March 31, 2020

Peter Jackson’s The Beatles: Get Back set for cinema release in September 2020

The long-awaited Beatles documentary by The Lord Of The Rings director Peter Jackson will receive a cinema release in the USA and Canada on 4 September 2020, with global release details to follow.

The Beatles: Get Back documents the recording of the group’s Let It Be album. It contains previously-unseen footage culled from 55 hours of material filmed by director Michael Lindsay Hogg in January 1969, plus 140 hours of audio from the sessions.

The new film’s music will be mixed by Giles Martin and Sam Okell at Abbey Road Studios, London.
Jackson’s film, which was announced in January 2019, will also include The Beatles’ entire concert on Apple’s rooftop on 30 January 1969. An edited version of the group’s final live appearance was included in the Let It Be film, released in May 1970.

A restored version of the Let It Be film will follow the release of The Beatles: Get Back. The original film was shot while The Beatles rehearsed and recorded at Twickenham Film Studios and the band’s own Apple Studios.

The Beatles at Twickenham Film Studios, January 1969 (photo: Linda McCartney)

The Beatles at Twickenham Film Studios, January 1969 (photo: Linda McCartney)
The worldwide distribution rights for the The Beatles: Get Back have been acquired by The Walt Disney Studios. A new hardcover book, titled Get Back, will also be published by Callaway Arts & Entertainment on 6 October 2020 in the USA, and 15 October in the UK.
Here’s the full press release:
BURBANK, Calif. (March 11, 2020)—The Walt Disney Studios has acquired the worldwide distribution rights to acclaimed filmmaker Peter Jackson’s previously announced Beatles documentary. The film will showcase the warmth, camaraderie and humor of the making of the legendary band’s studio album, “Let It Be,” and their final live concert as a group, the iconic rooftop performance on London’s Savile Row. “The Beatles: Get Back” will be released by The Walt Disney Studios in the United States and Canada on September 4, 2020, with additional details and dates for the film’s global release to follow. The announcement was made earlier today by Robert A. Iger, Executive Chairman, The Walt Disney Company, at Disney’s annual meeting of shareholders.
“No band has had the kind of impact on the world that The Beatles have had, and ‘The Beatles: Get Back’ is a front-row seat to the inner workings of these genius creators at a seminal moment in music history, with spectacularly restored footage that looks like it was shot yesterday,” says Iger of the announcement. “I’m a huge fan myself, so I could not be happier that Disney is able to share Peter Jackson’s stunning documentary with global audiences in September.”
“The Beatles: Get Back,” presented by The Walt Disney Studios in association with Apple Corps Ltd. and WingNut Films Productions Ltd., is an exciting new collaboration between The Beatles, the most influential band of all time, and three-time Oscar®-winning filmmaker Peter Jackson (“The Lord of the Rings” trilogy). Compiled from over 55 hours of unseen footage, filmed by Michael Lindsay-Hogg in 1969, and 140 hours of mostly unheard audio recordings from the “Let It Be” album sessions, “The Beatles: Get Back” is directed by Jackson and produced by Jackson, Clare Olssen (“They Shall Not Grow Old”) and Jonathan Clyde, with Ken Kamins and Apple Corps’ Jeff Jones serving as executive producers.
The footage has been brilliantly restored by Park Road Post Production of Wellington, New Zealand, and is being edited by Jabez Olssen, who collaborated with Jackson on 2018’s “They Shall Not Grow Old,” the groundbreaking film which featured restored and colorized World War I archival footage. The music in the film will be mixed by Giles Martin and Sam Okell at Abbey Road Studios in London. With this pristine restoration behind it, “The Beatles: Get Back” will create a vivid, joyful and immersive experience for audiences.
Peter Jackson says, “Working on this project has been a joyous discovery. I’ve been privileged to be a fly on the wall while the greatest band of all time works, plays and creates masterpieces. I’m thrilled that Disney have stepped up as our distributor. There’s no one better to have our movie seen by the greatest number of people.”
Paul McCartney says, “I am really happy that Peter has delved into our archives to make a film that shows the truth about The Beatles recording together. The friendship and love between us comes over and reminds me of what a crazily beautiful time we had.”
Ringo Starr says, “I’m really looking forward to this film. Peter is great and it was so cool looking at all this footage. There was hours and hours of us just laughing and playing music, not at all like the version that came out. There was a lot of joy and I think Peter will show that. I think this version will be a lot more peace and loving, like we really were.”
“The Beatles: Get Back” is also being made with the enthusiastic support of Yoko Ono Lennon and Olivia Harrison.
Although the original “Let It Be” film, directed by Michael Lindsay-Hogg, and the accompanying album were filmed and recorded in January 1969, they were not released until May 1970, three weeks after The Beatles had officially broken up. The response to the film at the time by audiences and critics alike was strongly associated with that announcement. During the 15-month gap between the filming of “Let It Be” and its launch, The Beatles recorded and released their final studio album, “Abbey Road,” which came out in September 1969.
Shot on 16mm and blown up to 35mm, the 80-minute “Let It Be” movie was built around the three weeks of filming, including an edited version of the rooftop concert. The GRAMMY®-winning “Let It Be” album topped the charts in the U.S. and the U.K.
The new documentary brings to light much more of the band’s intimate recording sessions for “Let It Be” and their entire 42-minute performance on the rooftop of Apple’s Savile Row London office. While there is no shortage of material of The Beatles’ extensive touring earlier in their careers, “The Beatles: Get Back” features the only notable footage of the band at work in the studio, capturing John Lennon, Paul McCartney, George Harrison and Ringo Starr as they create their now-classic songs from scratch, laughing, bantering and playing to the camera.
Shot on January 30, 1969, The Beatles’ surprise rooftop concert marked the band’s first live performance in over two years and their final live set together. The footage captures interactions between the band members, reactions from fans and employees from nearby businesses, and comical attempts to stop the concert by two young London policemen responding to noise complaints.

