The Beatles in the United States
And not one, but two articles from the lovely and very knowledgable Beatles expert, Jude Southerland Kessler, author of the John Lennon series. Jude is writing an ambitious nine-volume expanded biography of John Lennon and she has just published volume three. Here’s an excerpt from the new book, She Loves You:
While it’s always great to have some new Beatles product, some fans are only just starting to realise that the new The U.S. Albums set is making them purchase a lot of content they probably already own.
The plea for more information by Beatlesblog reader Alex in the comments section of this post is typical of the confusion buyers face over which versions are being used on The U.S. Albums:
Can anyone out there confirm if these cds are indeed the original mixes released by Capitol. Many folks insist that only the original lp covers have been included in this box set. Further, all the mixes are from other sources, hence don’t sound at all like the original unique Capitol releases. So many stories and I simply will not be able to verify this myself without committing to this purchase. It just should not be so difficult to get this information. All of the marketing sites that I’ve seen are very vague about this issue. Any help on this would be great!
Well, to answer Alex’s query the best description we can find so far detailing exactly what the tracks are (and how they were chosen) is on the very well-informed and researched Beatles Rarity site. Happy Nat writes:
“The new set will not be using the original Capitol master tapes. Apple has cited in a press release that this would not have created the best possible listening experience due to some fidelity limitations with the Capitol mixes. These include mixes made from second, third or even fourth generation tapes and many of the songs being in a duophonic mix instead of “true” stereo (duophonic, otherwise known as “fake” or “rechannelled” stereo is a means of simulating stereo from a mono source). For this reason and with a few exceptions that I will get to in a minute, the remasters that were issued in 2009 of the British mixes will be used and enhanced with a touch of additional echo to give them a more “Americanized” sound.”
And Beatles Rarity goes on to give specific information about the methodology used to select the source of these recordings:
Of course the first two in this list were already released on the earlier Capitol box sets.
So, unlike the 2004 Apple box set (The Capitol Albums Vol. 1) which included four of these albums in mono and stereo, and the 2006 Apple box set (The Capitol Albums Vol. 2) containing an additional four of these albums also in mono and stereo, The U.S. Albums set will not be using the original Capitol master tapes – most of the time. And it’s this information which is getting some avid Beatle fans and collectors upset. As an example here’s an extract from an email we recieved from Bruce Hamlin who runs the Beatles Records Information Service here in Australia:
I have not received my box yet but according to all internet reports what you are getting is the American Albums artwork reproduced in 5″ format, with special attention given to ‘Yesterday And Today” having a removable cover. However the most important part of any musical format is the music, and it appears what has happend here is you end up with someone in the record company’s opinion of the best version of each song title. NOT in every case the original American Capitol mix of the songs as issued on the American original vinyl albums. Because basically we in Australia (and New Zealand) originally got the English sets of albums, the American ones had a special facination to them. Different album names, different and shorter track listings, funny sounding mixes in both mono and stereo version. Fake stereo on a lot of tracks (they called it Duophonic) and in lots of cases our singles appeared on their albums. Great mystical stuff. BUT what we now get under the misleading title of ‘American Albums’ is just the artwork, and tracklistings. NOT the music. I will be getting a copy in a few days, but I know although the music will be great, it will not be what I thought I was buying. All we will be getting is mono and stereo versions of the American Albums running order but with mostly the 2009 UK remixes.When will EMI/Apple/Capitol/Universal ask/employ some Beatles Fans to assist them with compiling new releases? I’m sure half a dozen fans from around the world would actually give the purchasing Beatles fans what they want and in doing so, increase the profits of the record company. God bless the bootleggers who have given us all of this stuff anyway in it’s correct format and correct sound. And at just a smidgen below the record company’s quality. No wonder people don’t buy the record company products. They are crap. It’s not the internet, or downloads or anything else. It’s the Record Companies fault.
So for once I will give a negative recomendation – ONLY buy this package if your are a completist. It is not the real thing, not what it’s title suggests.
I think you can hear the anger there.
Now, of course this cuts both ways. If the set did indeed use the original Capitol master tapes at least eight of the albums would already be in keen collectors hands because they’d most likely already have The Capitol Albums Vol. 1 from 2004, and The Capitol Albums Vol. 2 from 2006. We’d be paying again, but in a different way, for already released material. No doubt there’d be some angst around the internet about this as well.
