If you’ve been following any of the forums you’ll be aware that speculation has been rife over the last month or so about new Beatle or Beatle-related releases. Now Ringo Starr has emerged as the first to announce a new release for the Summer.
His record – another EP in what is quickly becoming a series – is called Rewind Forward. It contains four new songs – one of which is written, produced and played on by Paul McCartney.
Rewind Forward is available to pre-order on the official Ringo Starr Store website from today ahead of its release on October 13, 2023.
It is available on digital, cassette, CD, and on 10” black vinyl.
Also, the title track ‘Rewind Forward’ will be available to stream or purchase everywhere this Friday August 25, 2023.
The EP features four new songs: 1. Shadows On The Wall 2. Feeling The Sunlight 3. Rewind Forward 4. Miss Jean
Paul McCartney wrote ‘Feeling The Sunlight’. He also produced and, according to rumours, sings and plays four instruments on the track. So, it’ll be interesting to hear that one.
As to the ongoing speculation about a new Beatle release…..
In 2021 Ringo’s EP Change The World preceded the release of the super deluxe edition of Let It Be in 2021, and his last EP (simply called EP3) preceded Revolver last year. So, theoretically, are we all clear now for a big Beatles announcement?
Sometimes tip-offs about Beatle stuff come from the most unexpected places…
Beatlesblog is located in Australia, but it took an email from our friend and avid collector Andrey – based in Russia – to let us know about this magazine, out now in Australian newsagents.
Its the latest edition of Australian Guitar and, following Andrey’s email, we simply walked up to to the corner store and got a copy. Wouldn’t have known it was there otherwise!
As you can see, the mag has a major article (13 pages in all) called ‘The Ultimate Beatles Tone Guide’. In it they unpack how the band crafted their sound from the perspective of the instruments and the electronics used.
To do this writer Chris Gill examines 11 specific songs: ‘Please Please Me’, ‘A Hard Day’s Night’, ‘I Feel Fine’, ‘Ticket To Ride’, ‘Michelle’, ‘Taxman’, ‘Sgt. Pepper’s Lonely Hearts Club Band’, ‘Revolution’, ‘While My Guitar Gently Weeps’, Let It Be’, and ‘The End’.
Obviously, this article has been published previously in the US by parent magazine Guitar World (and you can read it here), but it’s nice to have a physical copy to flip through.
Being a guitar magazine the focus is entirely on the gear – the makes, model and year of manufacture, the amplifiers, studio speakers, etc. In some cases they even get right down to the likely strings used on the guitars to achieve a particular sound quality.
Gill acknowledges a big part of the challenge here is the great amount of sometimes conflicting information out there about these things. The Beatles themselves, their producer George Martin, and even engineers like Geoff Emerick, have offered over the years conflicting accounts. They even contradict themselves in some of their personal recollections.
So, its a tough ask to get this stuff right. Gill says that what the feature contains are his best efforts to determine the guitars, basses, amps and effects actually used. He admits it is not perfect and in many cases highly speculative (for example the amp used by John Lennon to record his solo on ‘The End’), but he reckons it is a good guideline for any guitarist wanting to replicate those magic sounds.
And yes, there’s a whole section on guitar string specifics. To quote: “Many guitar nerds note that perhaps the most important detail of replicating the Beatles’ tones after their guitars and amps is the types of strings that they used. It is generally believed that Harrison and Lennon used flatwound strings in the early years up until late 1965, just after the release of Rubber Soul. After that, from Revolver and beyond, they apparently switched to roundwound strings.” Check out the section on string theory here.
The feature ends with a short article called ‘Beatles Unplugged – A Guide to the Fab Four’s Acoustic Arsenal’. You can read that too online here:
Whichever way you look at it the announcement overnight by Paul McCartney and Penguin Books that the paperback edition of his book The Lyrics: 1956 to the Present will contain seven additional song commentaries to those in the hardback edition from 2021 is a sneaky marketing ploy to get fans to buy additional copies of content they already own.
