A BEATLES' HARD-DIE'S SITE

Beatles' Era - Tonight let's all make love in London...

Eric Burdon & the New Animals,Pink Floyd ,Twice As Much , Vashti Bunyan, Andrew Loog Oldham, Rolling Stones, all in under ten minutes!
An excerpt from the Peter Whitehead film...

Look here!

Beatles' Era - Swinging London / 60's Fashion

This is 60's Fashion scene. Mary Quant and mini skirts and PVC coats from original old tv film.

Beatles' Era - 60s London in Colours 1

Beatles' Era - 60s London in Colours 2

Beatles' Era - 60s London in Colours 3

Beatles' Era - 60s London in Colours 4

Beatles' Era - London Streets in the 1960s

Received: Macca's exlusive interview

Hello!

Thanks for the nice blog. I think you might be interested to know that on October 1st I'm going to post Paul's exclusive interview I - working for the large paper - was granted before the show in Israel. That's going to be on my site at http://dmme.net.

Regards,

DME

Received: “Never Without You”

Hi Beatles museum caretakers,

Awesome site – very clean, fresh and updated!

I thought you might be interested in some Beatles news for your site. A company called SongVest is auctioning off rights to “Never Without You” - the Ringo Starr tribute to John Lennon and George Harrison. The auction is going to be held online at SongVest.com between October 4th and October 18th.
I figured this might be of interest to your fans. If you’d like to learn more about “Never Without You” SongVest has information about the song and auction here:

http://www.songvest.com/index/listings/page131.htm

Have a wonderful weekend and happy Friday!!!!

Nate Towne

AUCTION DESCRIPTION:
Beatles fans have a unique opportunity to own something never before thought possible. Thanks to Ringo Starr’s longtime producer and collaborator, Mark Hudson, a piece of history has been made available to be shared with those who love Ringo and the Beatles most: their fans.

“Never Without You” is Ringo Starr’s very personal tribute to his lost band mates, John Lennon and George Harrison, written soon after Harrison’s death. The song appears on Starr's twelfth studio album, the 2003 release “Ringo Rama.” Starr engaged the services of some of his famous musician friends including Willie Nelson, Pink Floyd's David Gilmour, Shawn Colvin, and Timothy B. Schmitt for the album. “Never Without You” features guitar virtuoso and rock icon Eric Clapton on lead guitar.

The song also appears on Live At Soundstage, Photograph, The Very Best of Ringo Starr, Photograph, and The Very Best of Ringo Starr (DVD), 5.1 The Surround Sound Collection.

Received: "And I Love Her"

Hi!

Love your Beatles blog, and would like to say thank you for some of the great stuff you have posted there.

One thing caught my eye, in reference to your write-up of the U.S. Rarities album, wherein you speculate about the extended ending on "And I Love Her", that it may be a Capitol invention.

I can report to you that in 1979, I bought a cassette copy of the soundtrack to A Hard Day's Night on the United Artists label, and that it contained this curiousity. This puzzled me, because a previously-bought copy of this on Stereo LP did not have such an ending.

So, if anything, it may have been a UA creation, and not a Capitol one, as this was some four or five years before it surfaced on Rarities. Additionally, I do not believe that Capitol had yet bought the rights to release the UA album at that time, because I remember first seeing the soundtrack on the Capitol label somewhere around 1987 or so, just a couple of years before it was superseded by Capitol in favour of the British catalogue.

Hope you find this helpful,

Glenn R. Lockhart.

Message From Paul To Israel

Sir Paul McCartney has landed in Israel and told reporters it was really him after a newspaper speculated that the former Beatle would send an imposter.
Fans were eager to catch a glimpse of Sir Paul ahead of his first concert in the country.
Check out Paul's message straight from rehearsals in London to the people of Tel Aviv...also enjoy the guitar due between Paul, Rusty and Brian!
Paul and the band play the Friendship First Concert in Hayarkon Park, Tel Aviv, Israel, on the 25th September 2008.

Paul Mccartney interview, Part 1

Paul Mccartney interview by Ilan Lukatch and Danny Kushmaro from Channel 2 news, Israel

Paul Mccartney interview, Part 2

Paul Mccartney interview by Ilan Lukatch and Danny Kushmaro from Channel 2 news, Israel

Beatles' Memorabilia

Beatles plate
Ceramic plate manufactured by Washington Pottery Ltd, Hanley, England, 1960s. Decorated with head and shoulder portraits of John, Ringo, Paul and George, facsimile signatures and text 'The Beatles'.

Beatles tablecloth
Unusual 1960s linen tablecloth with images of the Beatles and their facsimile signatures. Manufactured by Ulster, Ireland.

Starting the Beatles' Era...


The Cavern 1961

The Beatles first recording session 1962

Beatles 1963

The day John met Paul...

