought we'd already done enough publicity in a way. We built the whole the whole group so we thought why not call it the Plastic Ono Band instead of just John and Yoko for the fact that there were all sorts of people singing on it. It wasn't the Beatles, it was like a rabbi, a hotel waiter, and all things like that. It was a bit of everybody. The whole world is the Plastic Ono Band. So that's how we plugged it. And then we went to Toronto just on the spur of the moment and we performed and they announced us as the Plastic Ono Band even though we went over there as John and Yoko, Eric Clapton, Klaus Voormann and Alan White. The announcer sort of said, "This is the Plastic Ono Band." Well, then we made the single "Cold Turkey" and we were thinking of having a new group and calling it something else, changing the name. But we decided not to change it because it was already like a household name and everybody knew of the Plastic Ono. So we're lumbered with the Plastic Ono Band. Like, I went to the studio the other night, with George and Ringo backing Leon somebody who used to work with Delaney and Bonnie and there are half American and half British musicians, half American and half British engineers. Everybody's mixing in and even though there are contracts with record companies, everybody is playing on everybody elses records. Eric [Clapton] plays on our records. George [Harrison] plays on Eric's records. Everybody is intermingling, really breaking down the barriers. And the Plastic Ono Band is a sort of symbol of that. Anybody can be in it. So this Leon guy has a great idea. He's got Charlie Watts and Bill Wyman [Rolling Stones] backing him on one track on his album. He has got Ringo and George on another track. This idea of intermingling and "we all play together," it's not just the Beatles, The Stones, the this, the that anymore. It breaks down all that.

Robbie Dale: A title that seems to be taking over in the pop world at the moment is "supergroup" and now that you've associated yourself with Eric Clapton and others, the Plastic Ono Band is qualifying for this title. What have you to say? Yoko Ono: It will go on being super-super, I hope. John Lennon: Super groups are a bit of a joke. All the musicians think it's embarrassing for them to be called supergroups because Eric Clapton is super, Yoko is super and I think I'm super. But to be called a super group is a joke. It's a fad and just won't stay in the language. I think there are a lot of supergroups who were super, before some journalist dreamt up the name.

Robbie Dale: Do you think it was just an excuse to cover up for all the top groups who have recently disbanded and reformed with stronger line-ups? John Lennon: It's not an excuse, it was just a way of explaining Elvis, Bing Crosby and Louis Armstrong playing together. Some journalist just thought of the tag and it just caught on. Yoko Ono: But it's alright in a sense though. I mean that I know for someone like you, John, as a musician, you don't like that kind of thing, you're being labeled and tagged. John Lennon: Yet, too much was expected of Blind Faith even though they did well. The pre-publicity on them was too much and people were expecting, miracles from them. Too much is expected of everybody. Yoko Ono: With the Plastic Ono Band, this won't happen because we're not saying we're it. We're saying you are it. So it's not the fact that people are going to expect something from us. They must expect it from themselves. John Lennon: It's like the new single "Cold Turkey" out any day now. It's so different from "Give Peace A Chance" and it's all Plastic Ono Band. It's a completely different sound even though Yoko and I are on it.

Robbie Dale: Let me ask you about this. As a follow up, the public were expecting big choir effect as was on "Give Peace ..." but you have progressed into a completely new sound with "Cold Turkey." People are tagging it with the label anti-drugs. Is that so? John Lennon: It's neither anti-drugs nor anti-alcohol. It has not any connection with drugs anymore than it has with the experience you have 36 hours of rolling in pain. That's what miscarriage is, let's face it: 36 hours of rolling in pain. I caught a chill in hospital while Yoko was having a miscarriage and I had what I would term "Cold Turkey" after it. That is a fever of 100 degrees. I was hot and cold for about two days which is like 36 hours. Everybody goes through a bit of agony some time or another in their lives, what ever it is. "Cold Turkey" is just an expression that I would have thought is suitable to explain the other side of life. I'm always thinking about love and peace and now I'm thinking about agony to remind people that I'm human and that we suffer like everybody else. This is the after effects. Yoko Ono: Yes, it is like this. There are two sides or many sides to life and it's sad that all the famous groups have an image that is always nice. But in life, there are moments of sadness, crying and laughing. Even though we do love each other, we have moments of sadness because we are human. Much of the sadness is imposed on us from the outside world, much more than we create between us.

Robbie Dale: Let me come closer to the pair of you by asking a little about your new wedding album. John Lennon: Ah, yes, the wedding album. The wedding album is John and Yoko's album as opposed to the Plastic Ono's album. It is a two sided LP and you are on it, Robbie.

