June 29, 2009
The Story of the Capitol Albums
By Bruce Spizer, Beatles author and historian
The recent internet chatter regarding the mono glitch appearing on the initial production run of The Capitol Albums Volume 2 shows how confusing listening to the Beatles can be when the focus is on the mixes rather than the music. To appreciate the subtle and sometimes not subtle variations between different mixes of the same song, one needs to understand the mixing and mastering processes.
When tape was first used to record music, it had only one track. That meant that once a song was recorded on tape, the volume of each of the instruments and voices could not be adjusted. If the music drowned out the vocals, there was no way to change the balance. With the advent of the two-track recorder, producers and engineers had two independent tracks upon which to record. This gave them the ability to achieve a proper balance between the two tracks when the tracks were reduced down to one track for the master tape. For example, if the instruments were recorded on one track and the vocals on another, the engineer could achieve the desired balance between the vocals and instruments. This process of reducing a multi-track tape onto a master tape is known as mixing.
An EMI one-track tape machine
In the early sixties, many studios used two-track recorders. The first four Beatles singles and first two Beatles albums were recorded on a two-track recorder at EMI's Abbey Road studio. By late 1963, the Beatles began recording on a four-track recorder. During The White Album sessions in 1968, the Beatles began using eight-track recorders for the first time. Songs recorded during the Get Back sessions had additional instruments added in 1970 when Phil Spector transferred the original eight-track tapes onto a 16-track recorder. Today's studios have up to and even beyond 64 independent tracks.
The master tape is used in the production of the format that reproduces the music. This was initially shellac or vinyl records, but later grew to pre-recorded tape formats (reel-to-reel, 8-track, cassette, DAT and others), CDs and DVDs.
At first, playback systems could only deliver one track of music, so the mixed-down master tape only had one track. But this began to change with the coming of more sophisticated playback systems. Since the early 1950s, master tapes have been either monaural (mono) or stereophonic (stereo). Mono recordings have only one track of music. If a mono record or CD is played through a system with two speakers, the sound coming out of each speaker will be the same. Stereo recordings have two separate tracks of music. If a stereo record or CD is played through a system with two speakers, the sound coming out of each speaker will be different.
THE WAY IT WAS IN THE SIXTIES
Each of the Beatles albums issued by Capitol Records from 1964 through 1967 was issued in both mono and stereo versions. All but one of these albums, Sgt. Pepper, had song configurations different than the albums issued in England. In the sixties, these unique Capitol albums were how Americans were exposed to the wonderful music of the Beatles. Most Americans were blissfully unaware that the Beatles albums issued the U.S. were different than those issued in England.
During the seventies, Beatles fans began learning about and buying import copies of the U.K. albums. They noticed that the Parlophone albums had either 13 or 14 songs as opposed to the 11 or 12 songs found on the Capitol albums. The Parlophone LPs for A Hard Day's Night and Help! each had the Beatles songs from the film on side one and other Beatles songs on side two. These British discs did not have the film score instrumentals found on the U.S. soundtrack albums. The Parlophone albums also sounded different, and to some listeners, better than the American albums.
The Capitol albums began falling out of favor with those in the know. So-called purists quit listening to the American discs, which were suddenly branded inferior. The party line was that all of the Capitol albums were poorly programmed records full of echo-drenched duophonic crap and drastic remixes. Such statements are unfair and inaccurate.
CAPITOL IMPROVEMENTS OR CAPITOL CRIMES?
Before discussing the mixes appearing on the Capitol albums, it is important to understand what Capitol did and did not do. Because Capitol was not sent multi-track master tapes of Beatles recordings, its engineers could not alter the balance of the instruments and vocals to create new mixes from multi-track masters. However, the engineers could alter the sound of the recordings in other ways.
In the sixties, record companies believed that all songs on a stereo album should sound like stereo. If a stereo master was not available, companies would often create a simulated stereo mix. This was achieved by transferring the mono master to two separate channels and then boosting the low bass frequencies in one channel and emphasizing the high treble frequencies in the other. In addition to boosting the bass and tweaking the treble, Capitol often ran the separate tracks slightly out of sync and added reverb. These simulated stereo mixes were described by Capitol as "duophonic recordings."
The Beatles often recorded songs specifically for release as singles. Because the group's singles through 1968 were issued only in mono, producer George Martin normally did not make a stereo mix for such songs. Capitol's strategy of placing songs on its albums that were released exclusively as singles in England resulted in the company receiving only mono masters for some songs. When these songs were selected to appear on an album, Capitol created duophonic mixes. Capitol's detractors often claim that the company's albums are full of duophonic mixes; however, Capitol only prepared a duophonic mix if it did not have a stereo master at the time the album was compiled.
Although Capitol was sent mono masters for all of the EMI Beatles recordings up until The White Album, the company sometimes chose not to use the mono masters, instead creating its own mono mixes by combining the left and right channels of the stereo masters into single-track mono mixdowns. Internal Capitol documents and acetates identify these stereo-to-mono mixes as "2 to 1 mixdowns" or "mono Type B." The industry often refers to such mixes as fold-down mixes. Apparently Capitol believed that mono Type B mixes gave recordings a fuller sound.
Other differences took place during the mastering process. Capitol's engineers occasionally added echo and reverb to some of the songs. This was done to make the recordings sound hotter.
THE CAPITOL ALBUMS VOLUME 1
The Capitol Albums Volume 1 contains the first four Beatles albums issued by Capitol. Each of these 1964 albums is presented first in stereo and then in mono. Because the first four British albums issued on CD in 1987 are mono only, many of the songs in this box set had previously not been issued on CD in stereo. Many of the stereo and mono tracks in the box set are different than the versions appearing in the standard Beatles catalog.
Meet The Beatles!
With the exception of duophonic mixes made for the songs appearing on the U.K. single "I Want To Hold Your Hand" b/w "This Boy," all of the songs on the stereo version of the album are the same stereo mixes used on the British album With The Beatles (except for "I Saw Her Standing There," which was on the U.K.
Please Please Me LP
The stereo album was mastered by Hal Muhonen on December 19, 1963.