It was in a sleepy Merseyside village that music changed forever when John Lennon met Paul McCartney.
By Paul Coslett

The centre of Woolton village has changed little since the day over half a century ago when John Lennon and Paul McCartney met at the church fete on 6 July 1957.
The church hall (above) where the two first met is still in use, although the stage that John Lennon and the rest of the Quarrymen performed on is absent, now dismantled and in storage.
Lennon and McCartney were introduced by mutual friend Ivan Vaughan after the Quarrymen’s evening performance in the church hall.
St Peter’s Church has organised several events to commemorate the meeting of John and Paul including performances from the surviving members of The Quarrymen and a musical festival featuring young local acts.

Prior to the evening meeting McCartney had watched The Quarrymen perform in a field behind St Peter’s Church.
The spot where Paul saw John and the Quarrymen perform in the afternoon, which features in the famous black and white photograph of Lennon wearing a checked shirt playing guitar, is now the site of Bishop Martin School.

Returning to St Peter's in 2007 the surviving members of the Quarrymen Len Garry, Rod Davis and Colin Hanton (above) recalled that day back in 1957.
"I was in there messing about on the drums," remembers Colin Hanton.
"One of the boy scouts was playing the bugle and Ivan Vaughan came in with this other dark haired lad that I didn't know, and they stood for about five or ten minutes talking to John."
The band then played an evening performance in the church hall with McCartney stood next to the stage watching.
Lennon accidentally impressed McCartney because of his habit of making up lyrics where he hadn't been able to make out the words when listening to the original.
Rod Davis says this happened with one particular song "We were playing this number and we'd had lots of problems trying to get the words of the songs.

"We were still schoolkids and we didn't have any money anyway.
"So John would fill the gaps in occasionally 'Come come go with me, down down to the penitentiary'. We did a lot of songs about trains and jails so that worked.
"Apparently Paul said how cool John was because he was throwing in these old blues lyrics and he thought he was improvising the words.
"But in fact we always sang it that way because we never got them right in the first place."
The actual lyrics of the song, Come Go With Me were 'Come go with me, please don't send me 'way beyond the sea'.

"All Together Now" to be released October 20th

Apple Corps Ltd./Cirque du Soleil have confirmed an October 20 release of the feature-length documentary ‘All Together Now’ on DVD, which will be marketed and distributed worldwide by EMI Music. The DVD release follows acclaimed film festival screenings across North America, including a sold out opening night U.S. premiere at the Silverdocs Festival in Washington D.C. where the Washington Post observed that "All Together Now" "cuts into the heart of [LOVE]."

"All Together Now" has screened at a number of festivals in the U.S. and across Canada in 2008, and accolades have followed. The film's U.S. debut opened the American Film Institute's Silverdocs festival in Washington DC in June where Rolling Stone praised the film's sweeping visual style and "many insightful interviews." Screenings were as enthusiastically received at the Cinevegas festival in Las Vegas, where it was called "remarkable" by Las Vegas Magazine, and the Hotdocs festival in Toronto, where Variety noted that "All Together Now" "wowed audiences."

It will be screened in London at the 16th Raindance Film Festival on October 9th.

The documentary details the story behind the unique partnership between The Beatles and Cirque du Soleil that resulted in the creation and 2006 launch of LOVE, the stage production still playing to packed houses at The Mirage in Las Vegas, and the experimental Beatles soundscape album of the same name which garnered two Grammy Awards for producers Sir George and Giles Martin. The film is dedicated to the memory of Neil Aspinall, former CEO of Apple Corps and an Executive Producer of the DVD.

"All Together Now" faithfully recounts how the LOVE project came into being, borne from the personal friendship between George Harrison and Cirque du Soleil founder Guy Laliberte. George saw how the twin talents of Cirque du Soleil and The Beatles could be fused into something new and totally original.
The director, Adrian Wills, traveled between London, Montreal, and Las Vegas recording early meetings between the Cirque du Soleil & Apple Corps Ltd. creative teams, as well as filming contributions from Sir Paul McCartney and Ringo Starr, along with Yoko Ono Lennon and Olivia Harrison discussing how The Beatles' music can be used in a different way. Noting the uniqueness of these interactions Wills explains, "What surprised me the most was how human the whole process was."

These early stages of the project were all filmed, as were the first rehearsals at the Mirage Hotel theatre in Las Vegas, which was completely rebuilt with a one-of-a-kind sound system and complex round staging to house the LOVE show. Sir George and Giles Martin, the show's Musical Directors, were involved every step of the way with the remarkable Cirque du Soleil creative team, performers and backstage staff.

It wasn't all "plain-sailing" and there has been no attempt to disguise some of the disagreements that took place along the way regarding how some of the songs would be portrayed visually. These creative differences, a necessary part of the overall process of bringing LOVE to its most vibrant life, illustrate the participants' love and respect for the music and vision of The Beatles.

In addition to their roles within the main film, Sir George and Giles, along with engineer Paul Hicks, also feature in a bonus feature titled "Changing The Music" which reveals in fascinating depth how the music was created and the challenges they faced. They explain how they sourced some of the individual instruments and effects and how they were encouraged to experiment.