Robbie Dale: So we can expect parts of the Amsterdam scene on it? John Lennon: It's more like a book or a packet that happens to have a record in it. There's photographs of us from Amsterdam, all the cartoons of us from all over the world, we collected readers letters, press releases in all sorts of languages, handouts in Dutch, English, everything. It's a really beautiful packet. It probably will cost more than an ordinary LP because there is so much packaging. That comes out in about three or four weeks. It's a love and peace album and a wedding album. Instead of us making a private wedding album, we made a public one. And we have another LP coming out in about two weeks. It's the Plastic Ono Band album which is the live recording we made in Toronto which goes from "Blue Suede Shoes" to the pure howling from Yoko. It covers the whole gamut. So we have quite a lot of product coming out. Yoko Ono: Well, it's so difficult. John and I are often talking about constipation in a sense that both of us are always getting ideas. Like twenty ideas a day or something. It's just so difficult to get them out. Especially now that John's experienced the privilege of being one of those privileged people that whenever he does anything, it immediately comes out like a record. John Lennon: When you make pop records, it's a pretty fast process. You can almost have it out within a week. The game Yoko was in, she would have an idea for an art show or a sculpture or something and it's so hard to break through that field because it's a closed shop. You would think that the art world is very progressive, but it's not. It's like pre-Beatles or pre-rock and roll in the pop world. You can't get in there. It takes ten years. So she's got her ideas constipated. She's had recognition in the States and Japan and Britain in the art world but still she's constipated. She's started turning me on to have or use ideas that aren't just records. When I started to think about acorns or something like that, packages or books, it takes so long to get them out. Now we are both constipated. But even the Beatles are constipated with material for songs. George writes so many, Paul and I and Ringo are writing so many. We can't get them out fast enough. If we could get it out as fast as a daily paper, it would be beautiful. You know, if we could get a single out every day and an LP out every week like we get the Sunday colour supplement. Yoko Ono: His acorn idea took over a year to materialize [sending acorns to all the world leaders as a peace symbol]. John Lennon: About the sculptural idea I had, they wouldn't even let us into the main gallery. All these sculptural people said that we better not put your sculpture in with the others because it's not fair to them because of all the publicity you've had. In effect, they said we just want to keep the 1880 sculpture with the thin figure, the same old piece of rock.

Robbie Dale: Can we now come up to 1969? [John Lennon: suuuuuuure!] Your commercial figures have just been published and it is claimed that you have sold more than 12 million records in the first twelve months of the Apple Organization's existence. John Lennon: Well that's beautiful. Apple is the most successful new record company in the world.

Robbie Dale: This is a tremendous achievement because in the beginning, when you started the Apple corporation, many criticized you and said you would never get it off the ground because of all the lunatic ideas you [Beatles] have. You've proved otherwise by succeeding beyond all expectations. John Lennon: we made a few mistakes in the beginning because it was a new venture. We wanted to be the Ford Foundation of the record industry. But the way Henry Ford did it was the other way around. He started with nothing. We never did want to graft people into the ground to make the brass. We are a little bit idealistic. Apple turned out to be a beautiful thing.

Robbie Dale: Now having this report in the bag, how do you feel financially, because the last time we met in Amsterdam, you told me that you were losing money and you were not so well off? John Lennon: Well, it fluctuates. When all the Associated Television dealing was going on with Northern Songs, one day I was a millionaire and the next day I was broke. So I couldn't tell you exactly how much money I had at the time. I can still afford to live well. Nobody has taken my home off me and I've still got a car and all the cigarettes I need, so I must be all right. But it fluctuates. It's only paper, you know, like monopoly, You can never actually cash all those bits of paper. Shares and things don't mean a thing. I sometimes get frustrated because I want to cash it all in and I've a pile of half crowns, you know, to see it. We could always play on the street if worst came to worst. I'm always worried about the taxes, too, because they're such a big thing and I don't want to have to end like Mickie Rooney, having to work just to pay the taxes off. We're still paying taxes from a few years ago when we earned vast amounts on tour in America during the Beatlemania years and now it's very hard because we've got to earn the same kind of money to pay those taxes off. It's hard to earn the same kind of money as it was during Beatlemania. Yoko Ono: He shouldn't end up being somebody who has to work on things he doesn't like, compromising his own work just to pay off taxes. John Lennon: I don't want to end up doing TV ads to keep myself going. I would do it, I wouldn't be ashamed of doing it but I wouldn't want to have to write crummy commercial songs that I don't like because I've got to earn a bit of bread.