The mono version of the album has Capitol-created mono Type B mixdowns for all of the songs except for "I Want To Hold Your Hand" and "This Boy," which are the same mono mixes as the U.K. single. Lee Minkler made the stereo-to-mono mixdowns on December 19, 1963. The mono album was mastered by Billy Smith later that day.
British counterparts: With The Beatles LP
The Beatles' Second Album
This uniquely-configured album is full of unique sounding tracks, particularly on the stereo version. The five leftover cover songs from With The Beatles, namely "Roll Over Beethoven," "You Really Got A Hold On Me," "Devil In Her Heart," "Money" and "Please Mister Postman," are the same stereo mixes used on the British album; however, Capitol added a very noticeable amount of reverb to these songs during mastering. Three songs appearing on singles in England, "She Loves You," "I'll Get You" and "You Can't Do That," are duophonic mixes. The other three songs, "Thank You Girl," "Long Tall Sally" and "I Call Your Name," are stereo mixes prepared by George Martin. The stereo album was mastered by Maurice Long on March 17, 1964. The tape box indicates that the songs were "dubbed with E/Q and limiter plus echo."
The mono version of the album uses Capitol-created mono mixdowns for "Thank You Girl" and the five leftover cover songs from With The Beatles. The mono mixes for "She Loves You," "I'll Get You" and "You Can't Do That" are the same as the mono mixes used for the British singles, while the mono mixes for "Long Tall Sally" and "I Call Your Name" are different than the mono mixes that later appeared on the British Long Tall Sally EP. These unique U.S. mixes were prepared by George Martin. The mono album was mastered on March 17, 1964, by Don Henderson, who chose not to add reverb to the songs. Thus, the stereo and mono versions of this Capitol album have a totally different sound.
All of songs on the stereo version of the album are true stereo mixes. The stereo album was mastered by Maurice Long on July 1, 1964. He did not add echo to the songs as he had done with the previous stereo album.
All of the songs on the mono version of the album are true mono mixes; however, four of the songs, "I'll Cry Instead," "And I Love Her," "Any Time At All" and "When I Get Home," have mixes different than those appearing on the mono Parlophone A Hard Day's Night LP. These unique U.S. mixes were prepared by George Martin. "I'll Cry Instead" is an edit of two takes. The mono version appearing on the Capitol album has an extra verse not present on the stereo mix or the U.K. mono mix. The mono album was mastered by Billy Smith on June 29, 1964.
For this December, 1964, release, Capitol combined the Beatles latest single and a leftover track from the British A Hard Day's Night album with eight songs from Parlophone's Beatles For Sale LP. The stereo mixes for the latter eight songs are the same as those on the Parlophone LP. "I'll Be Back" is the same stereo mix appearing on the British A Hard Day's Night LP. "I Feel Fine" and "She's A Woman" are duophonic mixes prepared from George Martin's mono mixes for the U.S. single. While most of Capitol's duophonic mixes sound great, these two mixes are muddy-sounding echo-drenched disasters. The stereo album was mastered by Maurice Long on November 9, 1964.
The mono mixes for the eight songs from Beatles For Sale are the same as on the U.K. album. "I'll Be Back" appears in a slightly different mono mix made by George Martin specifically for the American market. "I Feel Fine" and "She's A Woman" are the same mono mixes prepared by George Martin for the U.S. single. Both have more reverb than the U.K. mono mixes. The mono album was mastered by Maurice Long on November 10, 1964, the day after he mastered the stereo album.
THE CAPITOL ALBUMS VOLUME 2
The Capitol Albums Volume 2 contains the four Beatles albums issued by Capitol in 1965. Each of these albums is presented first in stereo and then in mono.
The Early Beatles
This album contains 11 of the songs originally appearing on the Please Please Me LP in England and on the two versions of Vee-Jay's Introducing The Beatles in the U.S. The songs were recorded on a two-track recorder with vocals on one side and instruments on the other. Capitol used the same severe stereo separation mixes that appeared on the British stereo album. "Love Me Do" and "P.S. I Love You" are the same fake stereo mixes made under George Martin's supervision for the British stereo album. (No true stereo mix was possible because EMI did not keep the multi-track masters for these songs.)
The mono version of the Capitol album has true mono mixes for "Love Me Do" and "P.S. I Love You," but the other nine songs are unique Capitol stereo-to-mono mixdowns.
Counterparts: British Please Please Me LP and Vee-Jay's Introducing The Beatles
This album from June, 1965, features the six leftover tracks from Beatles For Sale plus the B-side "Yes It Is," the debut of two songs ("You Like Me Too Much" and "Tell Me What You See") that would later appear on the British Help! LP and two songs specifically recorded for the Capitol album, "Bad Boy" and "Dizzy Miss Lizzie." All of the songs except the single "Yes It Is" appear in the same stereo mixes as on the British albums. "Yes It Is" is a unique duophonic mix. The stereo album was mastered by Maurice Long and Wally Traugott on May 14, 1965.
The mono mixes are the same mono mixes as on the British albums, although five of the six leftovers from Beatles For Sale ("Kansas City" being the exception) are identified on the mono tape box as "1 to 1 Remix with Echo & Rev. CCT." This means that these songs have added echo and reverb, although the amount added is, unlike the cover songs on stereo version of The Beatles' Second Album, barely noticeable. The mono album was mastered by Wally Traugott on May 14, 1965.
Help! (Soundtrack Album)
All of the Beatles songs , with the exception noted below, are the same stereo mixes from the British Help! LP. Although a stereo mix of "Ticket To Ride" was made prior to Capitol compiling its soundtrack album, EMI did not send the stereo mix to Capitol. Apparently unaware that a stereo mix of the song was available, Capitol created a duophonic mix of "Ticket To Ride" for its stereo LP. The five instrumental tracks and the uncredited 15-second "James Bond intro" to "Help!" were scored by Ken Thorne and appear in true stereo mixes. The instrumentals were edited from the film soundtrack by John Kraus under the supervision of Dave Dexter. The stereo album was mastered by Hal Muhonen on July 2, 1965.
The only true mono track on the mono version of the album is "Ticket To Ride." The others tracks are unique Capitol stereo-to-mono mixdowns.