DVD contents:
‘All Together Now’ documentary (84:00)
Bonus Features:
“Changing The Music” (22:00): An in-depth look at the decision to rework and remix the Beatles music for the show
“Music In The Theatre” (09:00): A look at the process of creating the LOVE show’s unique audio design in the theater
“Making ‘LOVE’” (10:00): A backstage pass to explore the design of “LOVE,” including the art direction, costumes, props, screen imagery and the use of The Beatles’ voices in the stage production and soundtrack.
DVD technical details
1 x DVD-9
PAL and NTSC
All regions

To pre-order your copy of “All Together Now” click on the store links below:
UK: Beatles Store £15.99
US: Best Buy $19.99

Die-Cast Beatles' Taxi, Bus & Submarines...








Monopoly - The Beatles Collector's Edition Is Launched


One of the world's most popular board games, Monopoly, has been customised to celebrate the history and music of The Beatles. No longer are there hotels and houses, but listening parties and concerts; the hat, the iron, the shoe and other regular playing tokens are replaced with The Walrus, Here Comes the Sun, Maxwell's Silver Hammer, Strawberry Fields, Octopus's Garden, and Rocky Raccoon. Each throw of the dice could take you to Abbey Road, a Ticket To Ride, or on a Magical Mystery Tour...

Uk advertising text:
The world's most legendary rock-n-roll band teams up with the world's most popular board game to bring you the ultimate Beatles experience. The Beatles Collector's Edition of Monopoly celebrates the music that revolutionized rock-n-roll in the 20th century.
This completely customized game features Apple and Abbey Road Studios along with every album released by the Beatles, allowing fans to create their own private music anthology.
Collect the 'White Album', 'Revolver', 'Sgt. Pepper's Lonely Hearts Club Band' and more as you go, using six collectible tokens that symbolize unforgettable songs: Hammer ('Maxwell's Silver Hammer'), Strawberry ('Strawberry Fields Forever'), Walrus ('I Am The Walrus'), Sun ('Here Comes The Sun'), Raccoon ('Rocky Raccoon') and Octopus ('Octopus's Garden').
Each throw of the dice could take you to Abbey Road, grant you a 'Ticket To Ride', or send you on a 'Magical Mystery Tour'...
Licensed by Apple Studios, this is The Beatles' first officially-approved board game.

Us advertising text:
The Beatles Collector's Edition of Monopoly celebrates the music that revolutionized rock-n-roll in the 20th century. This Completely customized game features Apple and Abbey Road Studios along with every album released by the Beatles allowing fans to create their own private music anthology. Enjoy and sing along to the timeless music that has transcended generations as you collect the White Album, Revolver, Sgt. Pepper's Lonely Hearts Club Band and more.
Game Features:
-Six custom pewter tokens including: The Walrus, Here Comes the Sun, Maxwell's Silver Hammer, Strawberry, Octopus's Garden, and Rocky Raccoon.
-The familiar Monopoly game play allows Beatles fans to own and trade some of the greatest icons in Beatles history.
-Traditional Houses & Hotels are renamed Listening Parties and Concerts.

Sold at the Beatles.com's UK and US stores at £32.99 or $39.95.

Beatles' Era - Barry Ryan

Eloise (1969)

Beatles' Era - Barry Ryan

Love is love (1968)

This is the follow up of Barry's number one hit 'Eloise'

Lyrics:
Glad to be near you
I know you're there - ah
Hey, hey, hey, hey, hey

Love is like an ageing flower
Dying as it's growing higher
And that love is like an angel
Falling through the sky
And crawling down into the ground
'Cos love is love, it's all around

Love is love, is love, is love, is love, is love
Love is love - ha ha ha ha ha

I will give you all the best years
Of your life, if you will be my wife
If you will stay
I will stay with you until I'm old and grey
And when I'm old, I'll pray, like I've been told
'Cos love is love and love is cold

Love is love, is love, is love, is love, is love
Love is love - my my my my my my
Love is love - all my loving
Love is love, is love - all my loving, yeah
Love is love, is love - all my love
Love is love - my my my my

Thank you for your love that is mine again
I'm wasting my day
And I feel that I'm looking for the sun
And wasting my time

Glad to be near you - how do you do? Ah
Yeah yeah yeah yeah

I will play the part of being husband to your heart
And when I'm gone there'll be my son
Listen love to what I'm saying
When I leave here, he will carry on
The things I've left undone
'Cos love is love when we're all one
And that ain't no lie!

Love is love - love is love
Love is love, is love - love is love
Love is love, is love - love is love
Love is love - my my my my my my my ....
Al my love ..., All my love
Love is love

Beatles' Era - The Aerovons

Resurrection

Fantastic American Beatles a likes,recorded at Abbey Road 68/69,from the album `Resurrection`which remained unreleased until 2003.