A fully restored version of the original “Let It Be” film will be made available at a later date.


How Apple Constructed Let It Be Naked

How Apple Constructed Let It Be Naked-
The Naked Truth About The Beatles' Let It BeNaked
Jan 1, 2004 12:00 PM, By Matt Hurwitz – Mix Magazine

Ever wondered what The Beatles' Let It Be album would have sounded like had it been properly completed instead of released as a companion disc to their 1970 fly-on-the-wall motion picture of the same name? Such was the charge given to EMI's Abbey Road Studios by the group's Apple Corps Ltd. The result is the recently released Let It Be…Naked (Apple/Capitol-EMI).

After the tumultuous sessions for the 1968 album The Beatles (aka, The White Album), the Fabs regrouped at Twickenham Film Studios in London in January 1969 to make a TV special showing the group rehearsing and recording an album. The concept was a “warts and all” view of the band with no overdubs; everything was as live as possible. After those sessions broke down, the production moved to the basement studio of The Beatles' own Apple offices, where recording continued through the month. The sessions culminated in a historic live performance (The Beatles' last) on the office's rooftop on January 30 of the same year with their new temporary “fifth Beatle,” keyboardist Billy Preston (himself an Apple recording artist by the end of the sessions), who played on the studio recordings, as well.

Glyn Johns, who had recorded the sessions, was given the task of mixing and compiling the recordings into an LP (originally titled Get Back) in May of that year, though the group chose not to release it. Johns tried a second compilation in January 1970, though that version also failed to see the light of day. John Lennon, on new manager Allen Klein's advice, brought in legendary producer Phil Spector to revamp the album in March 1970, which he did, adding orchestration to three tracks and editing others. The result — with studio chatter and quips intact — was the May 1970 Apple release Let It Be, The Beatles' last original album (although , which came out in 1969, was actually recorded after Let It Be).

In February 2002, following a chance meeting of Paul McCartney and the film's original director, Michael Lindsay-Hogg, Abbey Road veteran Allan Rouse received a call from Apple's Neil Aspinall asking him to take a stab at remixing the album. Rouse had acted as project coordinator for a number of Beatles remix projects, among them The Beatles Anthology, Yellow Submarine Songtrack and Lennon's Imagine. While the task for those projects had always been to re-create the original mixes known to millions of fans using current technology, the charge for the Let It Be project was different.

“This was not an attempt to remaster an existing album,” Rouse says. “We were asked to make it sound the way the band had believed the finished album was going to sound.” This meant, for the most part, producing mixes that reflected only what the four bandmembers (or five, including Preston) could play live: no overdubbed guitars or vocals, and certainly no orchestras.

In addition, all of the between-song chatter, breakdowns, jokes and ditties — including “Maggie Mae” and the “Dig It” jam — were dropped. Says Rouse, “They just didn't really fit in with an album of 11 songs and neither did the dialog. Those little bits were fine for a soundtrack album, which Glyn's was, but they didn't fit comfortably with the concept of a straight album.”