Rubber Soul (American Version)
Ten of the twelve songs on this unique Capitol configuration are from the British album of the same title. Except as noted below, Capitol used the same stereo mixes as those on the British album. Capitol used the November 11, 1965 mix of "The Word" rather than the later November 15 mix found on the British LP. Also of note is the false start guitar intro to "I'm Looking Through You" that is present only (at least until 2006) on the stereo Capitol album. The two leftover tracks from Parlophone's Help! LP, "I've Just Seen A Face" and "It's Only Love," are the same as the stereo mixes on the British album. Nearly all of the stereo mixes made during the Rubber Soul sessions have the vocals placed almost exclusively in the right channel, which has little, if any, instrumental backing. The left channel occasionally has backing vocals, but on most songs is limited exclusively to instruments. The stereo album was mastered by Hal Muhonen on November 16, 1965.
A limited number of stereo discs have added reverb that is not present on any other version of the album. These records were pressed with metal parts originating from a later master cut in New York and have W8 in the trail off area to side one and W14 in the trail off area to side two.
Except as noted below, Capitol used the same mono mixes as those on the British album. Capitol used the November 9 mix of "Michelle" rather than the later November 15 mix found on the British LP. The two leftover tracks from Parlophone's Help! LP are the same as the mono mixes on the British album. The mono album was mastered by Billy Smith on November 16, 1965.
GEORGE MARTIN REMIXES FOR CD
By the time EMI and Apple settled their differences and began preparing the Beatles music for release on CD, a decision had been made to standardize the group's catalog throughout the world. This meant that the albums released on CD would be the original Parlophone LPs. The unique Capitol albums were not released on CD and were eventually deleted from the catalog.
The first four British albums were issued on CD in mono only. Because the first two albums were recorded on a two-track recorder, their songs had the vocals in one channel and the instruments in the other. George Martin had recorded the songs that way to get a proper mono mix and only made stereo mixes at the insistence of EMI. When it came time to issue the albums on CD, he requested that EMI use the mono masters. Apparently Martin's request for mono applied only to the first two albums, but EMI misunderstood his directive and issued all four of the albums in mono.
For the release of the next three albums, George Martin took a more active role. Although he believed that the mono versions of these albums were superior to the stereo versions, he recognized that consumers wanted these CDs to be stereo. He decided to remix Help! and Rubber Soul to improve upon his original 1965 mixes and give the albums a more contemporary sound. In the case of Help!, he added echo. For Rubber Soul, he moved the vocals more towards the center.
There was precedent for George Martin remixing his own work. When Capitol prepared its 1976 compilation album Rock 'N' Roll Music, Martin remixed the songs to give them a more contemporary sound.
Capitol's Rock 'N' Roll Music LP
FUN FACTS AND IRONY
The remixing of Help! and Rubber Soul for their 1987 CD release coupled with Capitol's decision to use their original 1965 master tapes leads to the strange situation where George Martin's original 1965 stereo mixes for these albums would not be on CD but for their use in The Capitol Albums Volume 2. Thus, Capitol is preserving the integrity of George Martin's original stereo mixes.
Oddly enough, the songs appearing on the British Help! LP are spread out over three of the four CDs included in the Capitol box set. Because Capitol used George Martin's original 1965 mixes of those songs rather than the 1987 George Martin remixes with echo, we have the reverse of what sometimes happened in the sixties. We now have a British album on CD that has added echo not present on the Capitol albums on CD.
The Beatles catalog first appeared on CD in 1987. These albums have not been upgraded although mastering techniques and technology have improved significantly in the two decades that have passed. While some people believe that the British vinyl albums of the sixties sound better than the Capitol albums, even so-called purists would be hard pressed to argue that the British CDs from 1987 sound better than the discs in the Capitol box sets. That fact of the matter is that they sound flat and lifeless when compared to the Capitol discs. Until the standard Beatles catalog is remastered and released on CD, the Capitol discs are the best way to listen to the Beatles recordings from 1964 and 1965.
These box sets are important not only for historical reasons, but also for providing hours of listening pleasure. They are a sonic delight, bringing the wonderful memories of how Americans grew up listening to the Beatles. It's like listening to the original albums, but without the scratches.
THE MONO MISHAP
The initial production run of The Capitol Albums Volume 2 used improperly compiled masters for the Beatles VI and Rubber Soul discs. Although the discs sound great, they are not historically accurate in that the mono versions of those two albums are stereo-to-mono mixdowns. Oddly enough, The Early Beatles and Help! were originally prepared by Capitol in 1965 as stereo-to-mono mixdowns. So the initial production run of the box set has proper 1965 stereo-to-mono mixdowns for The Early Beatles and Help! combined with improper 2006 stereo-to-mono mixdowns for Beatles VI and Rubber Soul.
Here is an explanation of how the mono mishap most likely occurred. Capitol sent its 1965 stereo and mono master tapes of the albums to Sterling Sound for mastering. Sterling made stereo and mono masters for each of the albums using the original stereo and mono tapes from 1965. Sterling also made stereo-to-mono mixdowns for all of the albums. This was done to determine if the two tracks of the stereo masters were properly phased. Failure to have the tracks properly in phase would result in problems if the tracks were mixed down by radio or television stations for mono broadcast. These test mixdowns were not intended for release and were not sent to
Capitol received reference discs containing the proper stereo and mono versions of each of the four albums. After careful review, Capitol gave its approval for the CDs to be manufactured with the stereo and mono masters it had received from Sterling. Unfortunately, an employee at Sterling mistakenly used the stereo-to-mono test mixdowns of Beatles VI and Rubber Soul when compiling the production masters. Thus, the factories were sent improper mono masters for the two albums.
Capitol was made aware of the error during the production run. Andrew Gardner, host of a Beatles show in Philadelphia, noticed something odd when listening to an advance copy of the box set. He knew that the stereo version of "I'm Looking Through You" has a false start guitar intro not present on the mono version of the song. Much to his surprise, he discovered that the mono version of the song on his CD also had the false start. He contacted another disc jockey, who put him in touch with me.
Although I was on vacation and had not heard the CDs, I knew from Gardner's description of the song that there was a problem. I called Capitol and made them aware of the error. It was quickly determined that the wrong mono tapes were used for Beatles VI and Rubber Soul. Capitol immediately contacted Sterling, who then sent the proper tapes to the factories for use in the remainder of and all future production runs. Capitol also set up a procedure where purchasers of the initial production run can exchange their discs for the corrected discs.