Robbie Dale: Can you give us any news on the other Beatles and what they are doing at the moment? John Lennon: Ringo is trying to get together Ringo Star Time, his new TV show and I think he's trying to get Elvis and Frank Sinatra on his show. He's in California now. Paul's trying to convince everybody that he's not dead. Have you heard all about these rumors that are sweeping America? Yoko and I have been getting letters and they all say that he has been dead since 1966 or some rubbish like that. Actually Paul's had a baby which is the main thing he's done lately. I haven't seen the baby yet because we've either been in hospital or in the studios. And George has been recording Doris Troy at the moment and he's got a new Jackie Lomax and Billy Preston single coming out soon. Everybody's working like the clappers. Paul was recording the Iveys and the Magic Christian soundtrack for Ringo's film. So we've all been in different studios. I've bumped into George and Ringo lately but I haven't seen Paul since the Associated Television meetings because we all had to come together for that. We had to come in every day, the four of us together and hear all these high finance talk and figures.

Cover of the single "Cold Turkey" / "Don't Worry Kyoko (Mummy's Only Looking For A Hand In The Snow)"

Robbie Dale: Do you understand all high finance stuff you've been doing? John Lennon: If I can keep myself alert, perfectly tuned. It's like a maths or history lesson at school. If you really strain, you can just about follow what they are going on about. When he said: "What do you think now?" you've got to be really careful because it's our money they are talking about. So we've got to try and hold on to it. But it's a big strain on us because we're not financiers.

Robbie Dale: Do you think you've got the right kind of people around you now, the brains, the accountants and lawyers that you obviously need in an enterprise of this size? John Lennon: I think it's getting better. We've gradually changed our accountants over the last few years. We now have this Allen Klein guy who we believe in, he's been with us eight months. He came just in time as far as I'm concerned and as far as the Beatles are concerned.

Robbie Dale: Anything spectacular going to happen in the near future? John Lennon: I couldn't say because spectacular things are happening every day. Yoko Ono: We're so impulsive, we never know what is going to happen within the next hour. We hope that the next event will be "Cold Turkey" at number one followed by the album Live Peace From Toronto.

Robbie Dale: Terrific: How would you like to introduce your new record? John Lennon: Alright, get ready folks for the Plastic Ono Band which is going to send the horrors up your back bone, it's called "Cold Turkey" and if you dare, play the other side.

Robbie Dale: Thanks a lot, John and Yoko. John Lennon: Love, peace, we miss you. Dankuvel and hot chocolate.

Italian Beatles

1. Little Boys - Lei T'ama
2. Meteors - La Tua Voce
3. Little Boys - Immagina
4. Mike Liddell & Atomi - Nelle Mani Tue
5. Bushmen - Pioggia
6. Uh! - Non Sono Solo
7. Bit Nik - Hello Goddbye
8. Gleemen - Lady Madonna
9. Chriss & Stroke - Torno In Russia
10. Ribelli - Obladì Obladà
11. Juniors - Chi È
12. Ribelli - Oh Darling
13. Nuovi Angeli - Il Dubbio
14. Chriss & Stroke - Per Niente Al Mondo
15. Patrick Samson - Dille Sì

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Beatles' Memorabilia

Beatles gold disc

Over one million copies of the Beatles' single A Hard Day's Night were sold. Sales for the album Something New made more than one million dollars. To celebrate this the Beatles were presented with ten gold discs whilst on tour in America in 1964.
In November 1964 Capitol Records arranged transport of these discs to Britain by sea. However, it appears that no one was expecting them, and in London Docks they were not properly declared to Customs. They remained undeclared for 37 years, despite the efforts of Customs and Excise. When this was realised the Apple Corps Limited (acting for the Beatles) completed the declaration forms, and the discs were finally released in May 2002.
To mark these unusual events, the Beatles have agreed to donate two discs to the Customs & Excise Museum.

The gold disc for the album Something New is shown above.

The Usenet Guide to Beatles Recording Variations

Intro: What's a Variation, and Why Do We Care?

