The Beatles/1962-1966 [2-Lp]

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APPLE 5C 184-05307/05308 - THE BEATLES/1962-1966 [2-LP] Laminated outer cover, later issues matte outer covers Matte German inner sleeves with 1C188-prefix printed on top of A- and D-sides A Habo Sleeve (with preceding logo) printed on bottom right of First copies sold by some warehouses came sealed with an obi back cover with track listing Flat labels with small pressing ring Flat labels with wide pressing ring (1 mm) Dish labels A Habo Sleeve (without preceding logo) printed on bottom right of back cover Matte UK inner sleeves with PCS 7171 & PCS 7172 numbers printed on top of A- and D-sides No A Habo Sleeve on Semi-glossy outer cover bottom right of back cover (with UK or German inner sleeves) Orange background Orange background Only Side 3 has 5C 188 prefix Red background Dish labels, no "All Titles Produced By George Martin" credit on labels APPLE 5C 188-05307/05308 - THE BEATLES/1962-1966 [2-LP] German cover with 1C188- Prefix APPLE 5C 184-05307/05308 - THE BEATLES/1962-1966 [2-LP] [Red vinyl] Cover #1: Semi-glossy cover EMI logo & Made and with 5C184-Prefix on rear, Some Distributed by EMI Records copies come with Coloured Vinyl Holland BV print sticker Cover #2: Semi-glossy cover with 1A184-Prefix on rear, Some copies come with Coloured Vinyl sticker Matte German inner sleeves with 1C188-prefix printed on top of A- and D-sides 5C 184-prefix on all sides 5C 184-prefix on Sides 1, 2 & 4 5C 188-prefix on side 3 5C 184-prefix on Sides 1, 2 5C 188-prefix on sides 3, 4 5C 184-prefix on Sides 1, 2 & 3 Disc 1 raised record edge Disc 2 square record edge 5C 188-prefix on side 4 APPLE 1A 138-05307/05308 - THE BEATLES/1962-1966 [2-LP] Semi-glossy cover with 1A 184-prefix Glossy Dutch inners with 1A184-prefix printed on top of A- and D-sides (1A & 184 numbers are similarly sized) Flat labels Northern Songs print aligned with track numbers Raised edges on labels Northern Songs print aligned with song titles 1A184 Prefix on labels Matte French covers with 1C162-prefix printed on top of all sides Made in EEC perimeter, large Apple, orange background Matte Dutch inner sleeves with 05307 & 05308 numbers printed on top of A- and D-sides Made in EEC perimeter, small Apple, red background (Can also be found with inners with 1A184-prefix) Made in Germany perimeter Glossy Dutch inners with 1A184-prefix printed on top of A- and D-sides Semi-glossy cover Glossy Dutch inners with 1A184-prefix printed on top of A- and D-sides (1A numbers are larger than 184 numbers) Crossover copy with 1A138 labels on 1st disc, 1C172 labels on 2nd disc Green Apple labels, 1A184 prefix on 1st disc, 1A188 prefix on 2nd disc APPLE 10 05307 1 / 10 05308 1 - THE BEATLES/1962-1966 [2-LP] Semi-glossy cover 10 5307 3 number on inner Bar code on back cover, cover 172-Prefix Disc 1: Matte inner sleeve with 10 05307 1 number printed on Disc 2: Glossy Dutch inner with 1A184-prefix printed on top of D- bottom of B-side side (1A numbers are larger than 184 numbers) A in An Apple Record starts under L in LC 1074 logo A in An Apple Record starts under C in LC 1074 logo .

