Two Lennon Books, and an Apple CD

With COVID-19 restrictions now easing quite a bit in most parts of Australia (sadly still not for our friends in Melbourne, Victoria – we’re thinking of you guys!), some of the previously closed opportunity shops around Sydney are re-opening and getting back to normal.

One near us that’s been completely closed for at least six months has suddenly opened its doors once again, and so a forage there over the weekend turned up a couple of interesting items.

With what would have been John Lennon’s 80th birthday looming large this coming Friday, it was a coincidence that all three of the finds where Lennon-related.

They are two books, We All Shine On – The Stories Behind Every John Lennon Song, 1970-1980 and John Lennon – In My Life.

We All Shine On – The Stories Behind Every John Lennon Song, 1970-1980 is by journalist and author Paul Du Noyer.

This is an original Australian edition paperback in a large format, dated 1997. It’s a book that’s been published and re-published numerous times over the years. According to Du Noyer’s website, the latest version is from 2020. The book is also available in German, Spanish, Italian and Czech language editions.

The title says it all: it is the track-by-track story of John Lennon’s last ten years, revealed through the music he made.

In fact we already had a revised and updated UK edition of this same title (in a small paperback format from 2010), but this earlier edition has a slightly different layout. Here are some images of what’s inside:

The second book is quite a fascinating account from former Lennon friend and personal assistant, Pete Shotton (as told to Nicholas Schaffner):

Pete Shotton’s friendship with John Lennon spanned more than thirty years, from the time they met as children in Liverpool to their last meeting in John’s Dakota apartment building in New York. They grew up together in the leafy Liverpool suburb of Woolton and Pete stayed close right through his friend’s rise to fame, wealth and stardom – not as a hanger-on, but as a trusted buddy or mate whom Lennon valued. He was someone who knew Lennon well and didn’t treat him like a star.

Nicholas Schaffner is an author and acknowledged Beatle expert – probably best known for his book The Beatles Forever. In this book Shotton and Schaffner reveal an insider’s view of many of the key public events in Beatle history, but also the private life of John Lennon throughout his career.

As you can see, the text is accompanied by many photographs and documents to help tell the story. This book is well worth seeking out if you haven’t got it already. It was first published in 1983. Here’s the rear cover (and yes, it’s a reverse image of the front):

Also in amongst the CD’s at the opportunity shop was this Apple recording. The photos are ‘as-found’ as they tell a bit of a story in themselves:

This is John Tavener’s The Whale. Tavener was a young classical composer signed to The Beatles’ Apple label in 1969. And it was John Lennon who was influential in making that happen. From the CD booklet:

“Although it was Ringo Starr who became Tavener’s main contact at Apple and who was responsible for getting The Whale onto disc, it was in fact Lennon – contrary to stories elsewhere – who took the first initiative and provided the composer with an introduction to the company. [They] first met in 1969, at a dinner party in London’s Hereford Square, and they marked the occasion by swapping tapes of their latest works. Lennon brought along his avant-garde experiments with Yoko Ono, whilst Tavener played extracts from his opera Notre Dame Des Fleurs, and the BBC recording of The Whale. On the strength of the opera, Lennon invited Tavener to join Apple, although it was The Whale which eventually sufaced on the label.”

The Whale is based on the the story of Jonah and the Whale, and has been described as both a ‘dramatic cantata’ and a ‘Biblical fantasy’. It is performed by the London Sinfonietta and the London Sinfonietta Chorus, conducted by David Atherton. It was recorded in 1970. This CD edition though came out as part of the Apple Records re-issue program in 1991/1992.

It’s interesting to note that the original purchaser of this disc (her name and address is on a sticker on the back) paid $46.99 Australian for it at the time! That’s US$33.74 by today’s exchange rate, or £26 UK pounds. That’s a lot of money – even today. It would have been a huge amount in 1992. The record store JB Hi Fi (it’s a big Australian music chain store) has put a “JB Hi Fi Special Import Sticker” on the spine of the jewel case.

