Wednesday, 16 October 2019

Singles box due Nov 22


  • Pre-order at

  • We are proud to announce the release of this collectible box set presenting 46 tracks on 23 7-inch vinyl singles, in faithfully reproduced international picture sleeves, accompanied by a 40-page booklet with photos, ephemera, and detailed essays by Beatles historian Kevin Howlett. 
  • These singles, plus an exclusive new double A-side single for the mid-1990s-issued tracks “Free As A Bird” and “Real Love,” are newly remastered from their original multi-track master tapes and cut for vinyl at Abbey Road Studios for a new limited edition boxed set.
  • The Singles Collection will be released worldwide on November 22 by Apple Corps Ltd./Capitol/UMe.
1962 [sleeve art: U.S.]
1A: Love Me Do
2B: P. S. I Love You
1963 [sleeve art: Chile]
1A: I Want To Hold Your Hand
2B: This Boy
1963 [sleeve art: Greece]
1A: She Loves You
2I'll Get You
1963 [sleeve art: Italy]
1A: Please Please Me
2B: Ask Me Why
1963 [sleeve art: Norway]
1A: From Me To You
2B: Thank You Girl
1964 [sleeve art: Austria]
1A: Can't Buy Me Love
2B: You Can't Do That
1964 [sleeve art: Holland]
1A: A Hard Day's Night 
2B: Things We Said Today
1964 [sleeve art: Sweden]
1A: I Feel Fine 
2B: She's A Woman
1965 [double A-side / sleeve art: France]
1A: We Can Work It Out 
2A: Day Tripper
1965 [sleeve art: Belgium]
1A: Help!
2B: I'm Down
1965 [sleeve art: Spain]
1A: Ticket To Ride 
2B: Yes It Is
1966 [double A-side / sleeve art: Argentina]
1A: Eleanor Rigby 
2A: Yellow Submarine
1966 [sleeve art: Turkey]
1A: Paperback Writer 
2B: Rain
1967 [double A-side / sleeve art: Australia]
1A: Strawberry Fields Forever
2A: Penny Lane
1967 [sleeve art: Mexico]
1A: Hello, Goodbye 
2B: I Am The Walrus
1967 [sleeve art: West Germany]
1A: All You Need Is Love 
2B: Baby, You're A Rich Man
1968 [sleeve art: Japan]
1A: Lady Madonna 
2B: The Inner Light
1968 [sleeve art: South Africa]
1A: Hey Jude 
2B: Revolution
1969 [sleeve art: Denmark]
1A: Get Back
2B: Don't Let Me Down
1969 [sleeve art: Israel]
1A: Something 
2B: Come Together
1969 [sleeve art: Portugal]
1A: The Ballad Of John And Yoko 
2B: Old Brown Shoe
1970 [sleeve art: UK]
1A: Let It Be 
2B: You Know My Name (Look Up The Number)
1995 / 1996 [exclusive double A-side single / sleeve art: worldwide]
1A: Free As A Bird [1995]
2A: Real Love [1996]

Sunday, 13 October 2019

Singles boxed set

Front cover, as published on Amazon France.
French Amazon has revealed the front cover of the upcoming boxed set of the Beatles' UK singles (vinyl) boxed set. The set will comprise the original 22 British singles from "Love Me Do" to "Let It Be", plus an extra single containing "Free As A Bird"/"Real Love". We have been led to believe that no remastering or remixing has taken place.

The single sleeves will be inspired by various foreign picture sleeves from countries like Mexico, Argentina, Chile, Italy, Norway, Spain, Belgium, France, Japan etc. This is a limited edition boxed set like the Christmas Collection from a couple of years ago. Due out November 15th. We have received the following tentative information about the single sleeves. Some of the information may be wrong.