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Canadian Beatles Albums Identification Guide Updated: 22 De 16
Canadian Beatles Albums Identification Guide Updated: 22 De 16 Type 1 Rainbow Label Capitol Capitol Records of Canada contracted Beatlemania long before their larger and better-known counterpart to the south. Canadian Capitol's superior decision-making brought Beatles records to Canada in early 1963. After experimenting with the release of a few singles, Capitol was eager to release the Beatles' second British album in Canada. Sources differ as to the release date of the LP, but surely by December 2, 1963, Canada's version of With the Beatles became the first North American Beatles album. Capitol-USA and Capitol-Canada were negotiating the consolidation of their releases, but the US release of The Beatles' Second Album had a title and contained songs that were inappropriate for Canadian release. After a third unique Canadian album, album and single releases were unified. From Something New on, releases in the two countries were nearly identical, although Capitol-Canada continued to issue albums in mono only. At the time when Beatlemania With the Beatles came out, most Canadian pop albums were released in the "6000 Series." The label style in 1963 was a rainbow label, similar to the label used in the United States but with print around the rim of the label that read, "Mfd. in Canada by Capitol Records of Canada, Ltd. Registered User. Copyrighted." Those albums which were originally issued on this label style are: Title Catalog Number Beatlemania With the Beatles T-6051 (mono) Twist and Shout T-6054 (mono) Long Tall Sally T-6063 (mono) Something New T-2108 (mono) Beatles' Story TBO-2222 (mono) Beatles '65 T-2228 (mono) Beatles '65 ST-2228 (stereo) Beatles VI (mono) T-2358 Beatles VI (stereo) ST-2358 NOTE: In 1965, shortly before the release of Beatles VI, Capitol-Canada began to release albums in both mono and stereo.
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Authenticity Letter for Stereo Introducing The
STAN “THE BEATLEMAN” PANENKA LETTER OF AUTHENTICITY MEGA RARE AUTHENTIC AND ORIGINAL VEE JAY RECORDS STEREO INTRODUCING THE BEATLES “AD BACK” ALBUM! FINEST CONDITION COPY THAT IS KNOWN TO EXISTS ON THE PLANET!! The purpose of this letter is to certify the authenticity, historical importance and value of this example of a VEE JAY RECORDS STEREO INTRODUCING THE BEATLES “AD BACK” ALBUM. HISTORY OF THE INTRODUCING THE BEATLES LP On January 10, 1964, Vee Jay Records issued their Introducing The Beatles album. This is known as a version 1 album. THIS IS THE VERY FIRST US BEATLES LP! The first Introducing The Beatles album in the US contains the songs, "Love Me Do" and "P.S. I Love You." There are three variations of this album. The first variation is the “Ad Back”. The “Ad Back” variation has 25 assorted Vee-Jay albums by other artists pictured on the back of the cover. The next cover variation is the “Column Back”. Here the back of the album has two columns that list all of the songs on the album. The final cover variation is the “Blank Back”. Here the back of the cover is blank – all white with no printing. The “Ad Back” is the first variation and is considered to be the first US album. The “Column Back” variation is the rarest of the three. It is my opinion that the purpose of the “Blank Back” album which is the third variation was to get rid of as many version one discs as possible. Vee Jay Records lost a lawsuit and thus they did not own the rights to release the songs “Love Me Do” and “P.S.
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MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other.