Rouse tapped two young staff engineers, Paul Hicks and Guy Massey, for the job. Both had worked on prior Beatles projects (and had, coincidentally, started at the studio on the same day in 1994), including the 5.1 surround mixes for the recently released The Beatles Anthology DVD set.

The group took a team approach, making decisions democratically, each chipping in suggestions but deciding with one voice. During a two-week period, the three listened to all 30 reels of 1-inch 8-track session tapes, which had been recorded through a pair of borrowed 4-track consoles onto a 3M 8-track machine. As a reference, the producer/engineers also studied the released Spector album and both of Johns' versions. “We mainly listened to identify the takes they used,” says Rouse. They also noted where Spector had made any edits, deciding if there was a good reason to either keep or discard those edits. “As it turns out, Glyn and Phil had done most of the legwork. We ended up using the vast majority of their takes.”

But because the group's mission was to make the best possible album, they didn't limit themselves to what had been done previously. “Once we started, we would A/B against the Spector disc to see if what we were doing was an improvement,” says Massey.

Upon listening to the tapes in Rouse's room at the studio, they were transferred into Pro Tools 5.2 using a Prism Sound Dream ADA 8 A/D converter. And, as part of the improvement process, once the recordings were in the digital world, the engineers began researching which takes were the best performances, and, if more than one take of a song had strong attributes, trial edits were made to see what combination would make the best overall performance. “Once we had the building blocks in the digital domain,” says Massey, “we'd delve into a bit more detail. If there were fluffed lines or pops, etc., if there was another take without the errors, we'd try inserting that part from the other take.”

Adds Hicks, “Sometimes we did the tiniest little things. If something wasn't quite right — if there was a bend in a note or something — we did actually replace it with a slightly better one. Again, our main theme was to make it as strong as possible.”

The live rooftop recordings offered their own special challenges, given that the band was playing on a blustery winter day. Because the group was being filmed, the film crew had chosen an unobtrusive vocal microphone during the sessions, the Neumann KM84i, which features a small capsule on the end of an extension tube, with the mic's preamp located at the bottom near the floor. (The mic was commonly used for TV talk shows and awards programs.) The same mics were brought upstairs to the roof, where second engineer Alan Parsons simply tied clippings of pantyhose over the capsules to act as windscreens. “The wind noise was actually quite manageable,” says Hicks. “It was really only when they weren't singing that you could hear it.” For the inevitable hard consonants and mic pops, “We mainly handled that with a combination of filtering and EQ,” notes Hicks. A small amount of de-noising was done using an analog Behringer dynamic filter.

The following is a breakdown of what was done to each Let It Be…Naked track (in running order, along with the mix engineer's name in parentheses):

“Get Back” (Hicks): While Johns and Martin used a master recorded on January 28, 1969, for the aborted LP and released single, Spector had used a recording from the day before, and the same master is used on this album. Notably absent is the song's coda, which appeared on the single. “It turns out that the coda had been recorded as an edit piece four or five reels later,” explains Hicks. “Since it wasn't on the original session recording for the song, it wouldn't have represented what actually took place in the studio during that take, so it was decided to leave it off.”

“Dig a Pony” (Massey): Those who've heard bootlegs of Johns' mixes know the song originally featured an “All I Want Is You” intro and outro, which Spector removed for his LP. “The tuning is particularly bad in the beginning,” says Massey, prompting the decision to eliminate them in the new version, as well.

“For You Blue” (Hicks): Using the same master as Spector used, Hicks mainly focused on keeping the sounds bright and clear. What was interesting, he says, was learning about the unique sound McCartney got out of his piano. “It's a fuzzy, metallic sound, which he did by putting a piece of paper in the piano strings, causing them to vibrate against the paper when struck. You can hear on the session tape Paul's fiddling around, trying to get the right sound.” And because McCartney is playing piano, he does not play bass on the song. “The bass comes from the piano,” says Hicks, with McCartney playing a bass line on the keys. George Harrison's vocal, it turns out, was one of the few overdubs used. “We took out his live vocal, which was basically a guide vocal. It wasn't a complete take, really, and I don't think it was ever intended to be used.”

“The Long and Winding Road” (Hicks): Perhaps the greatest achievement on the album is the improvement to this track, easily accomplished by removing Spector's overblown orchestra. Actually, though, the master on Let It Be…Naked is not even the one used by Spector; it's the only take on the album that was changed in its entirety. The group returned to the Apple basement the day after their rooftop show to record three more songs, this one among them. Says Rouse, “Spector had used one take recorded five days earlier.” “This version, recorded on January 31, we felt was a stronger basic performance,” says Hicks. “There's also a slight lyric change,” adds Rouse, who suggests that, this being the later recording, it represents McCartney's final lyric choice.