7" Singles Collection
01 : Love Me Do  - P. S. I Love You [Cover art from USA]
02 : Please Please Me - Ask Me Why [Cover art from Italy]
03 : From Me To You - Thank You Girl [Cover art from Norway]
04 : She Loves You - I'll Get You [Cover art from Germany]
05 : I Want To Hold Your Hand - This Boy [Cover art from Chile]
06 : Can't Buy Me Love - You Can't Do That [Cover art from Argentina]
07 : A Hard Day's Night - Things We Said Today [Cover art from Holland]
08 : I Feel Fine - She's A Woman  [Cover art from Spain]
09 : Ticket To Ride - Yes It Is [Cover art from Sweden]
10 : Help! - I'm Down [Cover art from Belgium]
11 : We Can Work It Out - Day Tripper [Cover art from France]
12 : Paperback Writer - Rain [Cover art from Thailand]
13 : Eleanor Rigby - Yellow Submarine [Cover art from Argentina]
14 : Strawberry Fields Forever - Penny Lane [Cover art from Denmark]
15 : All You Need Is Love - Baby, You're A Rich Man [Cover art from Germany]
16 : Hello, Goodbye - I Am The Walrus [Cover art from Belgium]
17 : Lady Madonna - The Inner Light [Cover art from Japan]
18 : Hey Jude - Revolution [Cover art from Spain]
19 : Get Back - Don't Let Me Down [Cover art from Portugal]
20 : The Ballad Of John And Yoko - Old Brown Shoe [Cover art from Mexico]
21 : Something - Come Together [Cover art from Italy]
22 : Let It Be - You Know My Name (Look Up The Number) [Cover art from UK]
23 : Free As A Bird - Real Love [Cover art from: World Wide]

Friday, 11 October 2019

Grow old with Ringo

Here's a sample track from Ringo Starr's new album, "What's My Name". The track is "Grow Old With Me" - the John Lennon composition - and it seems to suit Ringo fine. Paul McCartney is guest starring on bass guitar and backing vocals.

Wednesday, 9 October 2019

Auction results from Omega auctions' Beatles collection

Wings over Europe tour bus. Photo courtesy of Omega Auctions.
In yesterday's auction, the most anticipated item was Wings' tour bus from the 1972 tour of Europe. It was also the final item in the auction, and the asking price for the opening bid was a mere £10,000. The bus was estimated by the auction house to sell somewhere between £15,000 - £25,000.

After the tour, the bus eventually ended up at outside a rock cafe in Tenerife - a Spanish island off the coast of Africa - before being moved to the cafe owner's garden. "I went to visit them about 10 years ago and saw this thing rotting away in his back garden," current owner Justin James told BBC News. "I said, 'I want it.'"I didn't know what I was going to do with it, I just thought that it should not be rotting away on the wastelands of Tenerife. It took eight years to bring it back (to Oxfordshire) because it was in such a difficult part to get to, how it was buried in this field. We got cranes and I managed to get it back."

Mr James hoped to use it for musical children's tours, but that plan didn't work out. He is now emigrating to Australia next month. "I reckon someone could get that engine going, but I'm not that person unfortunately," he said. Mr James said he had spent £25,000 on costs relating to the bus, and if it was to fetch more than that he will donate any profit to the Arms Around the Child charity, of which he is a trustee. As the bus didn't attract any bids at all, the future of the bus is anyone's guess.

A surprise hit sale at the auction was an old street sign for Abbey Road. Estimated to sell between £1,500 - £2,500, a frenzied bidding war landed it at a whooping  £6,000!

Sold for a surprising sum of £6 000.
This in contrast to some really interesting items which went unsold, like the three canisters of rare films with interviews and rarely seen footage, two of the films being from the Beatles visit with the Maharishi in Bangor, Wales, the weekend their manager was found dead in London. One of the films was estimated at £1,000 - £2,000 and also featured Mick Jagger, the other at £5,000 - £10,000.

The Beatles on stage in Bangor, Wales.
Description: Black and white film 16mm reel complete with audio featuring footage of The Beatles arriving in Bangor with the MaharIshi Mahesh Yogi during August of 1967. This footage is thought to be the only copy in existence and has not been seen since it was recorded back in 1967. The film last just over 3 minutes and begins with the Maharishi walking with The Beatles behind him whilst he receives flowers from the public. The interviewer steps in at this point and asks "What is it that you preach?" followed by "You seem to have caught the imagination of the Pop stars in this country" to which the Maharishi replies "What is this Pop Stars?" before realising and saying "You mean The Beatles!?". He then explains how he finds The Beatles very intelligent who can use meditation to help lead the next generation forward with peace and love. The film then cuts to all four Beatles sat on stage with the interviewer asking questions such as "Do You Feel any better for it now?, In What Way? Have you tried meditation? and Can you look upon yourself as mediators now?". The Beatles are quite taken aback when the interviewer asks "Do you take it seriously this Cult?" to which George replies "It isn't a cult and of course we take it seriously otherwise we wouldn't all be here", Paul then adds "It is only you that isn't taking it seriously - everyone else here is" to much laughter in the audience. The interviewer is clearly struggling a little at this point and his final question asks them "that it must have cost them to come hear and they must have broken at least 3 engagements to come to Bangor" to which John replies "that is nonsense as they haven't had any engagements for the last year!" again much to the amusement of the audience. The film then cuts to the Maharishi leaving. The following day news came through that Brian Epstein had died and The Beatles had to cut short what was going to be a 10 day conference on meditation.