In 1965, Capitol intentionally created two albums worth of new mono mixes when it made stereo-to-mono mixdowns for The Early Beatles and Help! Over forty years later, Capitol unintentionally created two albums worth of new mono mixes for Beatles fans and collectors with its initial production run of Beatles VI and Rubber Soul. As John would say, "Most peculiar, Mama!"
Bruce Spizer is author of the critically acclaimed books, The Beatles Records on Vee-Jay, TheBeatles' Story on Capitol Records parts 1 & 2, The Beatles on Apple Records, The Beatles Solo on Apple Records, and The Beatles Are Coming! The Birth of Beatlemania in America, and served as an official consultant to Capitol Records on The Capitol Albums Volumes 1 and 2. - Source: beatlescollecting.com
You can get them here: http://beatlesmagazinemusic2.blogspot.com/2008/08/beatles-capitol-albums-vol-2.html
June 27, 2009
The Beatles Rarities Album(s)
Rarities -UK version
From Wikipedia, the free encyclopedia
Rarities is a British compilation album featuring a selection of songs by The Beatles. The album was originally released as part of The Beatles Collection, a box set featuring all other Beatles records, but was later released individually. The album has not been released on CD, but 13 of the tracks are available on the Past Masters, Volume One CD and the four other tracks on the Past Masters, Volume Two CD. This article covers the British version of the album — as released as part of The Beatles Collection and later separately in the UK.
Rarities was conceived to include lesser known songs that were not included on any other original Beatles album — these included B-sides of singles, two German language recordings, the tracks from an EP with exclusive material, a song recorded for the American market and a version of "Across the Universe" that had previously appeared on a World Wildlife Fund charity record.
The choice of selections seems to assume that the customer already has all the regular issue British albums (ie, the albums included in the 1978 boxed set) plus the The Beatles/1962-1966 (the "Red Album"), the The Beatles/1967-1970 (the "Blue Album"), and Magical Mystery Tour but not A Collection of Beatles Oldies or Hey Jude. Such a collector would own copies of every song in the entire Beatles catalog except for all the songs provided on Rarities. (Such a collector, however, would still be missing the original single version of "Love Me Do." This track, which went out-of-print in the fall of 1963, was not available anywhere until included on the 1980 American album, The Beatles Rarities. It was finally made available again in Britain in 1982 on a "Love Me Do" 12-single that also featured the common version of "Love Me Do" as well as "P.S. I Love You.")
The album was released 2 November 1978 in Britain, as part of the British edition of The Beatles Collection boxed set. It was also issued in 12 October, 1979 in the United Kingdom as a stand-alone album.
All songs written by John Lennon and Paul McCartney except where indicated. Songs are in mono unless indicated as stereo.
1. "Across the Universe" ("Wildlife" version from a British various artists charity album titled No One's Gonna Change Our World) stereo
2. "Yes It Is" (B-side)
3. "This Boy" (B-side)
4. "The Inner Light" (Harrison) (B-side)
5. "I'll Get You" (B-side)
6. "Thank You Girl" (B-side)
7. "Komm, Gib Mir Deine Hand" (German version of "I Want to Hold Your Hand") stereo
8. "You Know My Name (Look Up The Number)" (B-side)
9. "Sie Liebt Dich" (German version of "She Loves You") stereo
10. "Rain" (B-side)
11. "She's a Woman" (B-side)
12. "Matchbox" (Perkins) (From "Long Tall Sally" EP)
13. "I Call Your Name" (From "Long Tall Sally" EP)
14. "Bad Boy" (Williams) (recorded for the American LP Beatles VI, first UK release in A Collection of Beatles Oldies) stereo
15. "Slow Down" (Williams) (From "Long Tall Sally" EP)
16. "I'm Down" (B-side)
17. "Long Tall Sally" (Johnson/Penniman/Blackwell) (From "Long Tall Sally" EP)
The Beatles Rarities (Capitol Records - American album)
From Wikipedia, the free encyclopedia
(Redirected from Rarities (American Beatles compilation))
Rarities is a compilation album released by Capitol Records featuring a selection of songs by The Beatles. The album was inspired by an earlier compilation of the same name which was released as part of The Beatles Collection box set. Most of the tracks on The Beatles Collection album called Rarities were already available on American Beatle LPs. As a result, Capitol put together an album of Beatle tracks which were rare in America. They include tracks not previously issued on a Capitol or Apple LP and alternate versions of several well-known songs which were also not readily available in the U.S. The gatefold of the album cover features the original controversial "butcher" cover photo of the Yesterday...and Today album. The Rarities album has not been released on CD.
All songs written by John Lennon and Paul McCartney except where indicated.
1. "Love Me Do" (Mono, original UK single on Parlophone 45-R4949 with Ringo Starr on drums and no tambourine)
2. "Misery" (Stereo, previously issued on Vee-Jay LP Introducing... The Beatles)
3. "There's a Place" (Stereo, previously issued on Vee Jay LP Introducing... The Beatles)
4. "Sie Liebt Dich" (Stereo, previously released only as a single (mono) in the US on Swan Records)
5. "And I Love Her" (Stereo, alternate version with six-bar ending; originally issued in Germany)
6. "Help!" (Mono, single mix with different vocals than LP, also lacks "James Bond" intro)
7. "I'm Only Sleeping" (Stereo, final UK Revolver mix. An early mix was released in the US)
8. "I Am the Walrus" (Stereo, new version compiled from US single and UK album mixes: six-bar intro and extra beats before the "Yellow matter custard" verse)
9. "Penny Lane" (Stereo, new version compiled from the German true stereo version with the U.S. promotional mono version's extra piccolo trumpet solo added onto the ending)
10. "Helter Skelter" (Mono, ends at first fadeout without Ringo Starr's "blisters" statement. First pressings of album erroneously attributes statement to John Lennon)
11. "Don't Pass Me By" (Starkey) (Mono, sped-up version)
12. "The Inner Light" (Harrison) (Mono, previously released as the B side of Lady Madonna)
13. "Across the Universe" (Stereo, "Wildlife" version from a British various artists charity album titled No One's Gonna Change Our World)
14. "You Know My Name (Look Up the Number)" (Mono, previously released as the B side of Let It Be)
15. "Sgt. Pepper Inner Groove" (Stereo, a piece that ended the original British release of the Beatles' album Sgt. Pepper's Lonely Hearts Club Band but was not included on the American version of the album. It consists of a few seconds of 15 kilohertz tone (similar to a dog whistle) followed by two seconds of laughter and noise on the runout groove. The tone is not included here, but the laughter and noise is featured just before the actual runout groove)
Dr. Ebbett's Liner Notes for UK version
Beatles rarities? There's no such thing, surely? Nothing the Beatles released could be rare; not with the sales they've chalked up around the world. You could probably wallpaper the entire Abbey Road Studios with gold and silver albums they've all sold over a million copies around the world. Unless you mean unreleased demos and stuff . . .