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Instamatic Memories : the Beatles in Minnesota
InstamaticInstamatic MemoriesMemories The Beatles in Minnesota Lmô^gK'Ah__[^\d I pZm\a^]ma^;^Zme^lpa^gma^jnZkm^mfZ]^bml maZmeho^pZlbg]^^]ZeeZ[hnmahe]bgàZg]lZg]Z]hkbg` ]^[nmhgma^>]LneeboZgLahpbg?^[knZkr*2/-%Zl rhnklp^^ma^Zkminkêr' ]b]0,%0.)%)))hma^k:f^kb\Zgl'Beho^]ma^lhg`ÊLa^ Ma^;^Zme^laZ]Z]^îbg×n^g\^hgma^[Z[r[hhf Eho^lRhnËZli^k_hkf^]hgebo^mêôblbhg[rma^_hnk `^g^kZmbhg%bmlfnlb\%Zg]bml\nemnk^%ghmhgerbg@k^Zm fhi&mhii^]fnlb\bZglÉma^ÖklmpZo^h_ma^;kbmbla ;kbmZbg[nmZelhbgma^Ngbm^]LmZm^l';hrl\aZg`^]ma^bk kh\d&Zg]&kheebgoZlbhgh_ma^NL:';^bg`Zefhlm**r^Zkl aZbklmre^l_khf\k^p\nmlmhho^k&ma^&\heeZkÊ;^Zme^;h[l%Ë he]%bmpZlZMOfhf^gm_hkf^mhk^f^f[^k%Z\a^^kr Zg]`bkellphhg^]ho^kma^?Z[?hnk%lbg`bg`;^Zme^l \hgmkZlmmhma^]Zr&ehg`_ng^kZeh_Chag?'D^gg^]rZ erkb\l%chbgbg`_Zg\en[l%Zg]mZibg`fZ`Zsbgîahmhlh_ _^pfhgmal^Zkeb^kbg`kZrGho^f[^k'Hnkmêôblbhg ma^bk_Zohkbm^lhgma^bk[^]khhfpZeel'Pabeîkôbhnl l^mhger`hmhg^\aZggê%D>R<&MO%Z<;LZ_ÖebZm^bg `^g^kZmbhglaZ]Zghbgm^]ma^bkhpglmZkl%ma^bgm^glbmr% FZgdZmh%[nmbmpZlma^kbàmhg^mh[kbg`Chag%IZne% l\hi^%Zg]fZllZii^Zeh_ma^;^Zme^lia^ghf^ghgbgZn& @^hk`^%Zg]Kbg`hbgmhmaêbobg`khhfh_hnk_Zkf& `nkZm^]Zg^p^kZbgihi\nemnk^'BgpaZmebm^kZkrl\aheZk ahnl^g^ZkFhk`Zg%Fbgg^lhmZ'* Kh[^kmIZmmblhgaZl\Zee^]Êma^mkbnfiah_one`Zkbmr%Ë Frlblm^kCZgb\âZ][hnàmma^-.&kifk^\hk]pbma kh\dfnlb\khl^mhlnik^fZ\rho^kabà[khpmZlm^l' ÊBLZpA^kLmZg]bg`Ma^k^Ëhghg^lb]^Zg]ÊBPZgmMh FZgri^hie^_hng]ma^bkô^kr]Zrebo^lmkZgl_hkf^]bg Ahe]RhnkAZg]Ëhgma^hma^k'La^Zg]Zghma^khe]^klbl& ma^Lbqmb^l%Zg]ghmhgerbgma^pZrmaZmm^^gZ`^klmZed^]% m^k%:g^FZkb^%ieZr^]mahl^lhg`lho^kZg]ho^kZ`Zbghg ma^bkebmmeîhkmZ[e^k^\hk]ieZr^knilmZbklbgma^bkkhhf'
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The Beatles Record Review
WRITING ASSIGNMENT Record Review You are going to write a record review of an album that is deemed significant in Rock Music. A list of groups/artists can be accessed by clicking on link below http://www.rollingstone.com/ news/story/5938174/the_rs_500_greatest_albums_of_all_time Criteria: Title Page Name, word count, course number, section number, etc. Introduction: Write a biography of the group you're critiquing. This should include the year the group/artist began recording, a list of and year of recordings, billboard chart positions, and any awards, Grammys, etc. www.allmusic.com is a great source for biographical information. Section 1 You will need to include all of the specifics of the recording, record label, producer(s), year, and dates of recording. Listen to the album several times as if you were a record critic and write an overview of the album, i.e. style of music, mood, highlights, lowlights, etc. Here are some things to consider: Is there a unifying theme throughout the album? Are there contrasting themes? If so, what are they? Is there enough variety musically in your opinion? What is it about this album in particular that makes it stand out? Section 2 Pick four songs and discuss them in more detail. Discuss your likes and dislikes as we have in relation to the journal entries in class but you will need to go into more detail. Discuss any other elements you find compelling, i.e., imagery from the lyrics or lack thereof, the use of and/or role of instrumentation, tempos, solos, vocals, etc. Section 3 Summarize your experience.
