MEET THE BEATLES! CAPITOL T MONO RELEASED: 1/20/ EAST COAST, #3 COVER FIRST LABEL VARIATION. COVER REMAINS IN ORIGINAL . The Beatles, also known as The White Album, is the ninth studio album by the English rock in songwriting, often meeting "clandestinely in the afternoons in each other's rooms" to .. The Beatles versions of "Not Guilty" and "What's the New Mary Jane", and a demo of Country, Date, Label, Format, Catalogue number. Beatles collectibles, authentic autographs, records, memorabilia, lp albums, OF THE FIRST THREE LABEL VARIATIONS OF "MEET THE BEATLES!.
Martin composed a brass band arrangement for the track.
Interesting Variations /// 33 RPM discs
According to Lewisohn, the ticking in the background is a metronome although Emerick recalls capturing the sound via a microphone placed beside McCartney's shoes. The song was taped in a single session, and was one of the tracks that Martin felt was " filler " and only put on because the album was a double. The basic track consisted of Starr drumming while McCartney played piano. The simple lyric was very much in Lennon's style, and Lennon was annoyed about not being asked to play on it.
McCartney suggested it was "tit for tat" as he had not contributed to "Revolution 9". Despite meditating and the tranquil atmosphere, he still felt unhappy, which was reflected in the lyrics. Unusually for a Beatles recording, the four-track source tape was edited directly, resulting in an abrupt cut-off at 3'17" into the start of another take which ran into the fade out.
The Capitol website - Interesting Beatles Records Variations /// 33 RPM discs
McCartney wrote " Mother Nature's Son " in India, and worked on it in isolation from the other members of the band. He performed the track solo alongside a Martin-scored brass arrangement. The final mix was sped up by mixing the tape running at 43 hertz instead of the usual The initial takes were performed by the band live and included long passages during which they jammed on their instruments. By all accounts, the session was chaotic, but nobody dared suggest to any of the Beatles that they were out of control.
Harrison reportedly ran around the studio while holding a flaming ashtray above his head, "doing an Arthur Brown ". This was one of the key tracks that led Manson to believe the album had coded messages referring to apocalyptic war, and led to his movement of the same name. McCartney played Hammond organ on the track, and an "eerie rattling" effect at the end was created by a note causing a wine bottle on top of the organ's Leslie speaker to resonate.
The group ended the chosen take with a six-minute improvisation that had further overdubs added, before being cut to the length heard on the album. The brass arrangement was added later.
The opening section of the track had the sound of an old 78 RPM record overdubbed  while Martin arranged a saxophone and clarinet part in the same style. Lennon played the guitar solo on the track, but later said he hated the song, calling it "beyond redemption".
The track featured a saxophone sextet arranged by Thomas, who also played keyboards.
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Martin played harmonium on the track. Lennon, Harrison and Ono added further tape collages and spoken word extracts, in the style of Karlheinz Stockhausen. The track opens with an extract from a Royal Schools of Music examination tape, and ends with Ono's infamous comment, "you become naked". The early takes featured just Lennon on acoustic guitar and Starr singing. Lennon had wanted the original version of "Revolution" to be released as a single, but the other three Beatles objected on the grounds that it was too slow.
Instead, the single featured a new, faster version, with heavily distorted guitar and an electric piano solo from Nicky Hopkins.
The single was a commercial success in countries such as Australia where it spent five weeks at number one on the Go-Set chart Japan,  Austria  and Switzerland. According to the bootlegged album of the demos made at Kinfaunsthe latter of these two categories includes Lennon's " Look at Me "  and "Child of Nature" eventually reworked as " Jealous Guy " ;  McCartney's " Junk ";  and Harrison's "Not Guilty" and " Circles ".
Mustard " and " Polythene Pam " would be used for the medley on Abbey Road the following year.
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This ten-minute take was later edited and overdubbed to create two separate tracks: It's the bloody Beatles' White Album. By contrast, McCartney said that it was fine as it was, adding: All but one track exist in official mono mixes; the exception is "Revolution 9", which was a direct reduction of the stereo master.
Pepper's Lonely Hearts Club Band, and consisted of a plain white sleeve. The band's name, in Helvetica was crookedly blind embossed slightly below the middle of the album's right side,  and the cover also featured a unique stamped serial number"to create", in Hamilton's words, "the ironic situation of a numbered edition of something like five million copies".
The album included a poster comprising a montage of photographs, with the lyrics of the songs on the back, and a set of four photographic portraits taken by John Kelly  during the autumn of that have themselves become iconic. Soon after, blueprints were corrected to add the dash in the catalog number, and to add the Parr's logo ont the front slcik. A few early copies featured an orange sticker on the loose wrap, and a free Beatles promotional photo. Many thanks to Gilles Valiquette of Montreal for highlighting these earlier jackets.
Oddly enough, these came in covers with a stereo banner, even though the album was still in mono only. This is the only time where stereo banner covers were used for this album.
A Hard Days Night Red, Black and Blue mono labels Indemand was so high for the new Beatles soundtrack album that the Compo plant used up other labels they had on hand in the warehouse, labels not originally intended for United Artists mono releases.
Once the regular red labels stock was depleted, Compo used black lables normally used for stereo releases. Once these were also used up, Compo switched to blue lables normally used for a UA subsidiary. Red labels are the most common pressings for the mono copies, followed by a few black label mono copies and even fewer blue lable copies. Something New Mistake sleeve A weird variation on the orange label has a mistake stereo front slick, but a mono back slick.
The front slick has the word stereo in a white box and has an unusual printer logo in a blue square, while information at the bottom of the back cover is mistakenly written over other text.
Images were not replaced by US records like on many other albums, but were simply removed, leaving an awkward blank space. Full dot vs split dot The rare stereo reissue with a Parr's logo witness the correction of the split dot on the top right cover. These dots were used to designate mono and stereo pressings - full dot for mono, and split dot for stereo. Only two years later did Capitol correct the mistake by finally putting a split dot on stereo releases of the album.
Rubber Soul Labels with or without "The Beatles" Rubber Soul pressings, both mono and stereo, featured the individual names of the band members on the label. Only later did the label also carry the name of the band "The Beatles". So, early non brackets pressings of the album are available with either labels featuring or ommitting the band's name, while all brackets label feature the name "The Beatles" on the label.Basic Rules for Poker Games : How to Play 727 Poker
Yesterday and Today Paste Over A rare variation of this LP was an odd pressing that can be identified as a paste over.
We can see through the front slick, the back slick that was printed and glued there first.
It is unikely that this album is actually a butcher paste over because original Canadian butcher slick were laminated and would therefore make it difficult to paste over another slick. Indeed, an extra "Don't" is heard towards the end of the song. Only copies with the B-Side matrix number written "ST.