The third film canister contained in excellent quality a black and white film 16mm reel complete with audio featuring an interview with The Beatles at the Capitol Theatre in Cardiff on the 12th December 1965. This is thought to be the only copy of this interview in existence and it has not been seen since broadcast back in 1965. It was also estimated to sell between £5,000 - £10,000, but all the three items went unsold.

The Beatles in Cardiff, still from film.
Description from the catalogue: This incredibly amusing interview lasts just over 4 minutes with all four Beatles getting involved and having a good laugh both amongst themselves and with the interviewer. Jokes are made throughout this long interview in which the male interviewer asks an excellent mix of questions - at one point he asks them "What is your favourite number that you have recorded" and John responds by saying "Satisfaction". When asked "Why do you still do keep performing and recording?" all four burst into a rendition of "There's no business like show business". They are in high spirits throughout the interview in which they discuss things such as who writes the songs and music, future films they might be working on, marriage, their children (Paul jokes that he has five children in Swansea who all want to know when he is getting married) and much more. Check out a 30 second clip here.

Some interesting items which did get sold were audio recordings like a tape containing two takes of "I'm So Tired" from 1968, authenticated by Ken Scott. Sold without copyright, this went for £500, half of its lowest estimated sales price. The same holds for a tape containing a couple of "Let It Be" session takes of "Dig a Pony" and "I've Got A Feeling", but by the description we feel we have heard these on bootlegs.

A cassette recording featuring George Harrison from 1978 again went unsold.

A cassette with unheard and unreleased George-related contents, including a song he wrote.

For a complete list of the items, which also contained signed material, records, photos and other memorabilia, we advice you to have a look at the official auction site: Omega Auctions Beatles Collection.

Thursday, 3 October 2019

Listen again to the Beatles from the BBC Radio 2 pop-up

Off the air but programmes still accessible for a while, radio 2 Beatles.
The BBC Radio 2 special Beatles pop-up channel has gone off the air, but you can still access the programmes they sent online for a while. This you'll do by surfing to this website, which will give you a list of the programmes, so that you can select the ones you want to listen to.
Among the contents: "I was there": Time witnesses talking, DJ Tony Blackburn, Pattie Boyd, Gillian Reynolds and Marty Wilde. The story of the recording of the Abbey Road album presented by "Yesterday" actor Himesh Patel in two episodes, an hour long presentation of each Beatle's solo career, a 2-hour stroll through BBC's radio archive of Beatles recordings, a reprise of the radio documentary of the Day John met Paul etc.

Wednesday, 25 September 2019

Giles Martin about remixing Abbey Road

A tribute from Volkswagen

New VW ad.
Seems it's not only the Beatles, Apple, Universal and radio stations who are celebrating 50 years since the Abbey Road album, now Volkswagen have joined in!

The Swedish branch of the Volkswagen company have produced an ad featuring the Abbey Road scene of 2019, with a correctly parked white VW Beetle. You may recall that in the original Abbey Road cover, the Beetle was parked partly on the pavement.

The original VW Beetle.
The ad is to promote Volkswagen's new park assist system, which detects vacant spaces large enough for your vehicle, and automatically manouvres your car into that space - parallell parking made easy.

Volkswagen Sweden have also produced a limited number of empty album covers with this new image, which they are selling for SEK 179 plus SEK 50 for worldwide postage. All the money go to Bris - a children's rights organisation.

Monday, 23 September 2019

Abbey Road – What’s new?

Alternate "Get Back" photo recreates the "Please Please me" cover. Tue May 13, 1969. Photo by Angus McBean.
This is a look at the extra material added to the 50th anniversary edition of The Beatles’ Abbey Road album, besides the obviously new stereo mix of the original album (which you can find Bruce Spizer discussing here).

In this article, regardless of differences in sound quality, we learn what’s new and unheard, even on bootlegs.