Yes, the paperback will have different cover art and will come in one volume (the hardback is split into two separate books), but still, to get McCartney’s thoughts and memories of those seven additional songs we’ll have to fork out yet again…..
The seven new song commentaries will be: ’Bluebird’ ’Day Tripper’ ’English Tea’ ‘Every Night’ ‘Hello, Goodbye’ ’Magical Mystery Tour’ ‘Step Inside Love’
Fans are already reacting to the news – and not in a good way:
“The old bonus track swindle. 😦 I’m sure people who bought the hardback get a free copy.”
“Next up: the expanded hard cover edition with the 7 additions as well as 3 additional additions. This is getting ridiculous.”
“Gotta love marketing. Extra songs for a new book edition, man. I have the hardcover. It’s beautiful. I’m good with what I have…No second bite of the apple from me.”
“I’m waiting for the limited edition cream paper, newspaper, blue paper, green paper, lambskin paper, pink paper, yellow paper, parchment paper, orange paper, purple paper, swirl paper, papyrus paper, 98 bright paper, rolling paper and black paper editions. Each with a unique and previously unreleased song write up! Collect them all!”
The paperback is scheduled for release on 7 November, and preorders are open now in the UK (Penguin) and in the USA (Norton).
While we are STILL awaiting a release date from Mobile Fidelity for their audiophile vinyl re-issue of the George Harrison-produced Shankar Family & Friends, Dark Horse has decided to put it out on CD, and as a limited edition “orchid” purple coloured vinyl – remastered by Paul Hicks.
One of the first albums to be released on George’s original Dark Horse Records, its East-meets-West musical styles put Western musicians such as Ringo Starr, Billy Preston, Jim Keltner, Klaus Voormann, and Nicky Hopkins side-by-side with Indian-music pioneers Alla Rakha, Ashish Khan, Shivkumar Sharma and Hariprasad Chaurasi.
Shankar Family & Friends is released in 2023 for the first time as a “stand alone” CD (though it was on CD part of this lovely Collaborations box set from 2010).
The purple vinyl and CD were initially slated for a June 9 release, but the date has recently been pushed back to July 14.
There could also be a black vinyl version but we’re not exactly sure. This image is appearing on some store sites:
Image (from l to r): Dhani Harrison and Yusuf with David Zonshine (Dark Horse) and Yoriyos Adamos (Yusuf’s son and manager) at F.P.S.H.O.T.
A number of digital back catalogue albums were almost immediately put up on the Dark Horse releases site indicating they were now available on streaming services. These are all what might be considered his second tier works, definitely not his top-selling LPs. So the wait has been on to see what new content from Yusuf/Cat Stevens might be made available for the first time – and on physical media.
In March the label made this announcement about a brand new studio work and now the wait for that release is almost over because next month (June 16) sees King Of A Land issued on Dark Horse:
The album’s artwork is created by award-winning Canadian children’s illustrator Peter H. Reynolds. As well as the cover art he has created illustrations for each song portraying the album’s lyrical themes in an accompanying 36 page booklet. The vinyl and booklet are housed in a gatefold sleeve.
Dark Horse, with it’s direct association with founder George Harrison, seems to be a natural home for Yusuf. “George has been an immense influence on me, spiritually, from the very beginning. He pioneered certain thoughts and ideas, which stretched way east, and that was very important. He was beginning to explore Eastern mysticism around the time I was hospitalised with TB, in 1968. Lying in bed, I had a lot of time on my hands and ended up reading a Buddhist book called The Secret Path. That was the beginning of my own search for the light.”
“Looking at the jagged journey of my music, beginning as I did in the 60’s, I would say this new record is a mosaic. A very clearly defined description of where I’ve been and who I am.”
In welcoming the singer to the Dark Horse Record label, Dhani Harrison said “I’m thrilled to welcome Yusuf/Cat Stevens to the Dark Horse Records family. Not only is he a great musical legend but his songs could not fit the Dark Horse mythos any better. From his back catalogue, through to the new music we can’t wait for you to hear. Yusuf is without question one of the most influential singer-songwriters of all time. It is a great honour to be able to give his music a home on our humble yet historic label.”
