Sgt. Pepper Label Anomaly

The subtitle of this blog is “Adventures in Collecting Beatles Music” and so we often get people inquiring about rare (or not-so-rare) pressings that they’ve come across out in the wild.

Like this one earlier this week from a reader named D-Wizz who is based in Brisbane, Australia:

I refer to the attached photos which are both sides of the same record. I note that the font used for each label is different. Side 2 looks like a 1960s style while Side 1 has an early 70s font. I cannot find an example of this on any Beatles related site, so I wonder is it a rarity, a mis-pressing, or something else? Does it make this copy any more valuable?

Thanks for your attention and assistance.

Regards, etc.

We love a challenge like this and delved into doing a little research. This is right at the heart of the adventures in collecting Beatles music! Here’s what we wrote back with:

Thanks for your email, and for sending through actual photos of the labels. This makes identification so much easier!

We’ve consulted the book An Overview of Australian Beatles Records by Jaesen Jones, which is a fantastic resource, plus his comprehensive website I Am The Platypus – The Beatles Australian Records Labelography – also very helpful in identifying Aussie Beatle pressings and variations. For what you need to know you should look at this page for the Sgt. Pepper’s label variations, and this page for further info on Australian label variations generally (click on the “Orange 1-Box” tab at the top).

What you have here is obviously a pressing of Sgt. Pepper’s that came out around October 1978 when EMI Australia was right in the middle of transitioning from one label design to another.

You’ve correctly identified that your Side 2 label is older – and in fact it is. It was the orange Parlophone label in use on Australian pressings of Sgt. Pepper’s from 1969-1978. It is known as the Orange 1-Box Style A, and has the word STEREO written large at the top. 

Then, in October 1978, EMI changed that label to what is called the Orange 1-Box Style B. This still has the word STEREO, but now in a much smaller font and set to the right of the spindle hole above the catalogue number. This is your Side 1 label.

We’d guess that when they were pressing your copy it must have been right on the change-over date between the two variations in October 1978. They obviously had some of the older style Side 2 labels left over (Orange 1-Box Style A) and where just using them up. However, for Side 1 they’d obviously started using the new-look Orange 1-Box Style B labels. 

(FYI there was a further orange label variation that was introduced from early 1979 called Orange 1-Box Style C that was used up to 1981. This had no mention of the word “Stereo” on it at all).

So, is your copy rare and more valuable? Well, it is interesting! 

Jaeson Jones includes in his book a ‘Guide to Rarity’ and, on a scale of 1-10 (where 1 is very common, and 10 is very rare), he lists the Sgt. Pepper’s Orange 1-Box Style A as a 5, and the Orange 1-Box Style B as a 3. Both therefore are reasonably common I’m afraid – but at least yours is different and it has a bit of a story behind it! I dunno, maybe we’d rate it as a 6?

Hope this helps,

beatlesblogger.com

Paul McCartney’s Lost Höfner Bass

Unless you’ve been living under a rock you are probably aware by now that Paul’s 1961 Höfner 500/1 bass guitar, which was stolen in 1972, has been….

In September last year we reported on a concerted new effort to trace the missing instrument – and it seems that the case has well and truly been solved. In fact, the bass is already back in the hands of its original owner – Paul McCartney.

Check out this short statement on the official McCartney site, plus The Lost Bass Breaking News page for more.

The instrument is a little worse for wear but, according to an expert from Höfner called in to examine it, it shouldn’t be all that difficult to once again get it going again.

One of the most informative articles about what state it is in and the intriguing back story as to where the bass has been all this time is in the Dutch music magazine, De Bassist. They interviewed Höfner expert Nick Wass about finding The Lost Bass. Their article is well worth a read!

Congratulations on a Grammy Win, and Good Luck for the Oscars

The Beatles have won a Grammy in the 66th annual awards.

It was for Best Music Video for the song ‘I’m Only Sleeping’ – the film clip made to promote last year’s re-issue of the Revolver album.

The award went to Em Cooper, video director, and Jonathan Clyde, Sophie Hilton, Sue Loughlin and Laura Thomas, video producers.

Artist and director Em Cooper explored the space between dreaming and wakefulness, working on an animation rostrum on sheets of celluloid. She painted every frame individually in oil-paint, a labourious process which took many months.

(Interestingly Revolver won an award for Best Album Cover in 1966. That honour went to Klaus Voormann. And the Song of the Year Grammy in 1966 went to John Lennon and Paul McCartney for ‘Michelle’. McCartney also won the Best Contemporary Solo Vocal Performance, Male or Female, for ‘Eleanor Rigby’.)