By Mike Carrera

Disc 2: Sessions

Abbey Road Super DeLuxe Edition - out September 27

1. I Want You (She's So Heavy) [Trident Recording Session & Reduction Mix] – 7:01

00:00 – 00:37: This track opens with the final part of an early unknown breakdown take, George Martin is heard, saying "Take 4 was very good" after the breakdown and John replies "Which was Take 4?".. the chat between them continues.
00:38 – 3:17: Glyn Johns is heard, saying: "Is it possible without affecting yourselves too much to turn down a little?"  A neighbour is complaining about the noise, and after so much talk between John, Paul and Glyn about the complaint, John says "Last chance to be loud!.. who says?". One minute and 30 seconds after the track starts, Take 32 begins, one of the three takes used to create the final master (The used takes being nos 9, 20 and 32 although none of them are mentioned in Kevin Howlett’s notes).
3:18 – 7:01: combines take 32 with a reduction mix where we can hear Billy Preston’s organ overdub and John’s moog (on right channel) upfront and with many differences plus we have the full ending.
Howlett reports that a newly discovered "faster version" was also recorded on February 23 at Trident Studios.

2. Goodbye (Home Demo) - 2:21

Clearly taken from the acetate but has been cleaned up as good as possible, yet still volume fluctuations several places, just like the circulating acetate source which we have had for ages.

3. Something (Studio Demo) - 3:34

Two versions have been previously available: with and without piano overdub. The first can be heard on Anthology 3, the second on many bootleg releases taken from an acetate. This version is the one with the piano overdub, and besides the much better audio quality compared with this acetate found on bootlegs, the only really new stuff here is the engineer’s intro "Something, this is take one" and some guitar warm-up before the demo take starts and George’s question "are we going?", plus the final five seconds after the final piano chord.

4. The Ballad of John and Yoko (Take 7) - 3:35

NEW One of the highlights of the Deluxe Box Set.
00:00 – 00:04 : It opens with dialogue, perhaps after Take 1 or 2 of John trying to speak some Spanish/English/French words to assistant Mal to tell him a string has broken: "Un string avec caput Mal".
00:05 – 00:14: Some dialogue before Take 4 can be heard: "It got a bit faster Ringo!" (according to Howlett but it sounds more like: "It’s gotta be faster, Ringo!" (John to Paul who quietly laughs). "Ok George!" he replies.
00:15 – end: After this we are treated to the full Take 7, with John on vocals and acoustic guitar and Paul on drums. At the end, an enthusiastic John screams "yeahhh we’ll have it, we’ll have it!" while Paul jams on the drums. John also says it’s not "the one" because he "came out before, that’s all right".

5. Old Brown Shoe (Take 2) - 3:13

NEW Very similar to the released take (without the organ and lead guitar overdubs)

6. Oh! Darling (Take 4) - 3:28

NEW and can be heard here, Billy Preston is included in the recording credits and can be heard playing the organ on this early take, contradicting previous information that he only overdubbed his organ part onto Take 26 but which was not used in the final mix.

7. Octopus's Garden (Take 9) - 1:43

An unheard breakdown take, the track starts with Ringo saying "That was superb… right George?". "That was superb" can be heard at the end of Take 2 on Anthology 3 as an edit with Take 8, thus the new bit will only be "right George?" Ten seconds of talk between Ringo and John after the take breaks down that can be heard here have been available as part of the Rockband bits (or bootlegs), but there it lasts an extra 35 seconds longer than on this new release.

8. You Never Give Me Your Money (Take 36) - 5:15

The Track starts with a small jam with Paul saying this phrase twice "Ok you win, I’m in love with you!" from Mayme Watts and Sidney Wyche’s 50’s classic “Alright, Okay, You Win” (recorded by Ella Johnson, Peggy Lee and Joe Williams among others). The chat continues and at some point Paul changes the title to "You never Give me Your Coffee". After a false start where both George and Paul almost at same time reminds Glynn Johns to turn off the Leslie speaker, take 36 starts at 0:58. Sadly this take fades out (at 5:15) so we are not allowed to hear the long jam at the end (if any), which is available on bootlegs sourced from an early mix and a few writers reported could be an edit of takes 30 and 36. Neither Kevin Howlett nor Mark Lewisohn mention any jam or edit between takes 30 and 36, both only comment that Take 30 was the one used for overdubs, so maybe there was never an edit of two takes. But the crucial fact here is that there is an early fade out so maybe we'll never know if Takes 30 and Takes 36 both had a long jam at the end.