Received: Big Bang

First off, nice website! Regarding your slide presentation of the 1967: Big Bang. I've noticed that 1967 seems to be the genesis of many great albums/bands. I have made a very similar list to yours in the past...however...you have forgotten a MAJOR album AND new band from 1967:

The Pink Floyd : The Piper at the Gates of Dawn

Cheers,

Jason

Beatles' Era - Pink Floyd

The Piper at the Gates of Dawn (1967)

Beatles' Era - Steppenwolf

Born To Be Wild (1968)

Beatles' Era - The Byrds' Ballad Of Easy Rider

A look back to Easy Rider

Part of the fun of watching "Easy Rider" is to see a young (aged 31 in 1968 when the film was made) Jack Nicholson giving his trademark performances, for which he received his very first Oscar nomination in the Best Supporting Actor category. Mr. Nicholson's 12 Oscar nominations and 3 wins comprise a formidable record. The soundtrack of this video is "Mississippi Queen" by Mountain, which, any "Easy Rider" fan can tell you, is not in the movie.

Bookshelf - Recording the Beatles

Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums
by Kevin Ryan and Brian Kehew

Never before has there been such an absolutely thorough and definitive look at how the Beatles' albums were recorded. Years of research and extensive interviews with the group's former engineers and technicians shed new light on those classic sessions. With a detailed look at every piece of studio gear used, full explanations of effects and recording processes, and an inside look at how specific songs were recorded, Recording The Beatles is a must-have for any Beatles fan or recording engineer. 


Advance Praise for Recording The Beatles

"Five stars...impossible to put down...a major publication."
MOJO, March 2007

"Magnificently produced...everything you could possibly want to know about the equipment used at the Abbey Road Studios when the Beatles worked there, and... how the group made its classic recordings"
New York Times, December 26, 2006

"...a vast, in-depth and amazingly well researched document of recording history."
Sound On Sound, December 2006

"Few books -- if any -- deliver such a thorough, detailed and enjoyable exegesis of vintage recording equipment."
Future Music, January 2007

"Some books stand clear of the crowded field by the contribution they make, and Recording The Beatles is a giant. The intricate technical aspects of the Beatles' recordings have never been better explained. This is a volume that adds considerably to the knowledge, providing a comfortable arm to guide the read up, down, inside and outside the EMI studios at Abbey Road, examining how all those extraordinary tracks came together, identifying the equipment and how it was put to use, looking at the expertise of EMI's superbly trained staff, exploring the techniques and processes. Clearheaded writing, photographs, illustrations, diagrams... it's a masterclass of fine scholarship, a definitive work."
--Mark Lewisohn, renowned Beatles author (excerpted from Foreword)

"...the most definitive and thoroughly researched book ever published about how the Beatles' recordings were actually made. It is an absolute 'must' for anyone who wants to know the true story of their recordings, the equipment used, and the people behind the scenes."
--Ken Townsend, Beatles Technical Engineer 1962-1970, former Director of Operations Abbey Road Studios

"A fascinating and impeccably researched work about the engineers, studios and equipment that contributed to the 'recording revolution' that was The Beatles. An essential Beatles recording bible."
--Alan Parsons, engineer/producer (The Beatles, Pink Floyd, Wings, The Alan Parsons Project)

"Recording The Beatles is quite superb. The research, the content, the overall appearance, are unparalleled. It is a work of art. I have nothing but praise for it."
--Norman Smith, engineer/producer (The Beatles, Pink Floyd, Pretty Things)

"I was at Abbey Road for a number of years and this book tells me things I never even knew. It is amazing and should be requisite reading for anyone with the slightest interest in the making of records. It shows where many of today's commonplace recording techniques originated and what may have been lost in the translation."
--Ken Scott, engineer/producer (The Beatles, David Bowie, Elton John, George Harrison)

"Musicians, producers and engineers of all generations will find this an invaluable guide to the Golden Decade of British Recording. Brian and Kevin's extraordinary research process -- which included intense cross-referencing of recollections and anecdotes by Abbey Road staffers, past and present -- achieves the most accurate document of The Beatles' recording techniques yet published."
--John Kurlander, engineer (The Beatles, Paul McCartney, Lord of the Rings Trilogy)

"An amazingly detailed book that shows -- both in picture and text -- details that have never before been revealed about Abbey Road Studios. A great read for anyone interested in any aspect of recording."
--Richard Lush, engineer (The Beatles, John Lennon, Badfinger, Paul McCartney)

"To this day the question keeps coming up: 'How did the Beatles do it?' Kevin and Brian's book leaves no stone unturned in revealing Abbey Road's contribution to these unique recordings. A magnificent effort. The amount of detail is quite amazing and provides a wonderful insight into the technology and methods used at the studio in the 60s. This is a definitive piece of work."
--Martin Benge, engineer (The Beatles, George Harrison) former Vice President EMI Music Studios

Buy at http://www.recordingthebeatles.com

Many thanks to Lifeofthebeatles...