(As usual, click on any of the images to see larger versions)

Harrison on Harrison – A New Book

George Harrison on George Harrison: Interviews and Encounters is a new anthology of the words of George Harrison by Grammy Award winning author Ashley Kahn.

Being a Beatle (and an ex-Beatle) meant that Harrison was interviewed literally thousands of times over the course of his life. This carefully curated and chronologically arranged anthology pulls together some of his most revealing and illuminating interviews, personal correspondences and writings. It spans the years 1962 to 2001 and provides a remarkable insight into the man he really was. You come away from this book with evidence that George Harrison was way more than just “the quiet Beatle“. He was an articulate, funny, candid and deeply spiritual human being.

In many cases Kahn has uncovered interview tapes that have never been shared publicly in full before, and he includes them here unfiltered, without bias or interpretation.

Some of the stand-outs for us are the interviews by David Wigg, Anthony DeCurtis and Maureen Cleave. Cleave wrote a fascinating piece on Harrison for the London Evening Standard in 1966 entitled “How a Beatle Lives. Part 3: George Harrison—Avocado with Everything . . . ”.  Now, remember, he’s just 23 years old at this point in time but in the second paragraph of Cleave’s article she states that Harrison is: “…a strong-willed and uncompromising character with a strict regard for what he considers to be the truth, and an even stricter regard for his own rights.” This is a trait that stayed with him throughout his life.

Three years later, David Wigg asks Harrison how he comes to terms with fame and being a Beatle:

George Harrison: All I’m doing, I’m acting out the part of Beatle George, and, you know, we’re all acting out our own parts. The world is a stage and the people are the players. Shakespeare said that. And he’s right, you know.

David Wigg: Do you expect another part, later?

Harrison: Oh, many parts. Yes.

Wigg: Is that why you’ve come to terms with it?

Harrison: Yes, because you just do whatever you can do. I mean, even if it’s being a Beatle for the rest of my life, it’s still only a temporary thing. And, I mean really, all we did was get born and live so many years and this is what happened. I got born seemingly to become Beatle George. But it doesn’t really matter who you are or what you are, because that’s only a temporary sort of tag for a limited sort of period of years.

That approach to life (in this temporal world and beyond) were to remain a constant.

Nearly twenty years later, in an interview with Anthony DeCurtis for Rolling Stone magazine around the time of the release of the album Cloud Nine, Harrison was still looking to keep the same even keel to his life, to keep things in perspective:

DeCurtis: One of the things about it, in mentioning that, you’ve always been a person who’s taken such care to keep a private life, to maintain that kind of thing. Does it feel sort of strange to be back in the record company office, sitting down, interviews, tapings? All this business?

Harrison: Not really, not really. I feel it’s like, sort of, say, somebody who is a fireman, or something, and he doesn’t sit around in his fireman suit all of his life. But when he goes to work he puts it on and he goes and gets on his fire engine. It’s sort of like that. Once I’ve done all this bit, I’ll walk away and I’m still . . . I mean it’s only the moment I’m in Warner Brothers office, or, somebody comes up to me and says, “Hey, will you sign this record,” or something, that I’m conscious of being an ex-Beatle and being George Harrison. I don’t live my life thinking that I’m this sort of . . . pop person. And so I think, now even more so, it’s just much easier for me to talk to people. I just talk to them like one human to another. And although that’s all superimposed on top of my being, all this past and present, but I just walk away from these interviews and just carry on as if nothing happened.

Of course being based in Australia we were pleased to see included a 1988 interview by the respected Australian journalist, Ray Martin, who got another perspective on how Harrison counteracted that “Beatle George Harrison” expectation that accompanied him wherever he went:

Martin: There is a quote….of you saying that “I have to be more ordinary than ordinary people are.” Why do you have to be more ordinary?