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The Beatles BC
Last Updated: 29 Jn 20 If you have a copy of Introducing the Beatles that you are trying to identify ... search on this page for 1062. Beatles records in the United States are typically found on the Capitol or Apple label. But people often ask about records, such as Introducing the Beatles, which were released by companies other than Capitol/Apple. In these articles, I will attempt to discuss the history of Beatles recordings in the US which predate their Capitol contract. Known variations of those records will be listed, along with their approximate values. The first Beatles record released anywhere was "My Bonnie" and "The Saints," with the Beatles backing Tony Sheridan. This German record (Polydor NH 24-673) was issued in two forms (with a German intro or an English intro) and with a picture sleeve. [More information can be found in this article about the Beatles' association with Tony Sheridan.] "My Bonnie" was Tony's first record and his break into the record industry. As many people know, the word "Beatles" was considered difficult to interpret by Germans, so Polydor billed the artist as Tony Sheridan and the Beat Brothers (October 1961). From that point on, Tony's band was known as the Beat Brothers, which caused some confusion to later Beatles fans. In January of 1962, Beatles manager Brian Epstein began negotiating with Polydor to release "My Bonnie" in England. Because of his negotiations, the UK "My Bonnie" release (Polydor NH 66-833) showed the artist as "Tony Sheridan and the Beatles." The record sold modestly, apparently well enough to consider releasing it in America.
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The Beatles and the Creative Process CCA 185/AI 185/SNC
The Beatles And The Creative Process Undergraduate Course Information Guide Course Number: CCA 185, 4 credits, 10 Weeks Cross listed Course Number: AI 185, 2 or 4 credits, 10 Weeks Cross listed Course Number: SNC 185, 4 credits, 10 Weeks Delivery Formats: Online Async, On campus Learning Strategies Learning Learning Outcomes and Resources Deliverables Assessment/Grading Course Schedule Policies Course Description The Beatles are significant in many ways: they were an unprecedented show business phenomenon; they were leaders of Sixties cultural rebellion; and they stand, for many, as a signal instance of popular entertainment attaining the status of high art. This course will examine the musical craftsmanship of the Beatles, focusing on their work as songwriters and record makers. Recent audio and print releases documenting the group's performing and recording history provide a unique and detailed glimpse of the Beatles' creative process. We will utilize these materials to closely trace the development of the group's work while using other resources to place it in a larger historical and cultural context. The goal is to shed critical light on this recent chapter in cultural history. That discussion will, in turn, highlight questions about creativity in a modern context where commerce vies with art, technology redefines performance and an emerging global village culture transforms concepts of originality and tradition. Learning Outcomes After completing this course, you will be able to: • The course focus on songcraft and record making as art forms as well as various approaches to interpreting these forms. • The course focus on such artworks in relation to 60s-era trends in spirituality and philosophy.
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The Musical Characteristics of the Beatles
The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour.
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The Beatles and the Crisis of Self-Identity
Sosland Journal 77 THE BEATLES AND THE CRISIS OF SELF-IDENTITY Jared Gutzmer “Ringo- a lovely performer. George- a mystical unre- alized talent. But John and Paul, Saints John and Paul, were, and made, and aureoled and beatifi ed and eternalized the concept that shall always be known, remembered and deeply loved as The Beatles” -Leonard Bernstein The Beatles are one of the most popular bands of all time. This is an undisputed fact no matter the location. They were so popular that in America, they had to stop touring due to the screaming fans which caused the band not to be able to hear themselves. Never before was there a group that was so incredibly popular in history. This popularity and other fac- tors led the members of the Beatles to change as individuals and as a group as they matured musically and mentally. Their identity shifted from a group identity to a self-identity. From the Beatles fi rst album, Please Please Me, to their last, Let It Be, the shift in their identity can be seen through their music and the appearances that led to individualism and eventually their downfall. 78 Sosland Journal The Music “It would not seem quite so likely that the accompany- ing fever known as Beatlemania will also be success- fully exported. On this side of the Atlantic it is dazed stuff.” -Jack Gould, New York Times television critic The Beatles music and lyrics changed drastically from their fi rst to last album due to adapting to a changing soci- ety, musical maturity, and their increased popularity.