As a listening experience, it's a first for Beatles fans to hear them play the song instead of an orchestra. The recording features McCartney on piano, Harrison playing lead guitar through a Leslie speaker, Lennon on a newly acquired Fender Bass VI and Ringo Starr keeping light time with his hi-hat.

“Two of Us” (Massey): The same master used by Spector, also from January 31, 1969, features Lennon and McCartney on acoustic guitars, Harrison on electric and Starr providing a simple bass drum/snare/tom beat. By the way, Starr's drums were typically recorded onto a single track, precluding mixing them into stereo. Small amounts of de-essing and rumble filtering were also performed.

“I've Got a Feeling” (Massey/Hicks): A rooftop recording, this song was edited by Massey before being mixed by his colleague. Massey used the best of each of two rooftop takes of the song, creating a version, Hicks says, with the most energy. And while Johns had opted for a studio recording of the song for his version of the album, there was no beating the live performances. Notes Hicks, “I don't know if it was just the fact that they were playing live and knew it or just because they were so cold, but there was just so much more energy in the live recordings.” Sonically, he notes, the live recordings — minus the wind and pops — are not much different from their studio counterparts, making a surprisingly good match when listening to the album.

“One After 909” (Hicks): Another rooftop performance, though, interestingly, the team did consider using a studio version. “We did research to see if there was another version,” says Hicks. “But it was just much slower, and it had a completely different feel. There was no contest, really. It's one of the more up-tempo numbers, so we went with the live one.” Hicks is proudest of his drum sound, bringing Starr out to the fore. “We found so many details we wanted to bring out, which we tried our best to do. Everything is a lot more focused.”

“Don't Let Me Down” (Hicks/Massey): Though not included on Spector's album, this song was a product of those sessions. A studio version from January 28, 1969, was released as the B-side to the “Get Back” single. This version, however, is an edit of the two rooftop versions. The Beatles recorded a second take because Lennon forgot the lyrics during the first take.

“I Me Mine” (Massey): This song was not originally recorded at Apple in January 1969, though Harrison is seen in the film playing it briefly at Twickenham. In January 1970, Harrison, McCartney and Starr recorded a studio version of the song, with Harrison playing acoustic guitar and singing a guide vocal, McCartney on bass and Starr on drums for the master take. Electric piano, electric guitar, lead vocal, backing vocals, organ and a second acoustic guitar were added as overdubs. The recording was a brief 1:34 in length, so before adding his orchestra, Spector lengthened it by repeating one of the verses, resulting in a 2:25 final master. The Naked team decided to leave in the overdubs — which made the recording complete as The Beatles had envisioned it — and Spector's edit. “We were originally going to do it unedited,” says Massey, “but if you listen to it at that length, it's just far too short.” Jokes Rouse, “That was our one concession to Mr. Spector.” Massey also built up the mix as the song progressed by adding elements of the mix as the song enters the second verse.

“Across the Universe” (Massey): Again, while no studio recordings of this song were made at Apple, Lennon is seen playing the song at Twickenham in the film. “Across the Universe” was actually recorded a year earlier, in February 1968, at the same Abbey Road sessions that produced “Lady Madonna” and “Hey Bulldog.” The basic track featured Lennon on acoustic guitar, his vocal and a tom-tom (all recorded onto one track), with Harrison playing a tamboura. At the time, George Martin had added background vocals and animal sound effects. Spector's version removed the latter two parts, as well as the tamboura, replacing them with an orchestra and a choir.

The new mix features Lennon's guitar and vocal, Starr's drums and the tamboura. “Again, because the concept was whatever the guys could play live onstage, we took everything else away,” says Rouse. The ending has been given a spiritual touch, with a building echo (via real Abbey Road tape delay) added.

“Let It Be” (Massey): another recording from January 31, 1969, the day after rooftop, with McCartney on piano, Lennon on Fender Bass VI, Harrison on lead guitar (through a Leslie), Starr on drums and Preston on organ. Three months later in April, Martin added a new electric guitar lead from Harrison, and in January 1970, added backing vocals from McCartney and Harrison, brass and cellos and yet another pass at a Harrison lead. Martin produced the single release of the song, issued in March 1970 (pre-Spector), featuring the April 1969 guitar solo. Upon Spector's arrival, the song was lengthened by repeating a chorus and issued featuring the January 1970 guitar lead.