Harrison: [Chuckles.] Well, because, um, people have—we all have concepts of each other, you know? And the concept is, somebody see[s] me on a plane or in the streets or something, and they immediately remember all this Beatle stuff, and they have this concept of me as that person. But in reality, I don’t go around thinking of myself as “George Harrison the Beatle,” or whatever. I do now because I’m on the television, but normally I’m just like you, you know, just like everybody else; I’m just a human, and sometimes you have to, rather than just be ordinary, you have to make an effort to be more ordinary, in as much as that they will calm down and try to see that there’s actually a person in here [gestures toward himself]—other than this big myth about the Beatles. That’s all.

This is just one of many themes running through the content painstakingly gathered together for this book. George’s words reveal the complexity of his character: wise but at times naïve, sensitive but also self-deprecating, and always refreshingly, unabashedly human. As editor Ashley Kahn writes in his preface: “Read his words and know the man. Read, and know a life well-lived.

George Harrison on George Harrison: Interviews and Encounters is published by Chicago Review Press.

As a side note, Chicago Review Press has an extensive number of titles done in the same style as this book. They are part of a ‘Musicians In Their Own Words’ series, and the list of artists is lengthy including Dylan, Coltrane, Joni Mitchell, Bowie and Miles Davis – to name but a few. One you might also want to seek out is Lennon on Lennon: Conversations with John Lennon.

The Famous Q Magazine Comes to an End

It was sad to read last week that after 34 years the influential and very readable Q magazine has shut up shop for good. Here’s the cover of the last-ever edition:. Editor Ted Kessler said in a tweet: “The pandemic did for us, and there was nothing more to it than that.” In an editor’s letter in the final issue he writes: “We’ve been a lean operation for all of my tenure, employing a variety of ways to help keep our head above water in an extremely challenging print market. Covid-19 wiped all that out. I must apologise profusely for my failure to keep Q afloat.”

The magazine’s circulation had fallen to 28,000 per month from a peak of 200,000 in 2001.

Q was founded in 1986 by Smash Hits writers Mark Ellen and David Hepworth. It arrived at the same time as the CD revolution took off – and its glossy, aspirational format chimed perfectly with the times.

Over those 34 years Q, like many other music magazines, has had its fair share of Beatles on the cover. They are, and remain, a way to sell more copies – just take the latest edition of British GQ magazine that has Paul McCartney front and centre – including an extensive new interview:

In a trip down memory lane, here are a few favourite Q magazine Beatle-inspired covers from over the years. Turns out McCartney graced the very first Q :

He became a fairly frequent visitor:

As was John Lennon on many an occasion: As they did above, sometimes Q would produce multiple versions of a cover to make a particular commemorative edition more collectable – like this series for Lennon’s 70th birthdate:

The Beatles as a band were not all that frequently seen, though certainly written about often:

This image of John and Paul is memorable:

As are these two of Paul, firstly with his Hofner bass: And then as a mystery man:
So, fare-thee-well Q mag. You’ll be missed. It’s been mighty real over the last 34 years. Sad to see yet another casualty of COVID-19. The shockwaves of this thing continue to ripple outwards.

McCartney – Ten Years of Archive Reissues

Perhaps surprisingly, it’s now been a decade since Paul McCartney started his Archive Collection reissue campaign. There have been 12 albums given the Archive treatment so far, and they are about to added to in July with the release of Flaming Pie.

To mark the tenth anniversary, Paul Sinclair at the Super Deluxe Edition site has put together a special 52-page keepsake booklet featuring reviews of all the reissues to date and some additional analysis and features. The booklet is the same size and format as the books that come in the Archive Collection box sets, so it can be easily stored alongside them.

McCartney: 10 Years of Archive Reissues will feature in-depth illustrated reviews of the McCartney reissues via a combination of archive content from the SuperDeluxeEdition.com website (some of it updated), alongside new reviews and fresh insight.

Sinclair has a bit of a track record already with these booklets. You might recall the one he issued for the Flowers In The Dirt Archive Collection releases. If that was anything to go by, this new one will be well worth getting hold of too.

There will be only 1000 numbered copies of McCartney: 10 Years of Archive Reissues produced, and it’s only available via the SDE shop.

If you want to find out a little more on the details you can read about it here.