Yusuf has started to tease King Of A Land with some very charming lyric videos:
King Of A Land sounds like it could be something special, very reminiscent of his early 1970’s work. Definitely looking forward to this one.
For many years we’ve catalogued our Beatle collection using a fairly simple Microsoft Word document. There are columns for Artist, Title, Catalogue Number, Year and Place of Manufacture, plus space for any other details – for example does it have hype stickers, inclusions, it’s rarity, and finally a column for a quality rating for the cover and for LP or CD.
Over the years of course this document has grown and grown, and has become more and more bulky and a bit unwieldy to use.
So, why not transfer the whole thing into Discogs, the huge database and marketplace that contains many more details about each entry and is accessible when out and about crate digging or visiting stores if you need to check if you have a particular pressing or release.
With that in mind we’ve slowly been creating entries of what we have in the “Collection” section of Discogs. It’s going to take a while but we’ve been plugging away at it!
Imagine our surprise then, while interrogating the Discogs database, to learn that what we thought were legitimate CDs from The Paul McCartney Collection series from 1993 are actually Russian fakes?
We now have all sixteen CDs in the series but while entering them into Discogs it became apparent that 5 of them were definitely illegal copies:
On the surface they all look entirely legit. The external covers are correct in every detail, as are the CD booklets, and the CDs themselves. They look just like the originals. The barcode numbers match up, and the place of manufacture is listed as Holland (or the UK in the case of the McCartney CD).
However, when you go into Discogs there are usually more intricate details listed to help you identify exactly which country or issue you have. For artists like Paul McCartney, whose work is reproduced in multiple countries, there can be multiple entries to check through to confirm the one you have.
You do this by looking closely at what is etched in the tiny letters and numbers that appear on the “run out” section at the centre of the CD. And it’s here you’ll discover the true place of mastering and manufacture.
For us it was an eye opener to see an odd type of etching on these five of our Paul McCartney CD’s from The Paul McCartney Collection series. For McCartney it shows this:
Discogs says this is a Russian fake. They use the term “unofficial” and it is therefore not permitted for sale on their site.
And finally an “unofficial” version of Tug of War:
The remainder of the CDs we have in this series are legitimate. It’s interesting that when you know you have a fake you can start to see some other tell-tail indicators. The most obvious with these CDs is the printing quality on the disc itself. The fakes are blurry while the legitimates are much more crisp and clear.
Here’s the fake Tug of War CD:
Compare this to a legit version of Band on the Run from the same series:
You can see that Band on the Run is much clearer. A close-up of the small print at the bottom illustrates this even better. Here’s the “unofficial” Tug of War:
And here’s the detail of Band on the Run:
By comparison the Tug of War printing is inferior. It is kind of blotchy and the lettering is unclear.
The subtitle of our blog is “Adventures in Collecting Beatles Music”. Looking out for fakes is part of the adventure I guess. But it’s a bit disheartening to learn that what you thought for many years was legitimate is not so after all.
If in doubt, check out Discogs – it’s a brilliant database.
The Record Store Day 2023 release list has just come out and come April 23 there’ll be at least three titles of interest to Beatle collectors.
Probably the most interesting and hard-to-get will be a re-imagining of John Lennon’sGimme Some Truth best-of compilation which is being re-issued as a boxset containing 9 x 10” white vinyl EPs. Each EP will feature four tracks. Only 500 copies of this will be produced, hence the ‘hard-to-get’ moniker….
Next is the highly speculated 50th anniversary release of Paul McCartney’sRed Rose Speedway in limited edition, Half Speed Master vinyl form:
According to the RSD list there will be 5,000 pressed so this should be much easier to secure. It follows similar Half Speed Master editions of McCartney, Wings Wild Life and RAM.