No. There's nothing here that hasn't been released before, although a couple of tracks have never been released in Britain before. What's meant by rarities are the B-sides of various singles and tracks from EPs which have never been put on an album. Some of them have got "lost" over the years. Everybody who bought a copy of "She Loves You" (and one and a half million people did in Britain alone) must have played the flip side, "I'll Get You" a handful of times at least, but how many people have played it in the last decade?
If you're old enough to remember (even if you'll only admit it to yourself), most of the songs here will come at you with the same mixture of surprise and pleasure that you get from meeting somebody by chance in the street who you used to know years ago but had forgotten about. And if you're young enough then it's quite likely that you won't have heard several of the songs before. Whatever, you'll find this fun.
So let's check out the goodies. "Across The Universe" is not the Phil Spector-produced version that's on the "Let It Be" album. It dates from earlier than that and was originally donated to the World Wide Life Fund compilation album "Nothing's Gonna Change Our World" which was released in January 1970. It features John and Paul on vocals with back-up vocals done by a couple of girls they roped in from the street during the session! Lennon has always rated this as one of his favourite Beatle songs.
"Yes It Is" backed "Ticket To Ride" and came out in April 1965. Nobody would claim it as one of the Beatles' more distinguished compositions but like so many of their B-sides, it gave them a chance to try out some new instrumental and vocal ideas away from the commercial "glare" of an A-side or an album. In case you're wondering, the sensitive "whine" that's an integral part of the arrangements is George Harrison playing with a volume tone pedal, a device that's pretty old hat now but was something new in those days.
"This Boy" is in a similar vein although it's some eighteen months earlier. In fact, it could claim to be the biggest selling rarity in the world as it was the flip side of "I Want To Hold Your Hand" which sold over five million copies worldwide. The cleverly arranged and tightly performed harmonies were something of a revelation at the time. "You mean these boys can actually sing?" (!) That's Paul on the top line vocals by the way, but listen to the way John subtly alters the harmonic shades underneath.
"The Inner Light" is a George Harrison effort that found its way onto the back of "Lady Madonna" in March 1968. It bears the strong Indian influence that pervaded all his work at that time and is his first impression of the Maharishi Yogi's trascendental meditation; simple, yet joyful. McCartney says of it: "Forget the Indian music and listen to the melody. Don't you think it's a beautiful melody? It's really lovely."
"I'll Get You," as we've mentioned before, had the honour to share the same vinyl as the immortal "She Loves You" and even has the audacity to start with "Oh yeah" as the opening line. It has all the hallmarks of an early Lennon McCartney Sixties beat group composition; straight forward but delivered with that unique Beatles style. John and Paul were turning out sogns like this in their sleep at one time but there's many a Liverpool band who would have given their adenoids to have this as their A-side.
"Thank You Girl" is even earlier, from the B-side of their third single, "From Me To You," released in April 1963. The wailing harmonica and basic instrumental backing gives the song a real Cavern Club flavour, right down to the primitive echo on the vocals at the end.
"Komm, Gib Mir Deine Hand" and "Sie Liebt Dich" are respectively "I Want To Hold Your Hand" and "She Loves You" sung in German! They were released together as a single in Germany in January 1964 as an acknowledgement of the Beatles' Hamburg apprenticeship. This is the first time they've been released in Britain although they did come out in America at the height of Beatlemania there when a record of the Fab Four scratching themselves would have got in the charts! German is not the world's easiest or most evocative language to sing in but the Beatles' own character sees them through. Knowing John's sense of humour at the time, I just hope somebody checked the translation!
"You Know My Name (Look Up The Number)" qualifies as the curio of the album, not to mention the Beatles' entire recorded output. It originally came out as the B-side of "Let It Be" in March 1970, but would you believe it was once considered as an A-side? (!) It's a prime example of Lennon's scrambled consciousness that had previously been aired on some tracks of the double White album. It's a cheerful piece of self-mockery that debunks everything in sight.
"Rain" could fairly claim to be one of the strongest Beatles B-sides ever recorded. Supporting "Paperback Writer" when it was released in June 1966, it is an early excursion into the realms of expanded consciousness at a time when most of us thought grass was something you sat on! At the end John can be heard singing backwards, a trick he stumbled across when he took a demo of the song home with him one night and in his stoned reverie inadvertently played it backwards on his tape recorder. So now you know.
"She's A Woman" was the flip side of "I Feel Fine" which came out in November 1964 in wake of the "Hard Day's Night" triumph. It's clear evidence of McCartney's burgeoning confidence as a singer and composer. The song is sharply syncopated and demands (and gets) an alert instrumental approach. Over the top Paul sings with firm conviction. It's just one of those tracks that couldn't have been written by any other group in the world.
"I Call Your Name," "Matchbox," "Long Tall Sally" and "Slow Down" were collectively issued as the "Long Tall Sally" EP in June 1964. Only "I Call Your Name" was a Beatles composition and even that had been given to Billy J. Kramer earlier as the B-side of "Bad To Me" (a Lennon-McCartney composition the group never recorded themselves).
The other three tracks are standard rockers that the Beatles had been playing for years, and just in case you thought they couldn't play real rock and roll here's the proof to the contrary. Higher energy than this you could not get in 1964.
"Bad Boy" is a genuine evergreen Beatles rarity. A Larry Williams song (he wrote "Slow Down" as well) it first cropped up on the American album "Beatles VI" (the American Beatles albums bear little relation to the English albums up until "Revolver") in the summer of 1965, but it didn't appear in Britain until November 1966 when it turned up as part of the "A Collection of Oldies . . . But Goldies" compilation. It was rather swamped by a mess of million-selling chartbusters there but in the context of this album, it holds its head up with a good deal more confidence.