The new version features the same master and uses a few edits from other takes, most notably the Harrison guitar solo that came from the take of the song that appears in the film. “We'd always thought that the guitar lead in the version in the film was just really soaring,” says Massey. “We edited it in, just as a trial take, and we all thought it sounded great.”

The album comes with a 22-minute companion “fly-on-the-wall” dialog/music disc put together by the BBC's Kevin Howlett and engineer Brian Thompson. Howlett listened to more than 80 hours of tapes, recorded in mono by the film crew during both the Twickenham and Apple sessions, discovering a number of previously unknown Lennon/McCartney tunes (which are included on the disc), as well as some other surprises. “I had expected to hear the kind of disagreements and arguing we've all heard about,” Howlett tells Mix. “Instead, I heard the bandmembers actually having a good time. By the end, they were, in fact, quite excited about what they were doing.”

Remixing an album by the greatest rock band of all time can be, well, daunting. “It's hard to make it as up-to-date as stuff nowadays, because it wasn't recorded these days,” says Massey. “From that point of view, it was a challenge to make it sound as punchy and as present as possible. But it's a good representation of what they were like then.”

Adds Hicks, “We all collectively felt that we wanted it to stand along all the other Beatles albums, and hopefully, we've achieved that.”

Let It Be

Recorded in January 1969 at Twickenham Film Studios just outside London, Let It Be was a miserable experience for all concerned. The Beatles were constantly filmed while making the album in the process of falling apart. They were so dispirited that, having recorded the tracks, none of them could be bothered to do the necessary post-production work, which was delegated first to producer George Martin, then to Glyn Johns, and finally to Phil Spector. Their unlucky 13th, and last, album, Let It Be was released on May 8, 1970, in the U.K., topping the chart two weeks later. In America, with 3.7 million advance orders, it achieved the highest initial sale of any album in history, and subsequently picked up an Oscar as best Soundtrack of the Year.

George Martin: We'd do take after take after take--and then John would be asking whether Take 67 was better than Take 39. I'd say, "John, I honestly don't know." "You're no f***ing good then, are you?" he'd say. That was the general atmosphere.

John Lennon: It was a dreadful, dreadful feeling in Twickenham Studios being filmed all the time. You couldn't make music at 10 in the morning, or whatever it was, with people filming you and colored lights.

Engineer Glyn Johns edited the original session tapes into a a finished album called Get Back. The Beatles could not agree on the final product and the entire project was shelved for over a year until Allen Klein, the Beatles' new manager, dusted it off.

Klein wasn't happy with the quality of the tapes Johns had edited and hired Phil Spector to produce a soundtrack album, giving him the formidable task of sifting through hundreds of hours of studio and live tapes to produce something marketable. Spector, who had never worked with the Beatles before, added orchestrations and female choruses. The resulting record was a disappointment to many Beatle fans and the Beatles themselves. Still, Let It Be was a No. 1 record.

John Lennon: By the time we got to 'Let It Be', we couldn't play the game anymore; we couldn't do it anymore. It came to the point where it was no longer creating magic, and the camera, being in the room with us, sort of made us aware of that, that it was a phony situation ... "It was hell making the film Let It Be. When it came out, a lot of people complained about Yoko looking miserable in it. But even the biggest Beatle fan couldn't have sat through those six weeks of misery. It was the most miserable session on earth.

Paul McCartney: In fact, what happened, when we got in there, we showed how a break-up of a group works. We didn't realize that we were sort of breaking up as it was happening.

George Harrison: As everybody knows, we never had much privacy and, you know, this thing that was happening was they were filming us rehearsing. There was a bit of a row going on between Paul and I. You can see it, where he's saying, 'Well don't play this', or something and I'm saying, 'Well, you know I'll play what you want or I won't play if you don't want it, you know, just make up your mind.' That kind of stuff was going on. And they were filming us, recording us having a row, you know, it was like, terrible really. I thought, 'I'm quite capable of being relatively happy on my own and I'm not able to be happy in this situation, you know, I'm getting out of here.'

Ringo Starr: I think everyone was getting a little tired of us by then because we were taking a long time and there were many discussions going on by then — many heated discussions."

By the end of 1970, the Beatles had sold over 500 million records.