9. Her Majesty (Takes 1-3) - 1:33

A very quick session and all three are full takes, dialogue after take 1 "Oh, thank you, ladies and gentlemen" has already been available from the Rockband bits and take 3 with the final guitar chord has also been available on bootlegs for ages.

10. Golden Slumbers / Carry That Weight (Takes 1-3 / Medley) - 3:20

"Take 1" which can be heard (with voice over) on the mixing desk at Abbey Road with Paul, George Ringo and George Martin as part of DVD 5 of The Beatles‘ Anthology (and on many bootlegs since) is actually take 2 and it's the very same take 2 here, same bits, same breakdown. The actual take 1 is Paul starting "Golden Slumbers" with "The Fool on the Hill" and can be heard now, along with another breakdown, take 3. Not really a "medley" but the actual takes 1-3 (all incomplete).

11. Here Comes the Sun (Take 9) - 3:40

Interesting without the drum fills and with George’s guide vocal. This take has a thirty seconds longer middle eight than the released version.

12. Maxwell's Silver Hammer (Take 12) - 4:41

A small fraction of chat heard over the intro and end can be heard as well on the Rockband bits (Paul and Ringo practicing the drum-intro and Ringo’s comment "George Harrison is resting his arm" among them). This alternate take is similar to the one on Anthology 3.

Disc 3: Sessions

1. Come Together (Take 5) - 3:27

A segment from this take 5 (from 2:50 – 2:59) was booted as "take 4" coming from the Rockband bits where it was linked with the "take 5" slate after the breakdown, but everything is actually Take 5.
The actual take 4 - a breakdown take - is heard here from 00:00 – 00:05
The dialogue before Take 5 starts at 00:07 – 00:12 and was also available from Rockband but goes on longer here; also available before is the dialogue at the end from 3:08 – 3:12
Different breakdowns from other takes are on the Rockband bits (a mashup of chats and incomplete takes in no particular order, it seems, which is why all bootlegs have incorrect track names or take numbers).

2. The End (Take 3) - 2:08

Another highlight from this new release. An initial warm up jam from another take is heard from 00:00 – 00:27
From 00:28 – 2:11, we can hear Take 3. At this point the instrumental lasted 1:19 with the extended (and very different) drum solo for 17 seconds (that was edited down to 15 seconds on the final master Take 7 by Geoff Emerick. Howlett doesn’t even mention this, so maybe it wasn’t true?) at some point during this drum solo (1:00) we can hear with headphones Paul talking " coming?" and at 1:01 someone is shouting something like "heeeyyyy, Ringo!". The piano part at the end has yet to be recorded. At the end of this Take 3 George Martin tells Ringo "hard work, isn’t it?"

3. Come and Get It (Studio Demo) - 2:39

"Red Light!" says Paul, "Demo, take one" calls the engineer and there's also five seconds of chat after the song is over. That’s the only new stuff here, but this is also a very different mix (the original mix was made right after the demo was recorded) from the one released on Anthology 3, plus many bootlegs with the unreleased Sessions LP mixes.

4. Sun King (Take 20) - 3:14

00:00 – 00:31: Session chat after take 10
00:32 – 3:14 is Take 20, with a (barely audible) guide vocal from John.

5. Mean Mr. Mustard (Take 20) - 1:34

This time with a loud guide vocal from John, playing with the lyrics, replying his own words with things like "Yes, she does", "Yes, she is", "Yes, he does", "Yes, he is", also adding "God Save The Queen" twice during some verses. Sister "Shirley" is still present here, before the name was changed to "Pam".

6. Polythene Pam (Take 27) - 1:39

The take starts with John comparing Ringo’s drumming to The Dave Clark Five and also adds "It’s like being Tommy in here!" (The Who’s "Tommy"). A guide vocal track is also present as well as an embryonic guitar solo.

7. She Came In Through the Bathroom Window (Take 27) - 2:06

With Paul’s guide vocal track. When the lyrics go "And so I quit the police…", George or John briefly joins in.

8. Because (Take 1 / Instrumental) - 3:04

A very beautiful instrumental take with Ringo’s clapping carrying the rhythm and it even goes longer after the take has ended.
Ringo’s count-in was already available from the Rockband mix as well the dialogue at the end of the take, mixed completely different here but is longer at Rockband:  John: "How was it?". George Martin suggests the harpsichord level should be lower and Ringo states "Less harpsichord, Geoff (Emerick)" and John adds "is my hair alright, Geoff?".