"I'm Down" is the Beatles having the audacity to take on Chuck Berry at his own game. Originally to be found on the flip-side of "Help!" released in July 1965 it rattles along at breakneck speed with John pummelling what passed for an organ in those days fit to bust. The song was also one of the highlights of the Beatles' legendary Shea Stadium gig a month later.
Only true Beatles followers could claim to have more than half the tracks on this album. And only die-hard fanatics could boast over 80 percent. So on any level this album represents a collectors item . . . and some fine rock and roll to boot.
Posted by - at 6:04 PM
Labels: audio, bootlegs, dr. ebbetts
June 26, 2009
GEP 8880 (release date: September 6, 1963)
Tracks: From Me To You; Thank You Girl; Please Please Me
GEP 8882 (release date: July 12, 1963)
Tracks: Twist and Shout; A Taste of Honey; Do You Want To Know A Secret; There's A Place
GEP 8883 (release date: November 1, 1963)
Tracks: I Saw Her Standing There; Misery; Anna (Go To Him); Chains
GEP 8891 (release date: February 7, 1964)
Tracks: All My Loving; Ask Me Why; Money; P.S. I Love You
GEP 8913 (release date: June 19, 1964)
Tracks: Long Tall Sally; I Call Your Name; Slow Down; Matchbox
GEP 8920 (release date: November 4, 1964)
Tracks: I Should Have Known Better; If I Fell; Tell Me Why; And I Love Her
GEP 8924 (release date: November 6, 1964)
Tracks: Any Time At All; I'll Cry Instead; Things We Said Today; When I Get Home
GEP 8931 (release date: April 6, 1965)
Tracks: No Reply; I'm A Loser; Rock and Roll Music; Eight Days A Week
GEP 8938 (release date: June 4, 1965)
Tracks: I'll Follow the Sun; Baby's In Black; Words of Love; I Don't Want to Spoil the Party
GEP 8946 (release date: December 6, 1965)
Tracks: She Loves You; I Want To Hold Your Hand; Can't Buy Me Love; I Feel Fine
GEP 8948 (release date: March 4, 1966)
Tracks: Yesterday; Act Naturally; You Like Me Too Much; It's Only Love
GEP 8952 (release date: July 8, 1966)
Tracks: Nowhere Man; Drive My Car; Michelle; You Won't See Me
EMI Records Australia. GEPO 70044. Paperback Writer / We Can Work It Out b/w Day Tripper / Norwegian Wood
SMMT-1 (release date: December 8, 1967)
Tracks on Record One: Magical Mystery Tour; Your Mother Should Know; I Am The Walrus
Tracks on Record Two: The Fool On the Hill; Flying; Blue Jay Way
Release circa 1967
Penny Lane, Strawberry Fields Forever, And Your Bird Can Sing, I'm Only Sleeping
June 25, 2009
June 21, 2009
Introducing the Beatles - VJ Records - 01-10-1964
Perhaps the most distinctive component in the history of Beatles records is the album Introducing the Beatles (Vee Jay VJLP/SR-1062). This eccentric LP is distinctive on many fronts, not the least of which is that its dozen tracks have proliferated into over two dozen subsequent albums and singles.
This summer 1963 product of Chicago's Vee Jay label competed heartily in the marketplace, right along with the big boys over at Capitol. As a small, independent company with a big hit record on their hands, Vee Jay and their vendors worked around the clock to meet the enormous demand for this LP. For the last few months of '63, this was the only Beatles album available for purchase in American shops. Although a huge seller, its sales life was cut very short by the courts, when, in early 1965, the rights to all of the Beatles recordings were turned over to Capitol/EMI.
Not surprisingly, most of the world's rare and valuable records, including Introducing the Beatles, have been counterfeited -numerous times and in a myriad of variations. It is probably the most counterfeited record in history, and deserving of consideration for a gold or platinum award in the category: Rock Album Most Frequently Faked.
With so many different bogus copies floating around, perhaps we should begin by giving a precise description of the original album. Knowing how to spot an original is one of the best weapons against getting stuck with a pretender.
The first issue covers were manufactured in both Chicago and St. Louis. All original covers have a glossy coated paper stock, both front and back. Approximately 90% of all Introducing the Beatles covers were produced at these plants. If either the front or the back cover is flat -lacking gloss -it is a counterfeit.
In late 1964, when Vee Jay relocated their offices to Santa Monica, California, a small number of original covers were then made on the west coast. These have less of a gloss on the back cover; however, they do have some shine and are clearly not a flat stock.
Although color shades do vary on originals, the printing of the photo and text is always very sharp and clear. Any with poor quality printing are probably counterfeits. All legitimate covers are made using varying shades of gray or tan cardboard, with the printed front and back slicks bonded on them. All original covers we have seen have a 1/4" overlap of cardboard at the top and bottom of the inside cover. This check can only be made by viewing the inside of the cover at the top and at the bottom. On most fakes, these overlaps are either much larger than 1/4", or there is no flap at all. The California plant made a small quantity of original monaural covers that have no flap at all, but they still have the glossy back cover slick as well as high quality printing. Also, these come with an authentic disc inside, yet another way to help determine originality.
A few counterfeits do have covers with high quality printing, but their overall construction and/or disc quality are noticeably imperfect.
While it is very helpful to have a known original on hand for comparison, few folks have that luxury. When this is not possible, use the following checklist to make a determination regarding authenticity.
Some of the more common characteristics found on COUNTERFEIT COVERS:
Covers with a brown border around the front cover photo are fakes.
Covers with a bright yellow tint and the word "STEREO" printed in black at the upper left are fakes.
Covers without George Harrison's shadow-visible to his right of where he stands, near the edge are fakes.
Covers with red, blue, and yellow dots, unmistakable under the top of the back cover, are fakes. The dots are used by the printers during the printing process. On originals, the dots are in a different area and are not normally visible. (This fake is of particular importance due to the high quality of the front cover photo. For that reason, this cover has fooled many a collector. Look for the dots! Fake covers are almost always accompanied by a fake disc.)