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VJ-SAMPLE-CHAPTER.Pdf
i SECTION ONE—SINGLES OF SIGNIFICANCE Please, Please Me b/w Ask Me Why From Me To You b/w Thank You Girl Please, Please Me b/w From Me To You Twist And Shout b/w There’s A Place Do You Want To Know A Secret? b/w Thank You Girl Love Me Do b/w P.S. I Love You The Beatles on Oldies 45 Foreign Singles and other 7” Wonders of the World Fine Fakes of Significant Interest SECTION TWO— FINE ALBUMS OF SIGNIFICANT INTEREST Introducing The Beatles (Version One) Introducing The Beatles (Version Two) Jolly What! The Beatles & Frank Ifield on Stage Songs, Pictures and Stories of the Fabulous Beatles The Beatles vs The Four Seasons The Beatles & Frank Ifield on Stage ii Hear The Beatles Tell All The 15 Greatest Songs of The Beatles Counterfeits of Significance iii How To Use This Interactive Ebook Apps: GoodReader is the only tablet app we’ve found so far that will allow you to use all the interactive features like the GET BACK button, search, an- notate, markup and bookmarks. It has a ton of features, including syncing to drop- box. It currently costs $4.99, and it is well worth it. We have found that most other PDF readers do not handle some of the interactive features. Hopefully, as apps are Table of Contents Table updated, you will find others that work as well (let us know if you find one). Each eReader software has different ways of navigating, zooming and viewing, so please refer to your app instructions for more information.
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THE FOUR PHASES of the BEATLES Mark Steffen
THE FOUR PHASES OF THE BEATLES Mark Steffen (1) During the early Sixties, the four members of a • rock band called the Beatles took the field of pop music by storm and their Influence on music contlnes even today. But despite the Identity of name and members, the Beatles were not always the same group. The group went through four distinct phases--the early years, the pop stardom period, the muslcmakers phase, and the sololsts- character Jzed by changes In the audiences they drew, the sound they had, and their Image as a band. (2) In the early years (between 1959 and 1962), the Beatles were starting a career which was chal lenglng and uncertain. Entertaining the lower classes of Liverpool and the surrounding area with their crude versions of popular American songs at dilapidated dance halls and clubs, they were brash and vulgar. Their Image as obnoxious troublemakers was wel I earned. In one Instance, a club at which they played caught f Ire due to their antics on stage. They dressed as they pleased, paying no attention to fashion and normal modes of dress. This, coupled with their long hair, set them apart from other bands. Yet, In these early years, they Improved their musical talents and gained valuable experience as entertainers. After they obtained Brian Epstein as their manager, the band changed dramatically. (3) The next phase In the Beatles' history was pop stardom. They gained this status almost overnight after the release of their first two singles, "Love Me Do" and "Please, Please Me," their own compositions.
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A Description of Theme of Love in Selected Songs from the Beatles’ Rubber Soul Album
A DESCRIPTION OF THEME OF LOVE IN SELECTED SONGS FROM THE BEATLES’ RUBBER SOUL ALBUM A PAPER BY MHD. RIDHO PRATAMA DALIMUNTHE REG.NO: 162202027 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara AUTHOR’S DECLARATION I am MHD. RIDHO PRATAMA DALIMUNTHE, declare that I the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education. Signed : Date : i Universitas Sumatera Utara COPYRIGHT DECLARATION Name : MHD. RIDHO PRATAMA DALIMUNTHE Title of Paper : A Description Of Theme Of Love Affair In Selected Songs From The Beatles’ Rubber Soul Album Qualification : D-III / Ahli Madya Study Program : English I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Faculty of Cultural Study University of Sumatera Utara the understanding that users are made aware of their obligation under law of the Republic of Indonesia. Signed : Date : ii Universitas Sumatera Utara ABSTRACT In the paper entitled A Description of Theme of Love Affair in Selected Songs from The Beatles’ Rubber Soul Album, the author wants to describe the theme of love contained in rubber soul albums.
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