It was always odd that there wasn’t a CD single of “the Beatles last ever single” included in the long-awaited big release announcement last week.
Well, now there is.
A CD single, in what looks to be a simple cardboard slipcase, has belatedly appeared on the official UK Beatles site:
Like all other formats, the CD will feature ‘Now and Then’, plus the 2023 stereo remix of ‘Love Me Do’.
The release date is 3 November – exactly the same date as all the other formats – which suggests that physical product has been prepared and is ready to go out to stores. So why was it not part of the launch last week? Did somebody at Apple/Universal Music stuff up?
So far the CD single only appears on the UK Beatle store site but we’d expect it to pop up elsewhere during the day.
By now you’ll be aware that there’s a brand new Beatle song coming. It is called ‘Now and Then’ and is the last Beatles song ever to be released.
Like the singles ‘Free As a Bird’ (1995) and ‘Real Love’ (1996) before it, ‘Now and Then’ is all four Beatles contributing additional music and vocals to a cassette demo that John Lennon was working on in the late 1970’s but never got to properly record. It will now be released in 2023 as a vinyl single (in a variety of colours, plus as a 12″ single), and as a cassette (or a “cassingle” as we used to say), on November 3.
The new single has ‘Love Me Do’, the song that started it all off for the band, on the other side. So, it is listed as a “Double A Side”. The ‘Love Me Do’ news is that it is in stereo in a 2023 mix!
The colours for the 7″ are:
And an exclusive Beatles Shop blue/white marble 7″. Also available at some independent record stores:
There is also a 12″ single.
It’s a little confusing as to whether this is also available on red vinyl. It’s shown on the front page of the official Beatle announcement site, but when you click through to purchase it is not on either the US or UK stores.
Not finished with vinyl yet…..on some official sites there have been links to a black vinyl 10″ pressing. Take the French Beatles store for example:
The 10″ was listed briefly on the UK official site too – as a “Spotify Fans First” exclusive – but the link provided no longer seems to work. However, it is still up on the US Beatles Store, Universal Music Canada, and the Universal Music Brazil sites – but with all now showing as ‘Sold Out’. Strangely it is still for sale on the Universal Music Columbia site though!
In 2022, Paul and Ringo set about completing the song. Besides John’s demo vocal (now much enhanced quality thanks to the use of new technology developed by film director Peter Jackson and his audio team for the Get Back documentary series) ‘Now And Then’ includes electric and acoustic guitar recorded in 1995 by George, Ringo’s new drum part, and bass, guitar and piano from Paul, which matches John’s original playing. Paul added a slide guitar solo inspired by George; he and Ringo also contributed backing vocals to the chorus.
Then in Los Angeles, Paul oversaw a Capitol Studios recording session for the song’s Beatlesque string arrangement, written by Giles Martin, Paul and Ben Foster. Paul and Giles also added one last touch: backing vocals from the original recordings of ‘Here, There And Everywhere’, ‘Eleanor Rigby’ and ‘Because’, which are woven into the new song using the techniques perfected during the making of the LOVE show and album. The finished track was produced by Paul and Giles, and mixed by Spike Stent. Can’t wait to hear it!
Just by the way, the cover artwork is by celebrated US artist Ed Ruscha. That’s a Paul McCartney influence right there because Ruscha did the cover art (in all it’s many variations) for the McCartney III, McCartney III Imagined releases, and the box set McCartney 1,2,3.
Coincidentally, Ruscha is the subject of a major retrospective currently showing at the Museum of Modern Art in New York. It’s title? “Now Then”. You can see a short CBS News interview and retrospective about the man here.
As if all this wasn’t enough, on November 10, The Beatles’ 1962-1966 (aka The Red Album) and The Beatles 1967-1970 (aka The Blue Album) collections are to be released in 2023 Edition packages.
Both collections have been expanded, with all the songs mixed in stereo and Dolby Atmos. Together both sets contain 75 tracks, 36 of which have new mixes for 2023. The booklets will contain new sleeve notes by journalist and author John Harris.
The UK single version of ‘Love Me Do’ now kicks off the CD version of The Beatles 1962-1966 (2023 Edition) – now expanded with 12 additional tracks added chronologically. ‘Now And Then’ ends the CD version of The Beatles 1967-1970 (2023 Edition) – now expanded with 9 additional tracks also added chronologically – to complete the career-spanning CD collections. Both are 2CD sets.