Covers for the stereo issue that list Love Me Do and P. S. I Love You, among the two columns of tracks on the back, are almost always fakes. Only a couple of authentic copies of these versions are known to exist.
Covers having a flat paper stock on the back side slick are fakes.
Some of the more common characteristics found on COUNTERFEIT DISCS:
Any labels with flat textured rainbow/colorband labels are fakes.
Labels that have "THE BEATLES" and "INTRODUCING The BEATLES" separated by the center hole are fakes.
If the width of the vinyl trail-off -the gap between the end of the last track and the edge of the label is greater than one inch, you have a fake.
Any copy with black labels that do not have the rainbow colorband, that are printed on glossy paper stock, are fakes.
Copies with rainbow/colorband labels that have faint print and/or weak color brightness and a lack of clarity are fakes.
Some of the more common characteristics found on ORIGINAL COVERS:
Covers-front and back-must have slicks that are either glossy or semi-glossy.
Printing on covers must be of high quality and professional looking.
Back cover lists contents in two columns
Stereo copies must meet one of the following conditions:
Back cover pictures 25 color photos of other Vee Jay albums.
This copy is commonly known as the "Ad Back" cover.
Back cover is totally blank; a completely white slick with no print whatsoever.
Some of the more common characteristics found on ORIGINAL DISCS:
Labels have "THE BEATLES" and the title "INTRODUCING THE BEATLES" above the center hole.
Only gloss or semi-gloss rainbow/colorband labels are used on originals.
All original labels have bright, sharp silver print.
The vinyl trail-off -the gap between the end of the last track and the edge of the label usually measures from 7/8" to 1" wide, but never greater.
The rainbow/colorband that circles the perimeter of an original label is of high resolution, with smooth, gradual changes in color.
The vinyl trail-off area on over 90% of all originals has one or more of the following mechanical Stampings:
1. The term "AudioMatrix."
2 The letters "MR" inside of a circle.
3. The letters "APP" in italics. Among originals, only those made in Santa Monica lack machine Stampings. Regardless, these still have the aforementioned bright silver print and glossy labels. To date, we have never seen a counterfeit copy with machine stamping in the trail-off area.
We have never found a counterfeit with the word "STEREO" printed on the label.
Any copy with "STEREO" printed on the label is more than likely an original.
All originals with black labels that do not have the rainbow colorband are printed on a flat-not glossy-paper stock.
Any item under scrutiny must measure up in all the above areas of originality testing. If either the cover, disc or label fails even one criterion of the test, then it is likely from that secluded, middle Eastern country: Itsa Fakka!
Collectors' Corner: How to value ‘Introducing The Beatles’May 22, 2008
by Bruce Spizer
One of the most dreaded e-mails a Beatles dealer or expert can receive goes something like this: “I just got my mom’s copy of Introducing The Beatles that she purchased back when she was a kid. What’s it worth?”
Of course, there is no simple way to answer such a question. Before determining the value, you might have to go through a dozen or more questions. Information, prices and images of Introducing The Beatles are spread over four pages in Perry Cox & Frank Daniels’ “Price Guide for the Beatles American Records.”
First, you must determine whether or not the record is counterfeit. Does “The Beatles” appear above or below the center hole on the label? If the group’s name is below the center hole, the record is a fake, most likely pressed in the ’70s. There are other things about these records that indicate they were not pressed in 1964, such as improper trail-off area markings and thin vinyl. But, there is no need to go any further once you determine that “The Beatles” is below the center hole.
Because some counterfeits have the group’s name above the center hole, additional questions need to be asked before you conclude that the record is legitimate. If the label has a colorband, does it contain the color green? If the colorband is missing the color green and has a jagged line between red and purple, the record is a fake. If the label is black without a colorband, does it have a large white VJ brackets logo? If yes, the record is a fake.
If the record is fake, chances are the cover is too. But, because covers and discs can get mixed up over the years, one should also test the cover. Does the cover have a blurry image of the group? If yes, then the cover is a fake, probably from the ’60s. Does the cover have a brown border ? If yes, then the cover is bogus.
Unfortunately, most counterfeit covers closely resemble the real thing. This is particularly true of stereo Version One covers that have the song titles “Love Me Do” and “P.S. I Love You” on the back. Legitimate Version One stereo column back covers are extremely rare. There are two tests to spot the bogus covers.
The “flap test” requires inspection of the inside of the cardboard jacket. Does the cover have either no flaps, ½” flaps at the top and bottom or a ¼” flap only at the bottom? If so, the cover is a fake. Legitimate Version One stereo covers have a ¼” flap at both the top and the bottom.
The flap test is not an absolute rule for all covers. Legitimate Version One mono covers without flaps have been found with the later Version One mono pressings with the brackets logo (more on that later). In addition, there are some legitimate Version Two mono covers with no flaps.
The “Honey test” requires the inspection of the back cover. Many counterfeit covers have back slicks with the same imperfections. The most noticeable flaw appears in the word HONEY in the song “A Taste Of Honey.” Are the letters H and the E missing ink in their upper left parts? If so, the cover is a fake. If not, the cover may or may not be legitimate. While the “Honey test” does not always work, it is often useful in weeding out albums still in the shrink wrap.
If you get past all of the above and determine that both the album cover and the record are legitimate, then you move on to the next group of questions.
First, you should determine if the album is the rarer first configuration or the later second configuration. Does the album contain the songs “Love Me Do” and “P.S. I Love You” or the songs “Ask Me Why” and “Please Please Me?” If it contains “Please Please Me” rather than “Love Me Do,” it is the more common Version Two package.
Of course, there is always the possibility of a Version One record being paired with a version two cover, or vice-versa, but let’s assume for now that you have a Version Two cover and record. The next big question is whether the record is the mono or much rarer stereo version.
Does the word “STEREO” appear on the label? If not, the record is, for collecting purposes, mono even if you have a mislabeled disc that actually plays stereo. If mono, we next need to determine the type of label, for this also affects value.
Does the label have a colorband? If yes, we still are not done! Does the label have an oval Vee-Jay logo or a brackets VJ logo at the top? If it is the rarer oval logo, we can at last get a preliminary value. Assuming you have a basic cover without any value enhancements (more on that later), we can value the album after determining condition. So, what is the condition of the record and cover? If both are near mint (NM), the value is $400. Very good (VG) is valued at $100 and good (G) is valued at $40.