One part of being a music fan is playing favorite recordings over and over. Like many people, I've found that I have memorized many small nuances of the performance on record. Sometimes, when listening to an old song on a new disk, I'll detect a difference in what is otherwise a very familiar recording. There may be a voice or instrument in one version that is not in the other, for example. This is a variation. Just when people started noticing Beatles variations is lost in the mists of time, but by the end of the Beatles' recording career as a group in 1970, lists of variations had become a perennial topic among some fans.
One's credentials as a Beatles fan need not rest on whether one can recognize most of the variations. Plenty of genuine fans feel this is one of the most obsessive and boring topics imaginable, and would much rather discuss the meaning of the lyrics, the invention of the melody, or the relation of the song to the Beatles' lives and times. But who cares about all that, eh? No no, that's not what I mean...
The variations open the door a little bit into how the recordings were made and prepared for release. The differences tell us something about how the sound was fixed on tape and what the engineers did to make records out of them. At least, they tell us something if we care to ask how the variations happened.
Hasn't this "been done"? Well you may ask. Beatles Variations Lists have certainly appeared before. One reason to compile a list is simply to collate all the previous work on this topic. When it was suggested I put together something about variations, though, I was dissatisfied at simply rehashing old lists. Aside from the copyright violations (not that it's stopped writers of some of the books I've seen while researching this) it did seem a little boring as well. Nearly all of them are just lists.

There are two reasons I've done this.
Firstly- Collating existing lists does not result in a good list. I found by listening that many of the variations were not well described. Although I decided to be nice and not make this a catalog of the failings of other sources, a few instances are so wildly wrong that I did mention them. There were times when I wondered whether the writers had even heard the record they were describing. The amount of mindless copying from one print source to another has to be seen to be believed. I found that I had to go listen for myself, and quiz people closely to be sure they heard what they said they did on rare disks I couldn't get hold of.
Secondly- I wanted to understand why they vary. The only list that relates variations to what we know about the recording sessions is a series of articles by Steve Shorten in "The 910", which was unfortunately limited by space to highlights. As Steve noted in his first article, the publication of Mark Lewisohn's book "The Beatles Recording Sessions" in 1988 provided an important framework on which to base an improved listing of variations. For the first time, we had specific information about dates of recording (some of which had been known) and of mixing (none of which had been known, I think). This made it possible to look for variations based on how many times a song was mixed at EMI Abbey Road, instead of the hopeless method of listening to every record released in the world.
Not only is "The Beatles Recording Sessions" a goldmine of information, but Lewisohn lacked the space or inclination to apply his data to the problem of variations. He even calls some mixes unused based on nonappearance in England. Tom Bowers and I did some work on finding those in 1991, reported in the Usenet group rec.music.beatles. It became clear that most of the mixes had been used somewhere, and they accounted for some of the variations that had been spotted previously.
Mark's excellent work also provides enough information to figure out just how the variants arose. Some of them, especially the earlier ones recorded in 2-track, are editing differences, while others are differences in how the multi-track master tapes were mixed down for record.
Let me emphasize that, with just a very few exceptions, the mono version of a Beatles song is not the stereo version combined into one channel. On the contrary, George Martin mixed for mono first in almost all cases and then did a stereo mix separately. Right here we have a reason for variations, since the same edits and mixing had to be done twice. In some cases there are two or more mono or stereo mixes, providing yet more chances for variations.
The mixes were supposed to sound the same, usually. However, his practice of making separate mono and stereo mixes shows that George Martin did care about how the record would sound in both finished forms, and he may have deliberately mixed some songs differently. Other times, small things are fixed in one mix and overlooked in another, or difficult editing may be done a little better in one of the attempts. George Martin and staff weren't perfect. That they had problems mixing songs the way they wanted makes the recording process seem a little less mechanical to me.
Obviously the mono and stereo mixes of any song are different. One is mono and one is stereo! Besides that, careful comparison of the mono mix to the stereo mix played as mono would doubtless turn up some differences in emphasis. But what we're really after here in a variations list is larger game: different edits, sound mixed out in one version, different stereo images, and so on-- things that are really noticeable. Well, maybe I stretch the limits on "really noticeable" at times. Forget the ones that seem trivial to you.
Aside from the dubious contribution of Capitol Records USA, I'm not, mostly, listing atrocities performed outside EMI Abbey Road. They're not genuine, just stupid mistakes mastering records-- speed problems, premature fadeouts, defects in tapes, even editing-- and the ever-popular mock stereo. Nobody around the Beatles authorized them. Even Capitol is included just out of parochial interest to me and to the large contingent of fans in the USA-- although I could argue Capitol's work is of more than local interest since some other affiliates such as Odeon (Germany) got masters from Capitol. Capitol certainly doesn't begin and end the tampering stories-- there's that "Penny Lane" from Brazil with a line edited out for no known reason, a "Devil in her Heart" from Mexico with the very end faded off... but I digress. If you live outside the USA, I invite you to catalog your own country's label's lack of judgement.

Compiled by Joseph Brennan

The author at Abbey Road, 1985.

Find the whole thing here.

The Beatles - Help!