Then there’s a re-issue of the 1981 Ringo Starr title Stop and Smell the Roses. This is being re-issued on vinyl as a 2LP with six bonus tracks for the first time. It will come in a gatefold with printed inner sleeves, original record labels and specialty color vinyl described as lava lamp effect clear red/white for LP1 and lava lamp effect clear red/pink for LP2. There are 2,500 copies being pressed.
Stop and Smell the Roses will also be issued on RSD as a CD (500 copies).
But wait, there is a George connection too. Dark Horse, the record label he started up (now run by son Dhani Harrison) is releasing not one but two LPs.
The first is by Stairsteps, a band originally signed to the label back in 1975. For Record Store Day 2023 we’ll see their 1976 album 2nd Resurrection re-issued on black vinyl. Billy Preston played synthesizer and served as co-producer alongside Robert Margouleff.
Dark Horse will also have a 20th Anniversary edition of the Joe Strummer & The Mescaleros album Streetcore as a limited edition pressing on white vinyl for RSD:
It’s not often we get to bring you news relating to The Beatles directly from here (down under in Australia) – but there is some today.
It’s been announced that an original REDD.17 mixing console, used to record and mix music at the famous Abbey Road Studios studios in London, is now the centrepiece of a brand new new recording studio at the amazing Museum of New and Old Art (MONA) located just outside Hobart, Tasmania.
The vintage console, one of only four ever built, was one of those used to mix several Beatle albums. It is now part of Frying Pan Studios on the grounds of the museum, and has become the first working recording studio housed by a museum in Australia.
The console was purchased back in 2014 by Australian businessman David Roper. He started discussions with MONA’s artistic director of music (and Violent Femmes bassist) Brian Ritchie about the studio-in-a-museum idea. They took it to flamboyant MONA founder David Walsh who liked the concept and funded the creation of Frying Pan Studios, so named because it sits opposite Frying Pan Island right next to the museum and the beautiful Derwent River.
Frying Pan is a working studio and so it’s bookable facility. You can find more details here. Maybe you’d like to record your own album using the very same mixing desk that John, Paul, George and Ringo used!
You can also visit the studio as part of your ticketed entry into MONA and, if you time it right, actually see musicians at work. It does look like an incredible place to work and create:
Frying Pan Studios have built a great interactive website that gives you more on the history, the facilities, and the amazing location.
You can also check out this article from the Australian Broadcasting Corporation (ABC) for more.
We’ve had readers doing a lot more detective work and research into the photographs that Klaus Voormann used for his collage and line drawings for the famous Revolver cover.
In case you’ve missed it the story on our blog started here and here when we stumbled across a terrific montage detailing all the then known images used for the cover.
Turns out the author of that montage was Ukrainian Beatle fan Sergey, one of our readers! He wrote to us letting us know he’d first created it (way back in 2012!) for a Russian Beatles discussion forum called beatles.ru.
Sergey has since tracked down the source of the image of Ringo used as inspiration for the line drawing of him Klaus placed at the bottom left of the Revolver cover – the one where he is looking skywards.
We’re still not sure of the photographer, but it was published in a German booklet Das sind die Beatles which features a series of black-and-white photographs and short comments about each. It was produced by Bravo magazine for the 1966 Bravo Blitztournee tour, under the auspices of Beat Publication Ltd. The photographer details are not indicated, but Sergey sent us these photographs of the actual publication:
We then published what we feel is another piece in the mystery – the photograph of John Lennon that was very likely the inspiration for Klaus’s line drawing of John at the top right-hand side of Revolver. You can read about that here.
That prompted two other readers – Tom and burnham42 – to offer up even more clues. These revolve around the source images for the three small Beatle faces (and two hands) on this part of the cover:
burnham42 wrote:
I think the one of the three small photos top left is in The Beatles Anthology book page 70 (in my French edition). You can also find it on pinterest. The photo was taken on the way to Hamburg. There is John, Paul, George and Gerry and the Pacemakers in the photo. The man on the floor (George?) is pulling a face and you even have the hands that Klaus also used.