If the mono colorband label has a brackets logo at the top, we still have one more question. Is the label the normal size or is it a smaller 45-size label? If it is the normal size, you have the most common label variation of the album. While there are five different type-setting variations for this label, they are all valued at the same amount: NM at $250; VG at $50; and G at $15. If it has the 45-size label, the values increase to: NM at $350; VG at $60; and G at $25. If the label does not have a colorband, it is the rarer all-black label with silver print.
As expected, we still have more questions to ask. What appears at the top in silver? If it is the letters “VJ” with “VEE-JAY RECORDS” typed below, the album is valued: NM at $300; VG at $75; and G at $30. If it is the oval logo, the album is valued: NM at $600; VG at $150; and G at $60. If it is a small brackets logo, congratulations! The album is valued: NM at $2,000; VG at $500; and G at $200. But before you get too excited, remember not to confuse this rare variation with the counterfeit label that has a large white brackets logo.
There is one more mono black label with small silver bracket logo oddity to discuss. There are some records with this label that list “Love Me Do” and/or “P.S. I Love You” on the labels but actually play both “Ask Me Why” and “Please Please Me.” If both labels list the Version One songs, the value is: NM at $4,000; VG at $2,000; and G at $500. If you have a transition disc where only one of the labels lists the Version One song, the value is: NM at $3,000; VG at $1,250; and G at $350.
And now, let’s return to the cover. We can enhance the value of the album if the cover has certain special qualities. Is there a comma in the song title “Please, Please Me”? If there is no comma, you have the rarer version and can add another $200 if the cover is NM. Does the cover have a sticker promoting “Twist And Shout” and “Please, Please Me?” If so, add $150. Do you have a stereo cover with a “MONO” sticker? If so, add $400. Do you have a cover where the Version Two back cover slick was pasted over a Version One slick? If so, add $600. Do you have a cover with “DJ COPY NOT FOR SALE” stamped in red? If so, add $450.
Well, now that we’re through the mono Version One discs, let’s turn to the rarer stereo version. Does the label have a colorband? If yes, is it a regular-sized label with a brackets logo or a 45-sized label with an oval logo? If it is, the regular-sized brackets logo label, it is valued: NM at $1,500; VG at $375; and G at $150.
There are five different confirmed typesetting variations to look for. If it is the 45-size oval logo label, it is valued: NM at $1,800; VG at $450; and G at $180. If the label does not have the colorband and is all black with silver text, it is valued: NM at $1,250; VG at $315; and G at $125. There are two confirmed variations of this label.
And yes, there are cover enhancements for the stereo album as well. Does the cover have a sticker promoting “Twist And Shout” and “Please, Please Me?” If so, add $200. Is the cover a converted mono cover lacking the STEREOPHONIC banner at the top but with a sticker or other marking to indicate that the cover contains a stereo record? If yes, you can add between $200 to $700 depending on the stereo designation: $200 for a white rectangular sticker with STEREOPHONIC in black; $400 for a gold foil sticker with STEREO written vertically three times in black; $500 for either an oval or rectangular gold foil sticker with STEREO written horizontally; and $700 for a black machine stamped STEREOPHONIC embossing.
If you are lucky enough to have the rarer Version One album, there are still many questions to ask. Is the album the mono or stereo? If mono, the key consideration in determining value is the cover, so we’ll run through that first.
What is on the back cover? If the back cover has color images of 25 Vee-Jay albums, you most likely have a legitimate Ad-Back. It should be paired with a disc having an oval logo on its standard size colorband label. There are three label type-setting variations. This highly desirable package is valued: NM at $4,000; VG at $1,000; and G at $400.
If the back cover is a blank semi-gloss white slick, you have a blank back. It should also be paired with a
disc having an oval logo on its standard size colorband label. Mono blank backs are valued: NM at $2,500; VG at $625; and $250.
If the back cover has the song titles listed in two columns, you have the more common Column Back (or Titles on Back) version. To determine value, we must also examine the record inside the jacket. Does the label have a colorband with an oval logo? If yes, is it a standard-size label? If yes, it is valued: NM at $1,000; VG at $250; and G at $100.
If the label is a 45-size label, it is valued: NM at $1,200; VG at $300; and G at $120. If the label has a brackets logo, it is a later pressing. But in this case, it is worth more, because fewer Version One discs were pressed with Vee-Jay’s new brackets logo. It is valued: NM at $1,500; VG at $375; and G at $150.
If you have a stereo Version One album, you have one of the rarest of all Beatles albums. The label will have a colorband and an oval logo with the word STEREO at either the top, left or right part of the label. As was the case with the mono Version One albums, the cover determines value.
What is on the back cover? If it is the 25 Vee-Jay album covers, you have one of the cornerstones of Beatles record collecting, a stereo Ad-Back. It is valued: NM at $12,000; VG at $3,500; and G at $1,200. If the back cover is blank, it is valued: NM at $10,000; VG at $2,500; and G at $1,000. If it has the song titles on the back in two columns, it is valued: NM at $14,000; VG at $3,500; and G at $1,400.
Some cautionary words are needed regarding the Version One stereo covers. As discussed at the very beginning of this article, most counterfeit covers mimic the Version One stereo column back cover.
Be sure the cover is not counterfeit based upon the tests detailed above. Also, one should be on the lookout for altered Ad-Back covers. A legitimate Ad-Back cover should have “Printed in U.S.A.” located towards the lower left side of the front cover. If it does not have this designation, the cover has been altered by having its original back slick replaced with an Ad-Back slick removed from a Betty Everett album. If the borders of the slick are not smooth, you can be sure that someone has glued on the Ad-Back slick. So, more than 2,000 words later, we have finally gone through the valuation process of an Introducing The Beatles album. Now you can see why I cringe every time I get an e-mail from someone asking me what his or her copy of the album is worth. The next time that happens, I’ll refer the person to this Goldmine article!
[Note: All of the prices in this article are from the “Price Guide for the Beatles American Records” (Sixth Edition) by Perry Cox & Frank Daniels, available through the publisher in standard, slipcase and collector’s editions at www.beatle.net.]
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