Beatles Landmarks

This image shows St. Peter's Parish Church in Woolton, Liverpool where John Lennon and Paul McCartney first met. This gallery documents Liverpool locations which feature in the history of The Beatles and some of their famous works.

This image shows the school which now stands on the field where John Lennon and The Quarrymen performed at St Peter's Church garden fete on 6th July 1957. Paul McCartney watched the performance from the crowd.

This image shows the gravestone of Eleanor Rigby at St. Peter's Parish Church in Woolton, Liverpool. Although McCartney has claimed other sources in writing the song, it is assumed that this stone inspired the main character in the classic lyric.

St Peter's Church Hall in Woolton, Liverpool. This was the site of the historic first meeting of Lennon and McCartney on Sat 6th July 1957. McCartney was introduced to Lennon whilst The Quarrymen were preparing for an evening performance.

20 Forthlin Road is the teenage home of Paul McCartney located in Allerton, Liverpool. It is a National Trust property open to the public and the place where Lennon and McCartney composed and rehearsed their earliest work.

John Lennon spent his first five years at 9 Newcastle Road located two blocks from Penny Lane in Liverpool. This was the family home of his mother, Julia Stanley. John was later moved to Mendips in Woolton, Liverpool.

Mendips is a semi-detached property on Menlove Avenue in Woolton, Liverpool where John Lennon was raised by his Aunt Mimi. It is now a National Trust property open to the public. The Beatles' hit She Loves You was written in its front living room.

Strawberry Field was a Salvation Army orphanage in Woolton, Liverpool, founded in 1936. It was made famous in 1967 by the Beatles. John Lennon played in the grounds as a schoolboy with his friends. Fans visit the famous red gates daily to pay homage.

Penny Lane was immortalised by the Beatles in their legendary 1967 double A-side single. The street is part of a busy shopping area at the junction of Allerton Road and Smithdown Road in Liverpool. Penny Lane was named after slave-trader James Penny

The 'shelter in the middle of a roundabout' from the lyric of Penny Lane refers to the Penny Lane Bus Terminus. The shelter was located officially on Smithdown Place and later became a cafe/restaurant with a Beatles theme.

Pictured is the fire station mentioned in the Beatles' song Penny Lane. The station is not located at Penny Lane junction but near to where Mather Avenue meets Rose Lane. The song references numerous other landmarks in the area.

Beatles Official Releases Story - Beatles For Sale


Label: Parlophone
Catalogue No.'s: PMC 1240 (Mono) PCS 3062 (Stereo) CDP 7 46438 2 (C.D.)
Matrix No.'s:
Mono : XEX 503-3N XEX 504-3N
Later Mono : XEX 503-4N XEX 504-4N
Stereo: YEX 142-3 YEX 143-1
Release dates 4th December 1964
26th February 1987 (CD)

Side 1
No Reply Lennon-McCartney Recorded 30th September 1964 in 8 takes
Final mix - take 8. 2:14
I'm A Loser Lennon-McCartney Recorded 14th August 1964 in 8 takes
Final mix - take 8. 2:30
Baby's In Black Lennon-McCartney Recorded 11th August 1964 in 14 takes (only five complete)
Final mix - take 14. 2:04
Rock And Roll Music Berry Recorded 18th October 1964 in just 1 take. 2:30
I'll Follow The Sun Lennon-McCartney Recorded 18th October 1964 in 8 takes
Final mix - take 8. 1:47
Mr. Moonlight Johnson Recorded 14th August 1964 the first 4 takes
Recorded 18th October 1964 a further 4 takes (5-8)
Final mix - take 4 edited with take 8. 2:33
Kansas City/Hey Hey Hey Lieber-Stoller/Penniman Incorrectly only listed on the cover as "Kansas City", this is in fact a medley.
Recorded 18th October 1964 in 2 takes ... but ...
Final mix was Take 1. 2:31

Side 2
Eight Days A Week Lennon-McCartney Recorded 6th October 1964 in 13 takes
Recorded 18th October 1964 takes 14-15, edit pieces for intro and outro
Final mix - take 13 edited together with take 15. 2:42
Words Of Love Holly Recorded 18th October 1964 in 3 takes
Final mix is take 2, with overdubs from take 3. 2:12
Honey Don't Perkins Recorded 26th October 1964 in 5 takes
Final mix - take 5. 2:55
Every Little Thing Lennon-McCartney Recorded 29th September 1964 with 4 takes
Recorded 30th September 1964 a further 5 takes (5-9)
Final mix - take 9. 2:01
I Don't Want To Spoil The Party Lennon-McCartney Recorded 29th September 1964 in 19 takes (only 5 complete)
Final mix - take 19. 2:32
What You're Doing Lennon-McCartney Recorded 29th September 1964 first 7 takes - rhythm track only
Recorded 30th September 1964 a further 5 takes (8-12)
Recorded 26th October 1964 a further 7 takes (13-19)
Final mix - take 19. 2:31
Everybody's Trying To Be My Baby Perkins Recorded 18th October 1964 in just 1 take. 2:23