Two Books, Two CD Variations, and One DVD – Beatle Finds

We attended the quarterly fundraiser for a Sydney community radio station last week. About every three months the classical music station Fine Music 102.5 set up a hall full of tables loaded with donated books, CDs, DVDs, sheet music and a small number of vinyl records.

In the book section there was a very interesting Beatle-related book and a John Lennon book too. In the CD section we found two CD’s – both variations of titles already in the collection – by The Beatles and Paul McCartney. And amongst the DVDs a fun item featuring one Ringo Starr…..

First up, the Beatle-related book:Derek Taylor front

It Was Twenty Years Ago Today came out thirty years ago as part of what was then the 20th anniversary of the 1967 Summer of Love. It uses the release of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band LP as a stepping off point to build an historical appreciation of what was a fairly wild and crazy year in music, art, fashion, politics, religion, relationships and generational change.

Written by a genuine Beatle insider (former Apple press officer Derek Taylor), this book is also associated with a television program of the same name released that year.

Derek Taylor is witty, erudite and clever at pulling together a massive amount of information to give a detailed impression of what was going on around the world in a year of countercutural change. The book includes lots of archive interviews, observations, and photographs as well as extensive transcripts from the Granada TV documentary. Really interesting.

Jump ahead about twenty-five years and you have the second book we discovered. It’s also a reminiscence of times past, evident in the title: Days That I’ll Remeber -Spending Time with John Lennon and Yoko Ono. Author Jonathan Cott has been a contributing editor at Rolling Stone and has written for The New York Times and The New Yorker. He is the author of 19 books on a wide range of topics, including works on Bob Dylan, classical music, children’s literature, and poetry – but especially music. Cott’s relationship with John Lennon and Yoko Ono dates back to 1968 when he went to interview them in their London flat. 

During that meeting a friendship was born that lasted for the rest of Lennon’s life, and continues today between Cott and Yoko Ono. It was Jonathan Cott who conducted what was to become the final Lennon print interview before his death. In Days That I’ll Remember Cott is presenting – for the first time – complete versions of all his significant interviews with the pair, and as such this is an important and significant work to have in the collection.The other finds are probably of lesser importance or interest, but we’ll detail them here for you anyway!

First up a CD version of The Beatles’ compilation album from 2000. Simply called 1 it contains (as the hype sticker on the front states) “27 No.1 singles on 1 CD”. Millions of these were sold around the world. So what’s new/different here? Only that this copy comes from South Africa, and there are a few distinguishing differences, namely the words “Made in the RSA” near the bar code on the rear:

There’s also a different, country-specific catalogue number there (CDPCSJ (WE) 7213), and it is also printed on the CD inside:

Plus there’s a really small logo on the left at the bottom. It has a musical note in it’s design, with some lettering that is tiny and difficult to read, but it says “A.S.A.M.I. Seal of Approval”. We’re guessing that is (or was) some sort of South African recording industry association that vouched for the autheticity of the pressing:

Otherwise all other presentation and content will be very familiar if you already have this CD:

Also on the CD tables was Paul McCartney’s 1997 large-scale classical recording, Standing Stone:

Above is the front and back of the outer cardboard slipcase which holds the CD jewel case and thick booklet with lyrics, photos, reproduced artworks, and an essay about the compostion and performance of the work. The one we found here is the UK pressing (we already have US and Canadian pressings of this which both have small variations on what you see here):

Here are the front and rear covers of the booklet:

The beautiful cover images are by Linda McCartney, and here is a peek inside. This artwork is by Paul:Finally, to end on a lighter note, a little kid’s DVD called Thomas & Friends:

If you look closely at the credits you can see listed there as Storyteller – Ringo Starr:

It’s great to have an example of Ringo’s work narrating this classic kids animation series. He did the voice-overs for the first two series only.

(As usual, click on images to see larger versions)

New Book: The Beatles Recording Reference Manual – Volume 4

How did The Beatles get the particular and unique sounds they achieved on their records?

If that’s a question you’ve been asking, then you’ll find a lot of the answers in a series of books written by Canadian musician, producer and recording engineer Jerry Hammack.