9. The Long One
(‘You Never Give Me Your Money’, ’Sun King’/’Mean Mr Mustard’, ‘Her Majesty’, ‘Polythene Pam’/’She Came In Through The Bathroom Window’, ’Golden Slumbers’/ ’Carry That Weight’, ’The End’) - 16:06

In beautiful stereo to highlight all the differences between this early mix (created July 30, 1969) and the final versions, like the extra harmonies in "You Never Give Me Your Money" erased on the official version during the "Out of college" verse to give an example; missing extra overdubs on several songs recorded days later, the alternate vocal during "Golden Slumbers/Carry That Weight", missing orchestrations, missing vocals ("The End", for example) etc. But the main difference is that we now have the REAL "Long One" medley, with "Her Majesty" in the middle. This is Stereo Remix 2 (RS2) in full for the first time.
Note: Stereo Remix 1 for each song separately was done also on this day, before assembling the medley.

The version on bootlegs (in mono and poor sound quality) is a legit edit of this very same alternate rough mix but without "Her Majesty", made by second engineer John Kurlander, also on July 30, 1969 after Paul decided he didn’t like "Her Majesty", so it was cut out from the medley. Some bootleg makers inserted "Her Majesty" back in to recreate “The Long One” but the sound levels on the bootlegs containing this fake medley betrays that the inserted song doesn’t belong there, as "Her Majesty" sounds much better, and the medley then returns to the poorer sound once "Polythene Pam" enters.
Both this new 2019 official release and the version on bootlegs, starts with the engineer calling "RS2".

10. Something (Take 39 / Instrumental / Strings Only) - 2:38

Although the orchestral track can be heard on some 5.1 mixes or multi tracks, the strings are combined with the organ at some points, here they are isolated for the very first time.

11. Golden Slumbers / Carry That Weight (Take 17 / Instrumental / Strings & Brass Only) - 3:17

Even though the orchestral track is already available, coming from the Rockband files, this comes directly from the multitrack tape, George Martin can be heard in the distance at the very beginning, saying "Do it again" and the end is not truncated like it is on the bootlegs (because the original file is linked there with "The End", so the orchestral levels end earlier)

Friday, 20 September 2019

New preview: Come Together

The Beatles have made available another foretaste of the new edition "Abbey Road" album. This time it's two versions of "Come Together". It's the new stereo mix and also take 5 from the session tapes.

This is the third official leak from the upcoming release, the previous ones having been "Something" and "Oh! Darling". So will they also tease us with "Octopus's Garden" before the release date, which is September 27?

Let us know what you think about the tracks in the comment section!

Thursday, 19 September 2019

Paul and Ringo at book launch

Embed from Getty Images

LONDON, ENGLAND - SEPTEMBER 18: (L to R) Mary McCartney, Sir Paul McCartney, Stella McCartney, Sir Ringo Starr and Barbara Bach attend as the McCartney & Taschen families celebrate the launch of "Linda McCartney. The Polaroid Diaries" at The Victoria and Albert Museum on September 18, 2019 in London, England. (Photo by David M. Benett/Dave Benett/Getty Images for TASCHEN) "Linda McCartney. The Polaroid Diaries" is priced at 40 Euro and will be available one of these days. Also there is going to be a "Collector's Edition" and two "Art editions", with a print signed by Paul.

Regular edition.

"Lost weekend" Polaroids, Wings tour bus etc for sale

This is the first glimpse we got to see of John and Paul together after the Beatles break-up. It appeared in Peter "Dougal" Butler's book about Keith Moon in 1981. It took decades before we got to see a second one from the same occasion.
A bunch of Polaroid photos from John Lennon's so called "lost weekend" are up for sale again. The snapshots were taken by Keith Moon's then assistant, Peter "Dougal" Butler.  The photos were originally sold at Bonhams Entertainment Memorabilia sale of 29th June 2011, now they are up for grabs again through Omega Auctions.

A number of the photos are of Lennon, Starr and McCartney, among other musician friends.
The collection of photographs are eighteen Polaroids, three colour prints (3.5" x 3.5") and two black and white prints which are later copies. The images were taken in a house which John Lennon and May Pang rented from Peter Lawford in Santa Monica in April 1974. They are sold with full copyright, and many of them are previously unpublished.