Total time 33:25

U.K. Album Chart Detail : Entry Date : 12th December 1964
Highest Position : 1 ... for 7 weeks from 19th December 1964
+1 week from 27th February 1965
+3 weeks from 1st May 1965
Weeks in Chart : 46
+2 from 7th March 1987 (CD release, reached no.45)
+1 week 22nd March 1997 (No.72)

Detail : The Beatles fourth official L.P. release.
One month BEFORE it's release there were over half-a-million advance orders, which went up to 750,000 ... at the time, the highest advance orders for ANY album. Consequently it went straight to No.1 - knocking "A Hard Day's Night" off the top slot. It also entered the singles chart where it reached number 22.
Sales topped 1,000,000 in Britain alone.
The American equivalent album is "Beatles '65" which once again did NOT have a matching track list (what is wrong with these colonials ??) ... but counting the 3,000,000 sales of this album along with the U.K. proper release, we can estimate a worldwide sales figure of "Beatles For Sale" at over 4 million units.
We could actually count in the sales of the next U.S. album, "Beatles VI", as this included the six tracks left off of Beatles '65 ! ... this means an extra million could be added, making over 5 million sales.
Incredibly, even though studio techniques were advancing (four-track recorders had now been introduced), three of the tracks on this L.P. were recorded in just 1 take.
It should also be noted that during the sessions for this album, on 14th August 1964, The Beatles recorded another track for the album (with 5 takes) that was never returned to, nor remixed ... "Leave My Kitten Alone".

The cover to Beatles For Sale was one of the first "Gatefold" sleeves and included cover photography by Robert Freeman, with sleeve notes by Derek Taylor.

The Collage in the inside sleeve (take a look at your copy of the album !) was only a segment taken from a larger print.
You can see the full print above.
The album was also part of "The Beatles Collection" 13 album box set (see Beatles Collection).

On 26th February 1987 this album had it's first release on C.D. which was published in Mono(!) with a catalogue number of CDP 7 46438 2
And on the same day, the record shop H.M.V. produced a special 12" numbered 4 CD Box Set Comprising:
Please Please Me
With The Beatles
A Hard Days Night
Beatles For Sale
+ Bill Harry - "Book Of Beatle Lists" (see Book of Beatle Lists, The)
This set had a catalogue number of BEA CD 25, and was in a limited edition of just 2,500 copies.
The C.D. was also part of "The Beatles Box" 15 C.D. box set (see Beatles C.D. Box).
The album was also available on 4" reel-to-reel tape,
1965 - Catalogue number TA-PMC 1240 (3¾ ips twin-track mono tape) - first edition (mono only) in a cardboard box.
1968 - Catalogue number TA-PMC 1240 (3¾ ips twin-track mono tape)
TD-PCS 3062 (3¾ ips 4-track stereo) these editions in a "jewel" box.

Prior to 1973:
The album was released on stereo cassette tape (1⅞ ips) - Catalogue number - TC-PCS 3062.
The album was also released on 8-track stereo continuous play cartridge (3¾ ips) - catalogue no. 8X-PCS 3062
In November 1987 the album was re-released on cassette tape (mono only) - Catalogue number - TC-PMC 1240 (originally released January 1965.)

Mono/Stereo Differences
"No Reply" There are differences in the mix between the mono and stereo versions.
"Words Of Love" The stereo version is 9 seconds shorter than the mono version.

Released Versions
First pressings (1964)
First pressings were in Mono AND Stereo versions.
The standard yellow block writing Parlophone label.
The "All rights of the manufacturer" message around the edge of the label starts with "The Parlophone Co. Ltd."
The label DOES have "Sold in the U.K..." statement.

Second pressings (1965) - Stereo version ONLY
The standard yellow block writing Parlophone label.
The "All rights of the manufacturer" message around the edge of the label now starts with "The Gramophone Co. Ltd."
The label DOES have "Sold in the U.K..." statement.

Third Pressings (1969) - Stereo version ONLY
The standard yellow block writing Parlophone label.
The "All rights of the manufacturer" message around the edge of the label starts with "The Gramophone Co. Ltd."
The label does NOT have "Sold in the U.K..." statement.

Fourth Pressings (1969) - Stereo version ONLY
Now with a silver/black Parlophone label.
The "All rights of the manufacturer" message around the edge of the label now starts with "EMI Records Ltd."
The label has one EMI boxed logo.

Fifth Pressings (1973) - Stereo version ONLY
Silver/black Parlophone label.
The "All rights of the manufacturer" message around the edge of the label now starts with "EMI Records Ltd."
The label has TWO EMI boxed logos.

Sixth Pressings (1982) - Mono version ONLY
Now with a yellow/black Parlophone label.
The "All rights of the manufacturer" message around the edge of the label now starts with "EMI Records Ltd."
This release is on a lightweight vinyl.