To date Jerry has produced an impressive body of work across three previous volumes in what he calls The Beatles Recording Reference Manuals (check out our reviews of Volume 1, Volume 2 and Volume 3). In these books you’ll discover in intricate detail how The Beatles went about the recording process: the studios and equipment they used, their instruments, personnel, processes and recording dates and times. In short, just how they created their masterpieces.

Well, released today is the latest instalment in the series, The Beatles Recording Reference Manual – Volume 4: The Beatles through Yellow Submarine (1968-early 1969).

This new book picks up where the third left off, covering the period 1968 and early 1969. The songs recorded for the double LP, The Beatles (a.k.a. The White Album) are dealt with in great detail. By comparison Yellow Submarine, which is included due to it’s release in the time span covered, isn’t. That’s because most of the Beatle songs used for that project (except for ‘Hey Bulldog’) were recorded earlier and are covered off in previous volumes. Also included here are the singles ‘Lady Madonna’/’The Inner Light’ and ‘Hey Jude’/’Revolution’.

This series is a labour of love that has taken Jerry Hammack more than ten years to complete, and this latest volume serves as a fantastic companion to last year’s remixed and remastered 50th anniversary edition of The Beatles double LP.

You can follow the journey of each song, from first take to final mix. There are text explanations and simple diagrams detailing what occurred in the studio as each track became the songs that we know and love today.

As Hammack says: “We are aware of most of the “when” and “where”, but the “what was done?” isn’t always clear. We rarely know what guitars or amplifiers were used on a song-by-song basis. There is even less knowledge about the format of the recordings or the studio equipment used on a specific song or session. It takes a lot of detective work to figure these facts out, and a number of popular sources for the information are in conflict, out of date, or just plain wrong. A picture of the work that comprised the creation of each song must be assembled like a jigsaw puzzle. Thus began my quest to research, gather and organize both the narrative and core technical details of each of the classic Beatles recording sessions.”

The background introductions to each song often contain some pertinent observations. Take this one for ‘Ob-La-Di, Ob-La-Da’:

“The fact that McCartney would insist on beating the song to death over eight recording sessions, and three different versions, would only add fuel to the fire of frustration. While songs like Penny Lane or Strawberry Fields Forever had taken more sessions to record, they were perfected in a spirit of cooperation, where everyone was on-board regarding the value of the work being done. Times had changed. No doubt the extent of the animosity surrounding The Beatles sessions was somewhat exaggerated (though Starr did walk out, Martin deliberately absented himself, and business affairs under Apple were another matter). However, the seeds of the band’s ultimate unravelling through a single member’s insistence on his own particular vision were undoubtedly planted here. Bra.”

As in previous volumes there are numerous appendices at the back of the book covering the different release versions, gear and instruments used, and more.

Bring on the fifth and final volume that will cover the period 1969 to early 1970 (Let It Be and Abbey Road) where maybe, finally, the lengthy and sometimes tedious debate on Beatle chat rooms at the moment about who played drums on ‘Old Brown Shoe’ might finally be put to rest! (If you’re interested in this discussion it’s on this particular thread beginning about here. It continues for about fifty pages…..)

In the meantime, try and get yourself a copy of Jerry Hammack’s The Beatles Recording Reference Manual – Volume 4. Check it out here on Amazon.

Paul McCartney – ‘Hey Grandude!’ Book and Audio Book

Two new McCartney items to add to the collection today.

First up the children’s book Hey Grandude!, written by Paul McCartney and illustrated by Kathryn Durst, plus the audio book for the same title on CD – with McCartney not only reading the story but also providing some original music that’s played by him as well.