Beatles' Picture Discs: Help!

The Beatles - Strong Before Our Birth including The cavern Tapes circa 1962

Disc One
6 July, 1957
1: Puttin’ On The Style [‘The Day John Met Paul’ + Puttin’ On The Style + unbooted]
2: Baby, Let’s Play House [‘The Day John Met Paul’]
Spring/Summer, 1958
3: That’ll Be The Day [Anthology DVD + Anthology 1]
4: In Spite Of All The Danger [Anthology DVD + Anthology 1]
c. April, 1960
5: instrumental #1 [Wildcat]
6: instrumental #2 [Wildcat + The Braun-Kirchherr Tapes+ Wildcat]
7: "Turn The Mixers Off" [Wildcat]
8: Cayenne [You Might As Well Call Us The Quarrymen + The Braun-Kirchherr Tapes]
9: "An Important Number" [Wildcat]
10: "I Don’t Need No Cigarette, Boy" [Wildcat]
11: Well Darling [The Braun-Kirchherr Tapes + You Might As Well Call Us The Quarrymen + The Braun-Kirchherr Tapes]
12: "I Don’t Know" [Wildcat]
bonus tracks:
13: Cayenne [Anthology 1 edit]
14: Hallelujah, I Love Her So [Anthology 1 edit]
15: You'll Be Mine [Anthology 1 edit]
16: In Spite Of All The Danger [original length - created from Anthology 1]

Disc Two
c. July, 1960
1: Hallelujah, I Love Her So (rehearsal)[The Braun-Kirchherr Tapes]
2: Hallelujah, I Love Her So [The Braun-Kirchherr Tapes + Wildcat + You Might As Well Call Us The Quarrymen + The Braun-Kirchherr Tapes]
3: One After 909 (#1) [You Might As Well Call Us The Quarrymen+ John, Paul, George and Stu]
4: Movin’ And Groovin’ [The Braun-Kirchherr Tapes + You Might As Well Call Us The Quarrymen]
5: Ramrod [You Might As Well Call Us The Quarrymen + Wildcat]
6: Instrumental #3 [Wildcat]
7: You’ll Be Mine [You Might As Well Call Us The Quarrymen + Wildcat]
8: unknown song [unbooted + You Might As Well Call Us The Quarrymen]
9: Matchbox [You Might As Well Call Us The Quarrymen]
10: I Will Always Be In Love With You [You Might As Well Call Us The Quarrymen + unbooted]
11: The World Is Waiting For The Sunrise [Wildcat]
12: That’s When Your Heartaches Begin [You Might As Well Call Us The Quarrymen]
13: "That’s The End" [Wildcat]
14: Wild Cat (#1) [Wildcat]
15: One After 909 (#2) [You Might As Well Call Us The Quarrymen + The Braun-Kirchherr Tapes]
16: Some Days [unbooted + You Might As Well Call Us The Quarrymen]
17: You Must Write Everyday [You Might As Well Call Us The Quarrymen]
18: john speaking [The Braun-Kirchherr Tapes]
19: I’ll Follow The Sun [unbooted + You Might As Well Call Us The Quarrymen]
20: Hello Little Girl [The Braun-Kirchherr Tapes + You Might As Well Call Us The Quarrymen]
21: Wild Cat (#2) [You Might As Well Call Us The Quarrymen + The Braun-Kirchherr Tapes]
22 August, 1962
22: Some Other Guy [Can You Hear Me?]
5 September, 1962
23: Some Other Guy [Can You Hear Me?]
24: Kansas City [created from Anthology DVD]
c. October, 1962
25: I Saw Her Standing There [Ultimate Collection Vol. 1 + The Cavern Tapes Circa 1962]
26: One After 909 [The Cavern Tapes Circa 1962 + Ultimate Collection Vol. 1 + The Cavern Tapes Circa 1962]
27: One After 909 [Ultimate Collection Vol. 1 + The Cavern Tapes Circa 1962 + Ultimate Collection Vol. 1]
28: Catswalk [Ultimate Collection Vol. 1 + The Cavern Tapes Circa 1962 + Ultimate Collection Vol. 1]
29: Catswalk [Ultimate Collection Vol. 1 + The Cavern Tapes Circa 1962]
27 October, 1962
30: Interview [Yesterday Medley]
bonus track:
22 August, 1962
31: Some Other Guy (Alternate Intro) [Anthology DVD]

Part 1 Part 2 Part 3

The Beatles - Cavern Club 1962 (Video)

Beatles - Cavern Club, 1962.mpg

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Many thanks to Merlinus & Samantha for sharing this.