Seventh Pressings (1995) - Mono version ONLY
Now with a Black and Silver Parlophone label.
The gatefold sleeve has a printed statement which reads:
"This album has been Direct Metal Mastered From a Digitally Re-mastered Original Tape to give the best possible sound quality"
This release is (surprisingly) on a lightweight vinyl.

43 years after canceled concert, Israel is ready to rock with a Beatle

By Ethan Bronner

JERUSALEM: In 1965, when Israel did not yet have television and public entertainment consisted largely of kibbutz songfests celebrating the wheat harvest, the Beatles were booked for a concert here. To young Israeli fans, it seemed an impossible dream.
And so it was. The official permission required to withdraw precious foreign currency to pay the band was denied because a ministerial committee feared the corrupting influence of four long-haired Englishmen singing about pleasure.

As the committee report put it, "The Beatles have an insufficient artistic level and cannot add to the spiritual and cultural life of the youth in Israel."
Since then, especially in recent years, Israel has expressed embarrassment about the episode and tried to make amends. Last January, it sent a letter from its London embassy to the two surviving former Beatles, Paul McCartney and Ringo Starr, asking forgiveness for the "missed opportunity" to have the band that "shaped the minds of a generation, to come to Israel and perform before the young generation in Israel who admired you and continues to admire you." The artists were asked to again consider coming to perform.

There was little progress until recently, but McCartney has been booked for a huge outdoor concert in Tel Aviv on Sept. 25. And nearly everything about the event - the $8 million price tag borne by a high-flying Israeli financier who expects to turn a profit, the tickets selling for hundreds of dollars that are being gobbled up through Internet sales, indeed its very existence - is a parable of a nation transformed.

The promised concert has led many here to reflect on the cocooned simplicity of life only four decades ago.
"I had just gotten my first LP record for my bar mitzvah from my two best friends, and it was by the Beatles," recalled Yoel Esteron, 55, editor of the daily business newspaper Calcalist. "And then they canceled the concert. We still had no television and only official radio stations. We were living in a cultural ghetto; the country was Bolshevik. Teenagers and their parents debated it for weeks. Every teenager was furious."
For Yossi Sarid, a leftist former Parliament member and government minister, McCartney's arrival is an opportunity to reminisce and set the record straight about his father, Yaakov Sarid, who was the director-general of the Education and Culture Ministry and an official involved in canceling the original concert.

The Beatles in London before departing on a tour of the United States in 1965.

In a front-page article in the newspaper Haaretz on Monday, Yossi Sarid said the real cause of the cancellation was a rivalry between impresarios at the time. One had been offered a Beatles concert in 1962, before their star had risen, by the mother of the Beatles' manager, Brian Epstein, and had turned them down. When a competitor booked them three years later, the first impresario used his government connections to keep the needed money from being disbursed.
"I can assure you that my father had never heard of the Beatles," Sarid said in a follow-up telephone conversation. "The promoter, of course, didn't come to the government and say, 'I don't like this other guy, and I don't want him to get the money.' He said, 'It is a lousy group and will corrupt the spirit of the wonderful, brilliant, pure Israeli youngsters.' He exploited their ignorance."
Israeli leaders in the early 1960s knew almost nothing of popular culture. There is a famous story told of David Ben-Gurion, the founding prime minister, when he read a headline in a mass-selling paper that said Elizabeth Taylor, then among the world's most famous women, was very ill. "Who's Elizabeth Taylor?" Ben-Gurion is said to have asked.

A glance at the printed tickets for the canceled 1965 Beatles concert, copies of which still exist as collectors' items, and can be viewed on the Internet, tell their own story of a bygone era.
The marked price, in the lira currency, then under enormous pressure and now defunct, amounted to about $7.
The Hebrew name for the group printed on the tickets is also worth noting. The performers were universally known as the Beatles, but in Israel, then still trying to create a culture buffered from foreign words and influence, they were Hipushiot Haketzev, or the Beat Beetles (like the bugs).
It was a laborious if endearing effort that no one would bother with today in a country where English permeates daily speech ("sorry," "whatever") and advertising logos, and where many official Hebrew names for new developments simply do not enter the mainstream vocabulary.

Sarid noted that although the official Hebrew name for the Beatles then was Hipushiot Haketzev, many adults dismissed them as Hipushiot Hazevel, or "Dung Beetles."
Esteron, the editor, like others, said the change in 40 years from an isolated, egalitarian and agrarian society to a market-driven, plugged-in, high-tech haven of enormous wealth - and some alarming poverty - had been dizzying and somehow oddly embodied by the story of Israel's relationship with the Beatles.

Published: August 28, 2008 by International Herald Tribune

The Beatles' first contract

Writing The Beatles' first contract
By Paul Coslett

As The Beatles' first contract sells for £240,000, the man who drew it up reflects on how he came to write a piece of musical history.
The Beatles' original contract between themselves and Brian Epstein has fetched £240,000 at auction.
The document, which was drawn up in 1962 went under the hammer at an auction of rock memorabilia in London on 4 September, 2008.
It was written by Liverpool solicitor and now retired district judge, David Harris, "I was a young solicitor with Silverman and Livermore, I'd been made a partner in the middle of 1961 and I was doing general litigation," recalls David.