Firstly, here’s the book’s cover, front and rear. It’s a large format hardback with a protective dust jacket:

Interestingly, if you take the dust jacket off, there’s a completely different cover design underneath, front and rear:

The design of the book is stylishly done and has lots of nice touches. Here are two pages from inside to give you a feel for the contents:

And this is the audio book CD, which has Paul himself reading the book. Penguin Books has packaged this up nicely. It takes all the elements from the book and carries them through the whole design. Here’s the front cover:

And the rear:

They’ve gone to some trouble, making it a gatefold:

And there’s an insert booklet containing the credits (and two biographies) that folds out:

(As usual, click on the images to see larger versions)

 

 

 

The Complete Beatles Songs – The Stories Behind Every Track Written by The Fab Four

Here’s a nice little Christmas stocking-filler for you.

If you’re on the lookout for a decent Beatle book this holiday season, you should consider The Complete Beatles Songs – The Stories Behind Every Track Written by The Fab Four. It is written by the respected music writer, Steve Turner, and has just been re-published in a paperback format:

This book has actually been around in a couple of different forms and editions dating back as far as 1994.

You might know it as A Hard Day’s Write: The Stories Behind Every Beatles Song, and over the years more than 440,000 copies have been sold. That’s because when it was first released the book was a first of its kind, a definitive examination of Beatle lyrics all gathered together in one complete package.

And this is why it has stayed in print, and why it is regularly updated and re-issued with new information as it comes to hand, and as new titles in the Beatles discography are added. It has been expanded considerably over the years with new findings added, and it has jettisoned some false information along the way too.

The book’s purpose is the definitive analysis of the words of the songs. It includes the full lyrics to each, and details why, how and where the recordings were created. The meaning behind each song is explored, as are the characters, places and themes. It is richly illustrated throughout too.

Steve Turner is a journalist, biographer and poet who writes about music, and has done so for a wide range of publications over many years. He’s the author of a number of books, and in 2016 wrote the critically acclaimed Beatles ’66: The Revolutionary Year.

As he writes in the Introduction to The Complete Beatles Songs, “More than forty years since the band stopped playing, those songs still mean something to us. They are like old friends who we met when we were young and who made life a little more exciting and easier to cope with. Because of what they did for us, we heave great affection for them. It is because we hold such affection for them that it makes sense to find out where they came from”.

So, maybe your old copy of Steve Turner’s original is getting a bit dog-eared and beaten-up, or you just want to get this latest, updated edition, or maybe this will be your very first copy of this essential book. Either way, The Complete Beatles Songs should find it’s place in every serious Beatle collector’s library.

The edition shown here was re-issued in paperback by Carlton Books in October this year.(As usual, click on the images for larger versions)

New Book: The Beatles Recording Reference Manual – Volume 3

If you’ve got the first two volumes in this impressive (and growing) body of work, then you’ll definitely want to have Jerry Hammack’s latest installment, The Beatles Recording Reference Manual – Volume 3: Sgt. Pepper’s Lonely Hearts Club Band through Magical Mystery Tour (late 1966-1967) as part of your collection:

Hammack is a Canadian-American musician, producer and recording engineer known for his in-depth knowledge of vintage recording techniques. You can learn more about Jerry at his website jerryhammack.com

Like previous volumes, this book contains song-by-song reconstructions of the session work (for both performance and technical) that went into each of The Beatles’ singles, EPs and albums – from the start of the Sgt. Pepper’s Lonely Hearts Club Band era to the release Magical Mystery Tour.

Hammack’s reconstructions of what went down come from his painstaking examination of the most reliable and authoritative resources, including original EMI studios documentation; recollections and interviews with the original engineers who worked on the sessions; photographic and film evidence of the band at work; and of course analysis of the actual recordings themselves, including the many out-takes, session recordings and remixes available. Where there’s doubt or conflicting information, Hammack tries to document and reconcile discrepancies and offers well-considered justifications for the views he is putting forward.

The particular period covered in this volume offers rich pickings because The Beatles had recently given up touring in preference to immersing themselves entirely in the recording process and learning to make the studio itself another one of their instruments. As Hammack writes: “Spanning 189 days between November 24th, 1966 and June 1st, 1967 the Sgt. Pepper’s Lonely Hearts Club Band era forever set The Beatles apart from any other band in the history of popular music. If Revolver had freed the band from the four-piece format that best suited live performance, Pepper shattered those shackles entirely.”