Side 1
1. Two of Us
2. Dig a Pony
3. Across the Universe
4. I Me Mine
5. Dig It
6. Let It Be
7. [Maggie Mae]
Side 2
1. I've Got a Feeling
2. One After 909
3. The Long and Winding Road
4. For You Blue
5. Get Back

Let It Be . . . Naked

How much better, you could be forgiven for wondering, could Let It Be be? The answer, perhaps surprisingly, is "a bit". Let It Be, while obviously better than almost everything ever recorded by anyone else, was compromised by the fact that the Beatles were disintegrating as a unit during the recording sessions, the rancour most famously illustrated by John Lennon calling in Phil Spector behind Paul McCartney's back to rework "The Long and Winding Road". Let It Be... Naked, then, is the album as the Beatles would have heard it while they were making it.

Side 1
1. Get Back
2. Dig A Pony
3. For You Blue
4. The Long And Winding Road
5. Two Of Us
6. I've Got A Feeling Side 2
7. One After 909
8. Don't Let Me Down
9. I Me Mine
10. Across The Universe
11. Let It Be

March 25, 2020

Where to find high quality Beatles Wallpapers

Beatles fandom does not only extend to the recordings, movies, and music videos.
Below is a great website with 143 high definition Beatles wallpapers to decorate your computer desktop. Enjoy.

February 09, 2020

The Beatles Bootleg Recordings 1963

The Beatles Bootleg Recordings 1963 is a compilation album of 59 previously unreleased recordings by English rock band the Beatles, released on 17 December 2013, exclusively through the iTunes Store.[1] While it was initially only available for a few hours,[2] it is currently available again for purchase.[3] The release was timed to extend the copyright of the 1963 recordings under EU law by 20 years – the EU protects recordings for 70 years only if they are formally released.[1][4] Officially unreleased recordings from the band's earlier recording sessions previously entered public domain in 2012.[citation needed]

The album includes 15 studio outtakes and 42 live BBC Radio tracks, adding to those released previously on the albums Live at the BBC (1994) and On Air – Live at the BBC Volume 2 (2013).[5] The album also includes John Lennon's demo recordings of "Bad to Me" and "I'm in Love", later released as singles by Billy J. Kramer and the Dakotas and the Fourmost, respectively.[1]

Track listing
Tracks 1–14 are stereo; the rest are mono.
All tracks written by Lennon–McCartney, except where noted.