Also in the hunt for awards recognition is another short animated film with Beatle connections – this time for Sean Ono Lennon and War Is Over!, a film inspired by the music of John and Yoko.

War Is Over! is nominated in the 96th Oscars, to be announced on Sunday, March 10. You can view the trailer here:

Set in an alternate WWI reality where a senseless war rages on, two soldiers on opposite sides of the conflict play a joyful game of chess. A heroic carrier pigeon delivers the soldiers’ chess moves over the battlefield as the fighting escalates. Neither soldier knows his opponent as the game and the war builds to its climatic final move. Whoever wins the game, one thing is for certain: there are no winners in war.

The eleven-minute short animated film is made by the animation company ElectroLeague. Its anti-war story is by Sean Ono Lennon and Dave Mullins, and it features original music composed by Thomas Newman plus the song ‘Happy Xmas (War Is Over)’. The film is directed by Dave Mullins and produced by Brad Booker. It is executive produced by Yoko Ono and Sean Ono Lennon, and is created as a production of Lenono Music, ElectroLeague, WetaFX and Epic Games.

Here’s some more background on how the project came about, and what to expect when you get to see it:

And check out this filmmakers’ panel discussion about the Oscar-nominated War Is Over! It features writer/director Dave Mullins, producer Brad Booker, executive producer Sean Ono Lennon, and composer Thomas Newman. They’re in conversation with executive producer Karen Dufilho:

‘Living The Beatles Legend’ – Out Now

Very much looking forward to reading and reviewing Kenneth Womack’s latest – an authorised biography of the Beatles’ ever-present minder, Mal Evans.

If you live in the USA the book is published by Harper Collins and is called Living The Beatles Legend – The Untold Story of Mal Evans. It comes with this cover:

If you’re in the UK it is also published by Harper Collins, but has a slightly different title Living The Beatles Legend – On The Road With The Fab Four The Mal Evans Story, and comes in this cover variation:

In Australia it looks like we’ll be getting the UK edition.

The New York Times has a review headline which neatly sums up exactly what this book is about:

The publisher’s press release has a bit more:

The first full-length biography of Mal Evans, the Beatles’ beloved roadie, assistant, confidant and friend. A towering figure in horn-rimmed glasses, Malcolm ‘Mal’ Evans was an invaluable member of the Beatles’ inner circle. Serving as their long-time roadie, personal assistant and protector, he was a sometime lyricist, occasional performer and regular fixer at the height of the group’s fame and beyond.

But Mal’s dedication to his beloved ‘boys’ and his own desire for stardom took its toll, leading to the dissolution of his marriage and his untimely death in January, 1976.

Until now, Mal’s extraordinary life has remained shrouded in mystery. Drawing on hundreds of exclusive interviews and with full access to Mal’s unpublished archives – including his personal diaries, manuscripts and memorabilia – renowned Beatles scholar Kenneth Womack paints the first complete portrait of this complicated figure at the heart of the Beatles’ story.

Living the Beatles Legend is a fascinating but ultimately tragic tale about life at the edges of superstardom. 

The book is out now.

See also: A Beatle Book Bonanza; Womack’s impressive biography of George Martin Part One and Part Two; and The Beatles Encyclopaedia: Everything Fab Four.

Comparing John’s Demo to the Final Track

This is a well put together analysis of how the original demo tape of ‘Now and Then’ compares to the finished Beatles ‘Now and Then’ just released:

Take It Away Podcast Moves Into New Phase

One of the podcasts we’ve really enjoyed in the last few years has been Take It Away – The Complete Paul McCartney Archive Podcast.

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!

However, in November 2020 Ryan was tragically killed in a car accident. He was just 34 years old.

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).

Search for Paul’s Missing Höfner Bass Steps Up a Notch

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.

New Ringo Starr EP – “Rewind Forward”

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?

‘Beatles Tone Guide’ – Australian Guitar Magazine

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.

The feature is richly illustrated with great photos and examples of the the actual guitars and amplifiers, plus a list of suggestions for modern-day or way less expensive alternatives to get your hands on if you want to sound like John, Paul or George.

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:

Paul McCartney & Paul Muldoon Announce a New Podcast

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:

A longer introduction to the podcast series is here: Welcome to McCartney: A Life in Lyrics.

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.

McCartney: A Life in Lyrics is a co-production between Pushkin Industries and iHeartPodcasts.

(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).