We’re very interested in your views too.
Would you have preferred the original, nostalgic U.S. Capitol mixes, or the fresher 2009 re-mixes? Did you buy the box set (or individual albums) thinking you were getting something different to what you have?
The 50th year has kicked off with a bang – the big release of the Beatles The U.S. Albums in a 13 album box set, and as individual titles on CD or digital download. Yesterday the Beatles official website unveiled a new interactive page dedicated to the release (just click on the image below to go there):
Meanwhile on YouTube, this guy was amonst the very first to get a copy of the box set and upload an “unboxing” video showing the contents in detail:
There are three distinct aspects to the Beatles’ main output and the direct connection they had with their audience. These are the band’s official studio recordings; their live performances; and (as this book examines in intricate and fascinating detail) their appearances during the height of their popularity on radio and television.
Kevin Howlett, a former BBC radio producer, has for many years been chronicling the band’s long and close association with the British Broadcasting Corporation (BBC). If you want proof that their output on radio and TV was prolific here are some stats: the Beatles performed a huge catalogue of songs across 275 performances at the BBC between March 1962 and June 1965. They appeared on 39 radio shows just in 1963 and, on one single day, recorded 18 songs for three editions of the BBC’s “Pop Go The Beatles” series in a session lasting just under seven hours. In total they played 88 different songs, most done in one take with little time to correct mistakes.
What also has to be remembered is the extent to which the BBC was at the core of daily life in the UK. Unlike the multiple channels and sources of information we take for granted today, no other broadcasting organisation was licensed to operate in the UK until 1973. It seems extraordinary and almost incomprehensible now. There was some competition from overseas and “pirate” radio stations, but during the life of the Beatles as a band the BBC pretty much had the market to itself.
This book The Beatles: the BBC Archives: 1962-1970 isn’t the first go Kevin Howlett has had at writing about the close relationship between these two icons of British life in the sixties. It is however the most comprehensive and beautifully produced effort so far. Beatles Blog has in its collection a small 1982 softback book called The Beatles at the Beeb – The Story of their Radio Career 1962-65:
Howlett tried again in 1996 with The Beatles at the BBC, the Radio Years. However both these previous attempts are nothing on his latest effort.
What Kevin Howlett has done with this book is to significantly expand the scope and the content of his subject to produce the definitive examination of the Beatles interaction with their fans using BBC radio and television.
The new work comes packaged in an impressive look-alike (and slightly used) 1960’s BBC reel-to-reel tape box:
Inside is the book, which contains many pictures, examples of contracts, internal memos and letters, memorabilia and complete details of all their appearances, along with a discography of the songs that the Beatles performed. If the songs were covers then there are details of the original artists too.
We learn that some 36 of the 88 songs they performed were never issued on record and, with the exception of the Beatle original “I’ll Be On My Way”, these unreleased tracks were all cover versions. Inside the book there are lift out prints and and removable facsimile documents – making this a great collectable item in itself. 
The photo (above) shows the band performing at the BBC Playhouse Theatre for Easy Beat on 16 October, 1963 – the day after news of the group’s participation in the Royal Variety Performance was announced (Photo © Press Association)
I love these sort of reproduction books, with removable documents, ticket stubs, mini-flyers and posters. I have two others which are similar: The Treasures of the Beatles, and Lennon Legend: An Illustrated Life of John Lennon.
This photo (also from the book) shows George, Paul and John with the BBC’s Bernie Andrews, producer of the show Saturday Club. It is dated 17 December, 1963 (Photo © BBC Worldwide):
Kevin Howlett is now very much an insider in the Beatles camp, having completed a number of prestigious Apple Records re-issue projects for them. He co-wrote the liner notes for the digitally remastered CD catalogue in 2009. Howlett wrote the notes and produced the ‘Fly On The Wall’ bonus disc for the 2003 Beatles remixed album Let It Be …Naked. He also wrote the liner notes for the original 1994 double CD and LP package Live at the BBC, and has done the same for the forthcoming set On Air – Live at the BBC Volume 2 (to be released on November 11). Both feature previously unreleased recordings and studio chatter by the Beatles made available for the first time. The new release will include early hits and cover songs recorded at the BBC in 1963 and 1964, audio of the group talking to radio presenters such as Radio 2’s Brian Matthew, different versions of some of the songs from the first Live at the BBC album, and interviews recorded in November 1965 and May 1966 for the BBC “Pop Profile” series.