1-1 There's A Place (Studio Outtake / Takes 5 & 6) 2:19
1-2 There's A Place (Studio Outtake / Take 8) 1:58
1-3 There's A Place (Studio Outtake / Take 9) 2:04
1-4 Do You Want To Know A Secret (Studio Outtake / Take 7) 2:17
1-5 A Taste Of Honey (Studio Outtake / Take 6) 2:12
1-6 I Saw Her Standing There (Studio Outtake / Take 2) 3:07
1-7 Misery (Studio Outtake / Take 1) 1:54
1-8 Misery (Studio Outtake / Take 7) 1:56
1-9 From Me To You (Studio Outtake / Takes 1 & 2) 3:24
1-10 From Me To You (Studio Outtake / Take 5) 2:17
1-11 Thank You Girl (Studio Outtake / Take 1) 2:09
1-12 Thank You Girl (Studio Outtake / Take 5) 2:04
1-13 One After 909 (Studio Outtake / Takes 1 & 2) 4:29
1-14 Hold Me Tight (Studio Outtake / Take 21) 2:42
1-15 Money (That's What I Want) (Studio Outtake) 2:48
1-16 Some Other Guy (Live At BBC For "Saturday Club" / 26th January, 1963) 2:02
1-17 Love Me Do (Live At The BBC For "Saturday Club" 26th January, 1963) 2:31
1-18 Too Much Monkey Business (Live At BBC For "Saturday Club" / 26th January, 1963) 1:50
1-19 I Saw Her Standing There (Live At BBC For "Saturday Club" / 16th March, 1963) 2:38
1-20 Do You Want To Know A Secret (Live At BBC For "Saturday Club" / 26th January, 1963) 1:50
1-21 From Me To You (Live At BBC For "Saturday Club" / 26th January, 1963) 1:54
1-22 I Got To Find My Baby (Live At BBC For "Saturday Club" / 26th January, 1963) 1:59
1-23 Roll Over Beethoven (Live At BBC For "Saturday Club" / 29th June, 1963) 2:29
1-24 A Taste Of Honey (Live At BBC For "Easy Beat" / 23rd June, 1963) 2:01
1-25 Love Me Do (Live At BBC For "Easy Beat" / 20th October, 1963) 2:29
1-26 Please Please Me (Live At BBC For "Easy Beat" / 20th October, 1963) 2:08
1-27 She Loves You (Live At BBC For "Easy Beat" / 20th October, 1963) 2:29
1-28 I Want To Hold Your Hand (Live At BBC For "Saturday Club" / 21st December, 1963) 2:19
1-29 Till There Was You (Live At BBC For "Saturday Club" / 21st December, 1963) 2:16
2-1 Roll Over Beethoven (Live At BBC For "Saturday Club" / 21st December, 1963) 2:16
2-2 You Really Got A Hold On Me (Live At BBC For "Pop Go The Beatles" / 4th June, 1963) 2:54
2-3 The Hippy Hippy Shake (Live At BBC For "Pop Go The Beatles" / 4th June, 1963) 1:43
2-4 Till There Was You (Live At BBC For "Pop Go The Beatles" /11th June, 1963) 2:14
2-5 A Shot Of Rhythm And Blues (Live At BBC For "Pop Go The Beatles" / 18th June, 1963) 2:06
2-6 A Taste Of Honey (Live At The BBC for "Pop Go The Beatles" 18th June, 1963) 1:56
2-7 Money (That's What I Want) (Live At BBC For "Pop Go The Beatles" / 18th June, 1963) 2:41
2-8 Anna (Live At BBC For "Pop Go The Beatles" / 25th June, 1963) 3:02
2-9 Love Me Do (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:29
2-10 She Loves You (Live At BBC For "Pop Go The Beatles" / 24th September, 1963) 2:16
2-11 I'll Get You (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:05
2-12 A Taste Of Honey (Live At BBC For "Pop Go The Beatles" / 10th September, 1963) 2:00
2-13 Boys (Live At BBC For "Pop Go The Beatles" / 17th September, 1963) 2:12
2-14 Chains (Live At BBC For "Pop Go The Beatles" / 17th September, 1963) 2:22
2-15 You Really Got A Hold On Me (Live At The BBC For "Pop Go The Beatles" 17th September, 1963) 2:57
2-16 I Saw Her Standing There (Live At The BBC For "Pop Go The Beatles" 24th September, 1963) 2:41
2-17 She Loves You (Live At The BBC For "Pop Go The Beatles" 10th September, 1963) 2:15
2-18 Twist And Shout (Live At the BBC For "Pop Go The Beatles" 24th September, 1963) 2:36
2-19 Do You Want To Know A Secret (Live At The BBC For "Here We Go" 12th March, 1963) 1:55
2-20 Please Please Me (Live At The BBC For "Here We Go" 12th March, 1963) 1:57
2-21 Long Tall Sally (Live At The BBC For "Side By Side" 13th May, 1963) 1:49
2-22 Chains (Live At The BBC For "Side By Side" 13th May, 1963) 2:23
2-23 Boys (Live At The BBC For "Side By Side" 13th May, 1963) 1:53
2-24 A Taste Of Honey (Live At The BBC For "Side By Side" 13th May, 1963) 2:04
2-25 Roll Over Beethoven (Live At The BBC For "From Us To You" 26th December, 1963) 2:17
2-26 All My Loving (Live At The BBC For "From Us To You" 26th December, 1963) 2:06
2-27 She Loves You (Live At The BBC For "From Us To You" 26th December, 1963) 2:21
2-28 Till There Was You (Live At The BBC For "From Us To You" 26th December, 1963) 2:12
2-29 Bad To Me (Demo) 1:29
2-30 I'm In Love (Demo) 1:32

There also appears to be an unofficial bootleg CD version of the recordings.


After something of a false start, Apple Corps/Universal have today issued 59 previously unreleased recordings by The Beatles consisting of studio outtakes and live material from 1963.
We should clarify straight off the bat, that this is not a deluxe box set; indeed, it’s not being released physically on any format. Bootleg Recordings 1963 (as this collection is dubbed) is a digital-only affair and can only be bought via iTunes. But hey, it is The Beatles, so coverage here is justified!
The Beatles’ Anthology albums (themselves nearly 20 years old) were the one and only time in the last 50 years that Fab Four studio outtakes have been officially released, so to see something akin to The Holy Grail almost casually uploaded onto (the other) Apple’s iTunes servers takes a while to get your head around.