A good example comes from the first song to be recorded in the Pepper sessions, ‘Strawberry Fields Forever’. This required work, on and off, over a 35 day period with 12 different recording sessions before it was completed.

What we find for each song is when and where each recording session took place; which instruments were played; what type of microphones were used; what signal processing was in place; what effects units were used; even details on the types of speakers in the studios and control rooms used to listen back to and mix the recordings. The detail here for those who are into the minutiae of this sort of stuff is extraordinary. Added to the detail are informative, song-by-song visual representations of how each song came together:Looking ahead, Hammack has only Volume 4 to go. It will be the final book in the series and covers off the LPs The Beatles (a.k.a. The White Album) through to Abbey Road (1968-1970). The plan is to release that volume in about 6 months time.

See also our review of Volume 1 and Volume 2 in the series, plus Jerry Hammack’s official Beatles Recording Reference Manuals website for the book, and Amazon’s Look Inside if you’d like to get a better idea of the format and what each book contains.

The White Album: The Album, The Beatles and the World in 1968

The Beatle world is in the middle of The Beatles (a.k.a. The White Album) 50th Anniversary fever right now.

Giles Martin’s 2018 stereo remix is now out, as are the accompanying album demos (a.k.a. The Esher Demos). Add to that no less than three CDs of previously unreleased recording session outtakes and studio chatter, a new 5.1 surround sound mix, plus a lavish accompanying book about the making of the album. The package is getting very good reviews too. But to get all that content you’ll have to buy the Super Deluxe Edition.

If you’re a more casual Beatle fan though, or the purse strings don’t quite stretch to the significant asking price of the SDE, there’s a possible alternate route for you. Just buy the new remix/Esher demos in the reasonably priced three-disc “basic” CD version, and add this new book by Brian Southall called The White Album – Revolution, Politics and Recording: The Beatles and the World in 1968.

Brian Southall worked as a journalist with Music Business Weekly, Melody Maker and Disc magazines before joining A&M Records and then EMI Music, where over a 15-year career he served in press, promotion, marketing, artist development and corporate communications, working on many Beatle solo projects. He’s been a consultant to Warner Music International, the HMV Group and both the British Phonographic Industry (BPI) and the International Federation of the Phonographic Industry (IFPI). His other books include the official history of Abbey Road Studios, the story behind the Beatles’ publishing company, Northern Songs, The Beatles in 100 Objects, and (with Julian Lennon) Beatles Memorabilia: The Julian Lennon Collection.

True to its title, Southall’s book takes an in-depth look The White Album in what he likens to two “sides” of a record. The A-side providing a definitive guide to the album, it’s recording and the events surrounding it, while the B-side examines world events, politics and the history of 1968, and how turmoil and revolution helped shape the context in which The Beatles where working on their extraordinary new double LP.    

The book has a great Foreword written by Chris Thomas who, in 1968 as a fledgling producer, found himself almost by accident in the studio producing (and playing with) the greatest band in the world as they made their new LP.

It is also filled with a treasure trove of great images, around 150 of them in colour and black and white, and there’s a song-by-song breakdown of the album, with each track examined in detail. The story of how the album’s stark white cover came about is told, and there’s a section on the reaction the record received in 1968: “Within a week The Beatles was at No.1 in Australia, Canada, France, Norway and West Germany, while in America Capitol Records sold over 3 million copies into record stores within 4 days. Consequently, on December 14 it debuted at No.11, jumped to No.2 the following week, and topped the US album chart on December 28 – and stayed there for nine weeks, spending a total of 155 weeks on the Billboard 200 chart.”

Brian Southall’s White Album book is a companion to Sgt. Pepper’s Lonely Hearts Club Band – The Album, The Beatles and the World in 1967where he utilises a similar A-side/B-side examination linked to the 50th anniversary re-issue of the Sgt. Peppers Lonely Hearts Club Band LP last year: 

The White Album – Revolution, Politics and Recording: The Beatles and the World in 1968 is published in the UK by Carlton Books.

(As usual, click on images to see larger versions)