But is is different with the vinyl.
The Red and the Blue will have the first two discs just as they were originally released when they were double LPs, with the third disc containing all the expanded material. In other words, 12 extra tracks on Disc 3 for the Red, and 9 extra tracks Disc 3 for the Blue. Quite a different approach to the CD. No slotting in the newly added songs in chronological order here. In fact the new song ‘Now and Then’ is Track 1 of Side 6 of the Blue. A little bit odd.
Both are 180 gram Half Speed Mastered. They will be available on black vinyl separately as triple LP sets, and they’ll be sold together as a 6LP box set:
The Beatles Store is also offering exclusive limited editions of the box set and individual albums on red and blue colour vinyl:
And here’s the CD packaging:
And a 4CD collections will pair the Red and Blue in a slip-cased set.
The new music video for ‘Now And Then’ will debut on Friday, November 3. It is directed by Peter Jackson.
There’s also going to be a short “making of” documentary film released on November 1. Here’s the teaser:
One of the three is Splinter’sThe Place I Love, the very first record to come out on George Harrison’s then new label.
Produced by and featuring Harrison, The Place I Love was one of the earliest recordings to be made at the FPSHOT studio in his Friar Park home.
DETAILS Event: BLACK FRIDAY 2023 Release Date: 11/24/2023 Format: Clear vinyl LP Label: Dark Horse Records Quantity: 1000 Release type: ‘RSD First’ Release
MORE INFO Splinter was comprised of duo Bill Elliot and Bobby Purvis, and their blend of folk, pop, and rock were introduced to Dark Horse Records founder George Harrison in 1973. Harrison was quick to spot their potential and made them one of the first signings to his new label.
The band’s debut album The Place I Love was produced by Harrison and features extensive guitar work by the legendary musician, as well as contributions from Billy Preston, Jim Keltner, Alvin Lee (Ten Years After), and Gary Wright (Spooky Tooth and ‘Dream Weaver’).
Including the hit record ‘Costafine Town’, along with the singles ‘Drink All Day (Got to Find Your Own Way Home)’ and ‘China Light’, this remastered recording will be available on vinyl for the first time since its 1974 release. For RSD Black Friday it is remastered and pressed on transparent clear vinyl with reproduced gatefold artwork and an OBI strip.
Also being readied for RSD Black Friday is an album that originally made it’s debut on the Apple label – Ravi Shankar and Ali Akbar Khan’s In Concert 1972.
DETAILS Event: BLACK FRIDAY 2023 Release Date: 11/24/2023 Format: 2 x LP Label: Dark Horse Records Quantity: 1280 Release type: RSD Exclusive Release
MORE INFO The original Apple Records release, now remastered and reissued on Dark Horse, is the Indian sitar master in concert with Ali Akbar Khan on sarod, and Alla Rakha on tabla. It was recorded at Philarmonic Hall in New York City. The double LP is produced by George Harrison, Zakir Hussain, and Phil McDonald.
Dark Horse is also digging deeper into its Leon Russell catalogue with a special edition red vinyl release of his called Hank Wilson Volume II.
DETAILS Event: BLACK FRIDAY 2023 Release Date: 11/24/2023 Format: Red vinyl LP Label: Dark Horse Records Quantity: 1700 Release type: RSD Exclusive Release
MORE INFO This is a coloured vinyl reissue of Leon Russell’s 1984 country album Hank Wilson Vol. II. Hank Wilson is Russell’s country music alter ego, and this title has a bit of a strange release history. You can read up here for a bit of the background. Originally released on Paradise Records, Dark Horse is reissuing the album on vinyl for the first time since 1984. It includes country staples such as ‘Wabash Cannonball’ and ‘I Saw the Light’. Willie Nelson makes a guest appearance on ‘Wabash Cannonball’.
So there you have it. Some Dark Horse titles to look out for in November.
And if you’re collecting the new Dark Horse release series don’t forget they’re once again re-issuing Joe Strummer & The Mescaleros Streetcore LP on October 20. This time it will be on black vinyl with an exclusive ‘Coma Girl’ Lyric Art Print from the Joe Strummer Archive. It will also be available on CD. Dark Horse already issued this album on limited edition white vinyl for Record Store Day proper earlier this year.