This is only one of 354 lots in Omega Auctions The Beatles Collection: Memorabilia & vinyl records auction, lot no 354 is the famous Wings tour bus of 1972! Go check it out!

Link to auction

Thursday, 12 September 2019

Ringo - What's My Name

Front of the new Ringo album
The pin Ringo is wearing on the front cover is an official John Lennon pin from the U.S. stamp release from 2018.
Lennon pin
There are a couple of Lennon connections on the album, Ringo-versions of Lennon's "Grow Old With Me" and a song John used to sing in the Beatles, "Money (That's what I want)".

The album will be released on CD, on LP and on a limited edition blue LP.


1. Gotta Get Up To Get Down (R. Starkey – J. Walsh) 4:20
2. It’s Not Love That You Want (R. Starkey – D. Stewart) 3:34
3. Grow Old With Me (J. Lennon) 3:18
4. Magic (R. Starkey – S. Lukather) 4:09
5. Money (That’s What I Want) (B. Gordy – J. Bradford) 2:56
6. Better Days (S. Hollander) 2:49
7. Life Is Good (R. Starkey – G. Burr) 3:11
8. Thank God for Music (R. Starkey – S. Hollander) 3:38
9. Send Love, Spread Peace (R. Starkey – G. Nicholson) 2:58
10. What’s My Name (C. Hay) 3:45

Release date is October 25 and it will become available for pre-ordering very soon. The title track, "What's My Name" has been released as a (non-physical) single today. It is an uptempo rocker written by Men At Work frontman and All Starr Band member, Colin Hay. It features Steve Lukather and Colin Hay on guitar, Nathan East on bass and Warren Ham on harmonica with Ringo on drums and percussion. The track, and album, were recorded, mixed and edited by Bruce Sugar.

Thanks to Mike Carrera for illustrations and the Lennon pin story.

Previous excerpts from the boardroom tape

Anthony Fawcett: One Day At A Time (1976)
In conjunction with our last post about Mark Lewisohn playing a tape containing a business meeting on September 8, 1969 with Paul, George and John, we mentioned that said tape has been quoted from in books back in the seventies. Thanks to forum poster tdgrnwld over at bootlegzone, we are able to bring you those quotes. Here is tdgrnwld's post:

The following appeared in Anthony Fawcett's 1976 book, One Day At A Time (p. 95-97):

John, Paul and George discussed this problem at Apple in the autumn of 1969, on one of the rare occasions when they got together. John glared at Paul and said, sarcastically: "It seemed mad for us to put a song on an album that nobody really dug, including the guy who wrote it, just because it was going to be popular, 'cause the LP doesn't have to be that. Wouldn't it be better, because we didn't really dig them, yer know, for you to do the songs you dug, and “Ob-La-Di, Ob- La-Da" and "Maxwell" to be given to people who like music like that, yer know, like Mary [Hopkins] or whoever it is needs a song. Why don't you give them to them? The only time we need anything vaguely near that quality is for a single. For an album we could just do only stuff that we really dug."

“We always carved the singles up between us,” he told Paul. “We have the singles market, [George and Ringo] don’t get anything! I mean, we’ve never offered George ‘B’ sides; we could have given him a lot of ‘B’ sides, but because we were two people you had the ‘A’ side and I had the ‘B’ side.”

“Well the thing is,” Paul answered, without even looking at George who sat a few feet away, “I think that until now, until this year [1969], our songs have been better than George’s. Now this year his songs are at least as good as ours.”

George was quick to correct Paul: “Now that’s a myth, ‘cause most of the songs this year I wrote about last year or the year before, anyway. Maybe now I just don’t care whether you are going to like them or not, I just do ‘em… If I didn’t get a break I wouldn’t push it. I’d just forget about it. Now for the last two years, at any rate, I’ve pushed it a bit more.”

“I know what he’s saying,” John said, “‘cause people have said to me you’re coming through a lot stronger now than you had.”

“I don’t particularly seek acclaim,” George said. “That’s not the thing. It’s just to get out whatever is there to make way for whatever else is there. You know, ‘cause it’s only to get ‘em out, and also I might as well make a bit of money, seeing as I’m spending as much as the rest of you, and I don’t earn as much as the rest of you!”

Like the others, George was now out on his own musically. "Most of my tunes," he said, "I never had the Beatles backing me."