The contract was originally drawn up by Liverpool solicitor David Harris in 1961.

David Harris knew of Brian Epstein, but had never acted as solicitor for him when he was approached to write a contract between Epstein and The Beatles.
"It was in December 1961 and I got a call at the office from Brian, for whom I'd never previously acted.
"He said that he was interested in a group called The Beatles, which meant nothing to me at all, and he said he's like me to draw up a contract between him and them.
"That was in the middle of December and he wanted it before Christmas, therefore, I had to work very hard to draw up this contract as after all it was a new sphere for me, and in fact we got it out in time."

David Harris with the contract

This first contract was never signed by Brian Epstein who vowed not to sign it until it he had secured a recording contract for the group.
"At that time in late December 1961 Pete Best was still the drummer," David Harris remembers. "Initially the contracts were all done in Brian's name, as an individual, but then things progressed.
"He realised it was more sensible to form a company, and in fact I formed the company for him, NEMS Enterprise Ltd, which meant of course there had to be a further contract drawn up between the new company and the group."

This contract, the successor of the one David Harris wrote in such a hurry in December 1961, is now hailed as one of the most important in rock and roll, marking the beginning of the groups journey to international stardom.

The contract signed by The Beatles and Brian Epstein in 1962.

The contract is signed by John Lennon, Paul McCartney, George Harrison and Ringo Starr.
The signatures of Harold Harrison and James McCartney, George and Paul's parents are also featured as their consent was needed because their sons were under 21.
Ted Owen, the managing director of The Fame Bureau, which is holding the auction has described it as "one of the most important documents in music history."

David Harris says Brian Epstein acted very properly throughout the process, "I was very concerned, and he was too, that their parents should be fully involved.
"They were of an age when it was necessary and desirable that the parents knew exactly what was going on.
"He did say he wanted to be scrupulously fair to them and did not want to take advantage of them.

At the time the contract was just one of many items of legal paperwork that David Harris was working on, it was only later as The Beatle's became superstars that he realised the significance of his contribution to musical history.
"Yes, it was a surprise that things happened so quickly," says David Harris.
"They did extremely well, they were very talented and are very talented."

John Lennon's signature

BBC News 1999: Lennon's 'fêted' guitar for sale

Tuesday, August 24, 1999
Entertainment

Lennon's 'fêted' guitar for sale

John Lennon and the Quarry Men playing at the church fete in 1957

The guitar John Lennon was playing when he first met Paul McCartney could fetch up to £100,000 when it is put up for auction by Sotheby's in London next month.
The Gallotone "Champion" acoustic guitar is the earliest Beatles guitar to be offered at auction.
The 17-year-old John Lennon was playing it while leading his band the Quarry Men at a church fête in 1957 - watched by the then 15-year-old McCartney.
Sotheby's Rock 'n' Roll specialist Stephen Maycock said: "This is the most important and significant piece of early Beatles memorabilia to come on the market."

The Gallotone "Champion" guitar bought by Lennon for £10

The cherry-coloured Dutch-made guitar has been fully restored and bears the "Champion" logo. It is also bears a brass plaque with the inscription "Remember you'll never earn your living by it".
It refers to a remark that Lennon's Aunt Mimi is thought to have made out of exasperation at the amount of hours the young Lennon spent practising on the guitar rather than studying.
But, her nephew was out to prove her anxiety wrong and if he had not been playing his guitar once again at the St Peter's church fête in Woolton, Merseyside he might not have had that fateful encounter.
A black and white photo of the afternoon shows Lennon standing at the front of the stage playing the Dutch-made guitar. Among the crowd of spectators was the teenage McCartney.
The two were introduced later in the day as the Quarry Men set up for an evening session in the church hall.
McCartney was impressed with Lennon's ability to play the guitar and remember lyrics from well-known rock 'n' roll songs.
A former member of the Quarry Men recalled that Lennon bought the instrument by mail order a month or so earlier, for only £10.

Forty-two years on, the guitar, which is being sold along with Lennon's typewriter and records from his early collection, is expected to sell for up to £100,000 at the Rock 'n' Roll Memorabilia Sale at the Hard Rock Café.
In September 1994, a tape recording of John Lennon singing and playing the guitar with the Quarry Men at the fête was bought by EMI Records for £78,500 at the annual sale.
However, recent auctions of Beatles memorabilia have proved a disappointing.
The guitar George Harrison played at the Beatles' last live performance was withdrawn from auction on 19 August, after it failed to reach its reserve price of £200,000.
While in July, the coat John Lennon wore at the height of Beatlemania also sold at auction for a bargain price of just over £4,000, instead of the estimated £100,000.

Beatles' Era - Rare 45rpm 1967 covers