Back in 2016 the knowledgeable hosts, Ryan Brady and Chris Mercer, set themselves the task of discussing, in detail, every single solo McCartney release. And they succeeded!
Understandably, the podcast went into a hiatus. How do you go on when one very talented half of the team has been taken away?
Well, the podcast is now re-emerging – as Take It Away: The Complete Solo Beatles Archive Podcast. Chris Mercer is joined by a new co-host and fellow Beatle nut, Paul Kaminski. Together they plan to expand the original brief to take in the solo careers of all four Beatles.
If you’re interested in The Beatles, Wings, or Paul McCartney the solo artist, then this could be the podcast for you.
The all-new Take It Away begins with a dive into the music of George Harrison. The first episode, ‘Beatle George’ (part one of two) is out now at your favourite podcast aggregator.
Chris and Paul write: “In this preamble to the next phase of the podcast, we’ll explore the origins of Harrison’s songwriting, musicianship and legacy, as the “quiet one” fights for his place amongst both his band mates and his musical contemporaries alike. We’ll chronicle every single (official) George Harrison Beatles songwriting contribution from the band’s beginnings up through 1967 in this first installment — an extensive deep dive you will not want to miss! Now, without further ado: take it away, George…”
Worth checking out.
Oh, and while we’re talking podcasts, just a reminder that the first two episodes in the brand new Paul McCartney and Paul Muldoon outing, A Life In Lyrics, will now be available for download from October 4. (Seems they missed the originally advertised September 20 release date for some unknown reason).
Over the weekend a dedicated new project to once and for all try to locate one of the most sought-after musical instruments of all time was launched.
It’s called The Lost Bass Project and it has been set up to find Paul McCartney’s lost 1961 Höfner bass guitar.
This is the bass McCartney played at the Top Ten Club in Hamburg in 1961, at the Cavern in Liverpool, and on those first Abbey Road recordings. This is the bass you hear on ‘Love Me Do’, ‘She Loves You’, and ‘Twist and Shout’. The bass that powered Beatlemania – and shaped the sound of the modern world.
But in late January 1969, when The Beatles were in London recording the ‘Get Back/Let It Be’ sessions, the 1961 Höfner 500/1 Violin Bass disappeared. It has not been seen since.
The Lost Bass Project is a global search dedicated to tracing the bass – and solving the greatest mystery in the history of rock and roll.
This morning on the Australian Broadcasting Corporation’s national Breakfast Show Scott Jones, one of the team behind The Lost Bass Project, said that already – just two days in from the launch – they’re getting information that will help lead them to the famous missing instrument. He’s speaking here to host, Patricia Karvelas:
To find out more visit the project’s comprehensive website. There you’ll find all the information you need to learn the story of the ’61 Höfner, keep up with the latest developments in the search, but most importantly how you can make a contribution if you think you might have another piece in the jigsaw puzzle that might help solve the case. Also, check out the official Höfner site.
The idea here is not to find it to make money. The idea is to finally get it back to it’s rightful owner.
If you’re a completist and want to cross check that you have every physical and digital release, or if you’re interested in a smart, informed commentary on every song by Paul McCartney then this book series is for you.
Paul McCartney The Songs He Was Singing Vol. 5 2010 – 2019 is (as its title suggests) the latest installment in a series compiled and written by John Blaney. Blaney, a passionate Beatle fan, brings to his writing the expertise and rigour of a professional historian. After starting out in music retail he trained as a graphic designer and studied History Of Art at Camberwell College Of Arts and at Goldsmith College (both in London) before taking up his present post as the curator of a museum of technology. He’s the author and publisher of no less than twelve books on The Beatles, Paul McCartney, John Lennon and George Harrison.
In The Songs He Was Singing series Blaney has split McCartney’s songwriting and his steady release schedule roughly into ten-year slabs, with Volume 1 covering the period 1967-1979; Volume 2 the 1980’s; Volume 3 the 1990’s; and Volume 4 the Noughties (i.e. the years 2000-2009).
And that brings us to the present book (due out next month) and the years 2010 – 2019. Or, to put it another way, from the re-release of Band OnThe Run – the very first in the Archive Collection series – through to the bloated Egypt Station (Traveller’s Edition).