"Oh! C'mon, George!" John shouted. "We put a lot of work in your songs, even down to 'Don't Bother Me'; we spent a lot of time doing all that and we grooved. I can remember the riff you were playing, and in the last two years there was a period where you went Indian and we weren't needed!"

"That was only one tune," George said. "On the last album [White Album] I don't think you appeared on any of my songs--I don't mind."

"Well, you had Eric [Clapton], or somebody like that," John replied, in a hurt tone of voice.

There was a long pause as each Beatle seemed lost in contemplation, wondering. Not wanting to admit that they were becoming individual musicians, Paul grasped at the remnants of truth and spoke slowly, almost whispering. “When we get in a studio, even on the worst day, I’m still playing bass, Ringo’s still drumming, and we’re still there, you know.”

There is more dialogue on pages 92-95 which is possibly from the same meeting (this one Fawcett ascribes to September 1969), wherein John complains about having to fight to get his share of songs on an LP, or single A-sides, and basically admits to having given up.

I’m pretty sure this was Schaffner’s source in Beatles Forever (1977), although he may have gotten to hear the tape as well. There are a few people out there who claim to have heard portions of it (I certainly haven’t).

Nicholas Schaffner: The Beatles Forever (1977)

Here's what Nicholas Schaffner said in "Beatles Forever", from pages 130 & 131 of the Third edition 1978:


"In any case, shortly after Year One's [peace and music festival] organizers passed word that the Beatles, Bob Dylan, and a convoy of U.F.O.'s were all likely to appear, in Toronto the coming July [1970], Lennon called the whole thing quits. The reasons given involved business differences, but after Altamont [Dec 6, 1969], the rock festival was on its way out anyway. The counterculture had lost one of its most potent symbols; and it was about to lose another.

The Beatles' few remaining meetings seldom produced anything but further disagreement. Once, when Paul tried to corral the others into going back on the road, John stunned him with the words: "I want a divorce." Both McCartney and Klein persuaded him to reconsider, or at least not to sound off to the press.

On another occasion, preserved on tape (the Beatles having caught Andy Warhol's habit of letting tape recorders eavesdrop on intimate conversations), John and George presented Paul with an ultimatum. Lennon said he was tired of playing a bit part in "pre-packaged productions," conceived by and tailored to the genius of Paul McCartney. Henceforth the three Beatles must each be awarded precisely four songs per album, with Ringo getting to add one or two if he so desired. Paul complained that that kind of arbitrary regimentation was more suited to the military than to the Beatles, but the others insisted it was the only way to insure a fair shake for all.

That proved to be a moot point, however, as the fabulous foursome never made it back into the recording studio. In the absence of fresh Beatles product (the Get Back/Let It Be tapes continued to languish on the shelf) Klein patched ten old songs together to create an LP for the American market; his title, The Beatles Again, was revised by public demand to Hey Jude."​

Wednesday, 11 September 2019

The boardroom tape

A tape recording of a business meeting in 3 Savile Row between three of the Beatles on September 8, 1969 has been the big news today. Speaking with Richard Williams of the Guardian about his upcoming touring multimedia show, "Hornsey Road", Beatles historian Mark Lewisohn played an excerpt of the tape which prompted the headline: "This tape rewrites everything we knew about the Beatles".

Although quoted from in Anthony Fawcett's book "One Day At A Time" as early as in 1976, and again in Nicholas Schaffner's book from the same era, "The Beatles Forever," the tape has been largely neglected by later Beatles authors (see this post).

Earlier this year, Erik Taros and Richard Buskin revealed that they had indeed heard the tape, and used it as a starting point for one of their "Swinging Through The Sixties" podcasts. So it looks like it has began to circulate among high-end collectors of Beatles material. Lewisohn has now been able to pinpoint the date of the business meeting, something which has not been public knowledge before.

In the tape, John Lennon is positive about The Beatles making a new album after having completed "Abbey Road", and also brings up the subject of recording a single for the Christmas market. He also suggests that George should get equal treatment as a songwriter within the group, and should get four songs on the next album, with John and Paul also contributing four songs each, and two from Ringo, should he want to. Ringo was in hospital for a check up at the time of the meeting, so it was recorded for his sake, in order for him to be able to later listen in to their discussion.

Perhaps the most shocking revelation in today's excerpt from the meeting was Paul McCartney being quoted as to say that he hadn't thought much of George as a songwriter until "Abbey Road".

Head on over to the Guardian and read the article.