A remastered version of the original Live At The BBC will also come out on 11 November to coincide with the release of Volume 2.
So, Howlett knows his subject. His book The Beatles: The BBC Archives: 1962-1970 is destined to become the ultimate publication detailing in every respect the the band’s interaction with it’s adoring public via the BBC – then one of the most important and dominant media outlets in Britain. It is published in the US by Harper Design (Harper Collins), and in the UK by Ebury Publishing (BBC Books).
Paul McCartney’s company MPL Music Publishing has announced that he’s teamed up with a cappella group Straight No Chaser for a new version of his 1979 Christmas single, “Wonderful Christmastime”. Listen to it here.
The song is featured on Straight No Chaser’s new EP, Under The Influence: Holiday Edition.
The 8-song EP will be available digitally and on CD this week (from October 29), and includes appearances by Paul McCartney, Colbie Caillat, CeeLo Green, and Otis Redding. For more details about Straight No Chaser go to the group’s website.
For Christmas last year the song appeared, in a version by The Shins, on the Holidays Rule/Christmas Rules compilations.
Speaking of inspirations for album cover artwork, the small print in the credits for Paul McCartney’s latest recording turns up some interesting background information on where he looked for the stylised image of the word NEW depicted on the cover.
Here’s the cover for the standard edition CD [and vinyl]:
…and the different coloured “deluxe” CD variation, which contains two bonus tracks:
Inside, along with who played and produced what, there’s this:
Artwork information:
NEW album cover inspired by Dan Flavin with special thanks to Stephen Flavin
Logo and cover concept: Rebecca and Mike
Consultancy and design: YES
Cover Image: Ben Ib
Dan Flavin was an American minimalist sculptor who specialised in using coloured neon and fluorescent tubes. As an example, here’s Flavin’s 1987 work Untitled (to Don Judd, colorist) at the Tate Liverpool gallery in 2009 (photograph: Colin McPherson):
Or this (Site specific installation 1996 – Menil Collection, Houston Texas): 
You can easily see where the New cover is coming from. The reference to Stephen Flavin is to Dan Flavin’s son, who has overseen the activities of his father’s estate since 1997. (For an in-depth and scholarly review of a retrospective exhibition of Dan Flavin works held in London in 2006 try this). The website Artsy.net has also created a page which really captures well what Flavin’s art is all about – and it has some great images too.
So much for the inspiration for the New cover.
Turns out though that the image used wasn’t actually made of fluorescent lights. See that reference to Ben Ib? Well, he’s a music video director who has worked extensively with Paul McCartney in the past. On his website Ib says he made the piece using a computer rendering program (with a logo and concept by Rebecca and Mike, and consultancy and design by YES). He also says the cover is “…my first foray into print work…It was a great team to work with under Paul’s guidance. I’ve also created the deluxe edition (gatefold) image.”
Ben Ib has done heaps of video work for McCartney. He created visual content for the “On the Run” and “Out There” tours, and the visuals for the song “Sing the Changes” which featured Barack Obama and which Sir Paul used for his headlining set at the Coachella festival. You can see a short extract of that here.
Ib’s talents were also utilised in June 2008 when Paul McCartney came home to Liverpool to give a performance (the first in his home town in five years) for the Liverpool Sound 2008 event. Ib built a huge, beautiful 20-minute long visual collage to serve as a backdrop to the show. It charts Paul’s story – from the early Cavern club days to the present, with footage and memorabilia from Paul and Linda’s personal archives.
And Ben Ib did this short biographical documentary film featured on the deluxe CD re-issue edition of Ram. If you haven’t seen it here’s an extract:
Meanwhile….back to the cover of New and Paul McCartney has provided the following piece of advice:
“If you buy ‘NEW’ on CD, please be careful when removing the booklet and take it out through the front cover gap, rather than the inside gap; If you do it could rip the cover. I only know this because I did it three times before I realised the booklet had to come out of the front gap! I hope you enjoy the music!! And please pass this message on.”
To help illustrate his point the news page on his official site shows these two photographs. First the correct way to remove the booklet:
…and this is the incorrect way:
A couple of posts ago we featured some of the album covers which blatantly copied or where perhaps inspired by the Beatles Let It Be. That followed this fairly similar copy from back in 2010 of the cover for their compilation The Beatles Number 1.
Now it’s time for the White Album.