The way Blaney has structured the content in this series is comprehensive – with just a couple of caveats. For each entry you get US and UK release dates and chart positions, then the name of each song, the personnel who played, and recording locations. If it’s not a re-issue (or, if it’s a previously unreleased bonus track) you get an individual song description and an appraisal by Blaney. Then there’s a concluding “Data” section for each release detailing correctly and succinctly exactly how it was issued i.e. which formats (LP, CD, digital), along with the sometimes complex configurations and extras the release came in. This includes if promo copies were produced and distributed. It is great book for identifying those rarities which may have escaped your attention. A good example of this is the “Tug Of War Data” section where Blaney explains the more obscure extras. Like for example the Barnes and Noble-only 7″ bonus single ‘Ebony and Ivory’/’Rain Clouds’, released exclusively to their customers in a replica picture sleeve; or the fact that there was a very limited Super Deluxe Edition of the Tug Of War box set issued in a red acrylic slipcase with exclusive hand-numbered 8×10 photo prints. It’s detail like this the avid collector sometimes forgets. Then, for each release, there’s a selection of colour photographs of the packaging and labels to help further identify what you have – or what you might be still be seeking out for your own collection.
The album summaries and individual song descriptions which Blaney provides are worth a special mention – especially for their often outspoken honest opinions. It’s clear that while he reveres the McCartney canon, Blaney is no fanboy who treats everything McCartney touches as brilliant art. If there’s something he feels isn’t up to scratch he has no qualms in saying so. Take this example from the Archive Collection edition of McCartney II. Blaney is addressing one of the included bonus tracks, ‘Mr H Atom’/’You Know I’ll Get You Baby’:
“Not so much a song as a chorus in search of a verse, ‘Mr H Atom’ sounds like a demo recorded by an obscure New Wave band fronted by a female singer – Linda McCartney. Another example of McCartney being unable to flesh out his original idea, ‘Mr H Atom’ is little more than an unfinished fragment. If McCartney had the will to finish the song it may have developed into something a little more interesting. As it stands it’s of passing interest but no contender as a lost gem. ‘You Know I’ll Get You Baby’ is, if anything, less interesting. Consisting of the title repeated over a chugging 12-bar, it may possibly be the worst ‘song’ McCartney has allowed to slip out of his archives.”
Ouch.
Now to a couple of items missing from the book and, to be fair here, what we were sent for review is an early “proof” copy, so there could still be some changes prior to it’s October release. We think the 12 track Paul McCartney Live in Los Angeles should have been included. Yes, it was a free CD given away in 2010 to buyers of the UK newspaper The Mail on Sunday (and also The Irish Mail on Sunday), and it is related to a four-song EP called Amoeba’s Secret officially released on CD and 12″ single by Hear Music in 2007 and 2009 (so it my well have been detailed in a previous volume), but it was the first release of 9 previously unavailable live tracks. Having said all that, Blaney provides at the back of the book a separate section listing all the release dates, record company information, catalogue numbers, etc. Mentioned there briefly is the 2019, 2 x LP, 21 track Amoeba Gig album (also available on CD). But the Mail on Sunday release is different.
There’s also no mention of the 2011 CD re-issue of The Family Way original soundtrack on the Varese Sarabande label. Nor the 2015 vinyl LP of the same title. Again, these may have been dealt with in Volume 1 as the original did come out in 1967.
This volume does give a good amount of space (including some handy photographs) to the12″ EP Hope for the Future from 2015. This contains music McCartney composed for the Bungie online video game Destiny. It even references the very obscure (and rare) secret Record Store Day 12″ ‘Sweet Thrash’ single mix of the song. But it misses an important reference to a 6-LP release called The Music of Destiny Volume Icontaining the Destiny original soundtrack with many McCartney co-compositions, and a piece titled Music of the Spheres which ends with a movement called ‘The Hope’ that includes his ‘Hope For The Future (Main Version)’.