Well, drag out your English edition of The Beatles Anthology book too if you have one because the image is also on page 70 there as well:
The Anthology Book says the photo is from George Harrison’s private collection. The caption in the book reads: In a lay-by on the road to Hamburg and the Ost See. Me, Paul and John with Gerry and the Pacemakers.
We have George and Paul, who are standing on the left, and John sitting on the ground pulling a funny face.
Voormann has cut out three sections of this image. Paul has been placed to the left, his raised arm now just below George’s face. And he’s cropped John’s face to make it appear he has a Beatles hair-cut, and tilted it so that it is more upright. His hand from the image is also used, but also at a different angle.
So, one more mystery solved!
Following all this, Sergey has been back in touch and has offered up a revised, updated version of his original Revolver cover “sources” montage. Here it is:
Please click on the image to see a larger version.
Liverpool, London, Paris, New York, Washington, D.C. and Miami.
Six cities pivotal in the success of The Beatles as their music and their fame burst into the world, changing a generation forever.
The year: 1964.
Captured on film by one of those at the very centre of the storm: Paul McCartney.
In 2020, a treasure trove of nearly a thousand photographs taken by McCartney on a 35mm SLR camera was re-discovered in his archive. It was realised that his photographs form a unique view of the months towards the end of 1963 and beginning of 1964 as Beatlemania erupted in the UK and, after the band’s first visit to the USA, four young men became the most famous people on the planet. These photographs serve as a personal record of this explosive time when The Beatles were inside looking out – right inside the eye of the storm.
Now comes a new photographic exhibition and a book, 1964: Eyes of the Storm – Photographs and Reflections by Paul McCartney. They present his photographs and memories from six cities, capturing these intense months with many never-before-seen portraits of John, George and Ringo.
In his Foreword to the book, and in the introductions to each of the city portfolios, McCartney remembers: ‘what else can you call it – pandemonium’, and conveys his impressions of what Britain and America were like for him and his band mates in 1964 – the moment when the culture changed and the Sixties really began.
‘Anyone who rediscovers a personal relic or family treasure is instantly flooded with memories and emotions, which then trigger associations buried in the haze of time. This was exactly my experience in seeing these photos, all taken over an intense three-month period of travel, culminating in February 1964. It was a wonderful sensation to be plunged right back.
Here was my own record of our first huge trip, a photographic journal of The Beatles in six cities, beginning in Liverpool and London, followed by Paris (where John and I had been ordinary hitchhikers just over two years before), and then what we regarded as the big time, our first visit as a group to America’ – Paul McCartney
1964: Eyes of the Storm Photography Book Includes:
Six city portfolios – Liverpool, London, Paris, New York, Washington, D.C. and Miami – featuring 275 of McCartney’s own photographs – and his candid reflections on them
A Foreword by Paul McCartney
Beatleland, an Introduction by Harvard historian and New Yorker essayist Jill Lepore
A Preface by Nicholas Cullinan, Director of the National Portrait Gallery, London, and Another Lens, an essay by Senior Curator Rosie Broadley
The book, to be released on 13 June, is accompanied by a major exhibition at London’s National Portrait Gallery from 28 June – 1 October, 2023.
The Gallery will display, for the first time, a selection of the extraordinary archive of rediscovered and never-before-seen photographs taken by Paul.
Like the book, the exhibition provides a uniquely personal perspective on what it was like to be a ‘Beatle’ at the start of ‘Beatlemania’ – from gigs in Liverpool and London, to performing on The Ed Sullivan Show in New York to an unparalleled television audience of 73 million people. At a time when so many camera lenses were on the band, these photographs share a fresh insight into their experiences, their fans, and the early 1960s, all through eyes of Paul McCartney. Find out more and get tickets here.
P.S. If you’re wondering about the cool music used in the YouTube promo video above it’s the McCartney track ‘222’, released as a bonus track on the special edition version of “Memory Almost Full“. The song was written for his youngest child, his daughter Beatrice, when she was aged 2. See The McCartney Project for more detail.
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