Released in 1968, its cover was a simple and stark contrast to the visual complexity of the Sgt Pepper LP which (at least in Britain) immediately preceded it:
Since that austere, one-colour look with absolutely minimal text there has been more than a few followers to have worked the same theme. Here, in no particular order, are just some of the many:
Of course, good old plain black has been very popular over the years:
Of course, John Lennon’s own Live Peace in Toronto probably qualifies too: 
So too does McCartney’s side project The Fireman with his 1993 release Strawberries Oceans Ships Forest:
Know of any more? Let us know.
OK, to kick off Part 20 in our series a couple of photographs of the Beatles with records which are going to be tough to solve.
Here Paul is standing in front of a display. The thing is these record covers are all not immediately recognisable as they seem to be from other countries. They would all be from the 1960s. Does anyone have any idea what these discs might be?
And this one below of John – is that an LP to his left (our right)? This appears to be a photograph taken while the artists known as The Fool give one of John’s pianos a very special paint job. Amongst other things The Fool designed the original inner sleeve for Sgt Pepper, and they did the huge mural which adorned the outside of the Apple Boutique clothing shop in London.
Back to the photo. Is this an LP record cover? You can clearly make out what looks to be the word “Velvet…..”. Or could it be a poster?
Let us know if you have any further info on this one.
Now onto some easier-to-solve Beatles With Records photos. Firstly to Paul and Linda with a copy of Press to Play, his sixth solo studio album, released August 1986.
I really don’t know what the occasion is below – Yoko is photographed with a group of young men, one of whom is in a Beatle jacket, and another who is holding up a copy of John’s “legal obligation” disc called John Lennon Sings the Great Rock & Roll Hits (which later, and with much better sound, appeared on Apple Records as Rock ‘n’ Roll):
You can read the full story about how this album came into being here. It’s a long and complicated tale….
These next photographs are very similar (but taken at a different event) to those photos you may have seen in Part 14 where Paul McCartney is swamped by waiting fans eager for him to sign LP covers.
In the two photos above I can make out at least ten albums, beginning at the top:
If you can see any others let us know.
And yet again, another flock of fans hoping for a signature but this time at a different location:
I can make out these titles: 
Signings for their fans have always been something the Beatles as a band (and as solo artists) have always embraced. Here’s another of Paul – this time autographing a copy of Wings at the Speed of Sound from 1976:
This one of George Harrison doesn’t have any records in view (except for the indistinguishable 45 actually on the turntable) – but it has a cool little record player though….and it’s a great shot of George: 
One final photo to finish off this installment….obviously taken at the quality control room at the EMI plant in 1965:
A big thank you to Andrey in Russia for most of these images. You can see the other parts in The Beatles with Records series here: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16,17,18 and 19.
Wings Over America (originally from 1976, and released again this year as part of the Archive Series) isn’t the only triple live LP set Paul McCartney has released. He also did it in 1990 with Tripping the Live Fantasic.
I’ve just picked up a nice Spanish pressing of this for the collection.
The stripped-down, single disc Tripping the Live Fantastic – Highlights vinyl has been in the collection since it was first released, but never the full triple vinyl deluxe package, complete with its 26 page full-colour booklet, three individual coloured inner-sleeves and custom labels:
Here’s the front cover of the glossy booklet with some great live photography inside:
This is the cover of the trimmed-down single LP Tripping the Live Fantastic – Highlights:
The giveaway of the single vinyl version is the addition of the word “Highlights!” on the front cover:
This is the Australian vinyl pressing so no custom labels, just the standard black and silver Parlophone issue:
And the Highlights! inner sleeve:
Highlights! was also released as a single CD – but with quite a different track listing having 17 songs instead of just 12 for the vinyl version. The CD adds “Got To Get You Into My Life”, “We Got Married”, “All My Trials” [which is unique to this CD – it doesn’t appear on the vinyl Highlights! LP, or the more complete triple LP/CD versions], “Things We Said Today”, “Back in the U.S.S.R.”, and “Golden Slumbers/Carry That Weight/The End”. However, the LP version has the song “Put It There” included. That makes both interesting, and also a little bit collectable for the completists among us.
The full Tripping the Live Fantastic set was also released as a double CD in a jumbo sized jewel case in most markets (though in the US it was also available in two separate jewel cases). It has the exact same track listing and running order as the vinyl LP.