Having said that some items are missing, in all fairness these are minor and there is plenty here that will be a revelation – even to avid collectors. For us there was numerous releases included we hadn’t been aware of at all. For example in 2011 McCartney and his company MPL helped put together a compilation CD and LP of Buddy Holly cover versions. Rave On Buddy Holly has contributions from the likes of Modest Mouse, Florence and the Machine, Patti Smith, Nick Lowe, and Lou Reed. It also contains Paul McCartney singing a strange, rocky, distorted version of ‘It’s So Easy’. We also learn there was a different digital download only version of the same song sung in a more traditional Holly fashion. Of the CD version Blaney writes “…while McCartney delivers a passionate vocal, the backing is more than a little sloppy and sounds for all the world like a first run through…..And quite why [he] felt compelled to burst into an improvised rap before the track returns for a brief reprise is beyond me…..the result is like watching your dad dancing at a wedding: embarrassing.” When a song is great it gets praised in this book, but if it’s lacking then that gets called out as well – which is kind of refreshing.
Overall, this book is a delight to read, dip into, and is a great resource to cross-check your own collection. John Blaney has done a power of work in researching and engagingly critiquing (almost) every release by Paul McCartney between the years 2010 – 2019. Well worth having in your library.
Now all I need to do is track down the four previous volumes!
Great news overnight, especially if you live Down Under.
Paul McCartney and Frontier Touring have announced that the living legend is headed this way in October and November for a series of six concerts. For those of our readers who may not know Australia that well, one interesting thing about this announcement is that the tour takes in two regional centres that are not capital cities: Newcastle in the state of New South Wales, and the Gold Coast in Queensland.
Also, as part of the publicity for the tour McCartney granted a lengthy interview to the Aussie podcast Behind The Hits, hosted by Dave Gleeson. In it he speaks about the Australian tour plus a whole lot more. It’s worth a listen:
Then Paul followed up with a TV interview on one of Australia’s leading news and current affairs shows, ABC 7.30. Here’s the version that went to air. He’s speaking with host Sarah Fergusson:
Or, if you prefer, the extended version of the interview:
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:
The podcast, which is called McCartney: A Life in Lyrics, starts on September 20. It promises listeners a fly-on-the-wall opportunity to sit in on recordings of conversations made over many years between Paul McCartney and poet Paul Muldoon as they dissected the people, experiences, and art that inspired his songwriting.
The conversations between the two were a central part of their process in compiling the book The Lyrics: 1965 to the Present, released in hardback in 2021, and just about to be re-published in paperback form – with added chapters.
Over two seasons and 24 episodes the podcast will let us in on how that book came together. We’ll be able to hear what is described as “a combination master class, memoir, and an improvised journey with one of the most beloved figures in popular music”.
Each episode will focus on one song from McCartney’s catalog and will span early Beatles through to his solo work.
You can listen to a promo for the new podcast here:
For more background on how it all came about there’s also an interview in The Verge with Justin Richmond, Executive Producer of the podcast. It’s really interesting. “The idea for the podcast came through McCartney’s production team, from the person in charge of special projects. The sort of system that [McCartney and Muldoon] came up with to write [The Lyrics: 1956 to the Present] is that Muldoon turns up to McCartney’s house, turns on his phone, and records a conversation between the two of them. Eventually, the pandemic happened, lockdown, etc., and some stuff was delivered over Zoom.”
“My read on it is that after the stress of getting the book together was relieved, they were sort of realizing that they have hours of Paul McCartney being candid in a really special way. It’s not like this was expertly recorded in the studio. It’s not as if he was sitting down to be Paul McCartney of The Beatles to give an official interview about the band. These [recordings] really have the tenor of someone sitting down with a friend and having a leisurely chat about times past. And McCartney’s “times past” happens to be, for him, The Beatles and Wings and a litany of incredible solo work.”
Season One drops weekly starting September 20. It will feature twelve episodes examining ‘Eleanor Rigby’, ‘Back in the USSR’, ‘Let It Be’, ‘When Winter Comes’, ‘Penny Lane’, ‘Uncle Albert/Admiral Halsey’, ‘Here Today’, ‘Live and Let Die’, ‘Magical Mystery Tour’, ‘Jenny Wren’, ‘Too Many People’ and ‘Helter Skelter’.
Season Two will follow with an additional 12 episodes in February, 2024.
(If you don’t want to wait for each weekly episode and need to binge the whole series all at once you can subscribe to Pushkin+ to get access to all of Season One on September 20).
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).
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