But that is what has happened. Tracks made available include work-in-progress from Please Please Me and With The Beatles, and early takes of the group’s first (official) UK number one From Me To You and its B-side Thank You Girl. The 1963 version of The One After 909 (which famously went unreleased until Paul and John dusted it down for Let It Be six years later) is another notable inclusion (takes 1&2) in this Beatles Bootleg bundle.
Into total, 15 studio tracks are issued followed by an enormous amount of what you might call Live at the BBC ‘the leftovers’ – tracks recorded at the BBC radio studios that haven’t appeared on the official releases (1994 and 2013) probably to avoid duplication and in some cases because the sound quality is not up to par. So we get three Love Me Dos, four A Taste Of Honeys and a couple of Do You Want To Know A Secrets amongst the 42 Beeb tracks. A special treat at the end of the Bootleg Recordings are demo versions of Bad To Me and I’m In Love, two Lennon-McCartney songs given to other groups (Billy J. Kramer with the Dakotas and The Fourmost, respectively).

As a fan of physical media the first reaction is ‘why couldn’t they have released this is a proper box set’, but in truth, the digital domain is somehow a more forgiving environment for this Merseybeat memory dump; running orders don’t need to be fretted over (or are rendered irrelevant by the medium), and no one is going to complain about multiple versions of the same track because you just can just download the ones you want. In short, Apple don’t need to think  about it too much, because the truth of the matter seems to be that they would probably rather not do this at all. The current thinking is that this Bootleg Recordings 1963 release is all about retaining copyright of the material once it’s over 50 years old. Previously released material is now protected for 70 years (in Europe), but unreleased material is not afforded the same protection and becomes public domain. The solution? Release it.

And that is what Apple/Universal have done today. The Anthology projects of the 1990s were studies in planning, hype, marketing, coordination and global brand enhancement. Three multi-formatted double albums spread over a year with the small matter of a six-part companion TV documentary (and later a hardback book). By comparison Bootleg Recordings 1963 is the polar opposite. No hype, no build-up, no advertising, no ‘tie-ins’ – just a bucketful of Beatles’ rarities falling onto the unsuspecting Mop Top fan as they go about their daily business.

If there are no changes in the copyright law, then surely we can look forward to similar Beatles Bootleg recordings in our Christmas stockings over the next seven years. Bootleg Recordings 1963 is released globally via iTunes today and is available to download in many territories already.


January 23, 2020

50th Anniversary Of 'Abbey Road' With Unreleased Demos and Special Recordings

Sept. 26 will mark the 50th anniversary of The Beatles' iconic album Abbey Road. To celebrate, the band will release a suite of packages via Apple Corps Ltd./Capitol/UMe.
The packages, which will be released on the anniversary date, will feature the album's 17 tracks newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo, high res stereo, 5.1 surround, and Dolby Atmos. Additionally, there will be 23 session recordings and demos, which are mostly unreleased.
"The Beatles recording journey had gone through many twists and turns, learning curves and thrilling rides," McCartney wrote in the foreword for the anniversary edition packages. "Here we were -- still wondering at the magic of it all."
“The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Martin also said. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.”
Road's followup album, 1970's Let It Be, was the band's final record, but Road was the last one that John Lennon, Paul McCartney, Ringo Starr and George Harrison recorded together as a group. This marks the first time Road has ever been remixed and added to with session recordings and demos.
The super deluxe box set includes 40 tracks on three CDs and one Blu-ray disc, while the the Super Deluxe digital audio collection presents all 40 tracks for download purchase and streaming. The limited edition Deluxe vinyl box set features all 40 tracks from the Super Deluxe collection on three 180-gram vinyl LPs.
The anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band and The Beatles (White Album) were released in 2017 and 2018, respectively.
The new edition will be available on Sept. 26. Pre-order it here.
See all of the track lists below.

SUPER DELUXE [3CD+1Blu-ray set; digital audio collection]
CD ONE: 2019 Stereo Mix
1. Come Together
2. Something
3. Maxwell’s Silver Hammer
4. Oh! Darling
5. Octopus’s Garden
6. I Want You (She’s So Heavy)
7. Here Comes The Sun
8. Because
9. You Never Give Me Your Money
10. Sun King
11. Mean Mr Mustard
12. Polythene Pam
13. She Came In Through The Bathroom Window
14. Golden Slumbers
15. Carry That Weight
16. The End
17. Her Majesty
CD TWO: Sessions
1. I Want You (She’s So Heavy) (Trident Recording Session & Reduction Mix)
2. Goodbye (Home Demo)
3. Something (Studio Demo)
4. The Ballad Of John And Yoko (Take 7)
5. Old Brown Shoe (Take 2)
6. Oh! Darling (Take 4)
7. Octopus’s Garden (Take 9)
8. You Never Give Me Your Money (Take 36)
9. Her Majesty (Takes 1–3)
10. Golden Slumbers/Carry That Weight (Takes 1–3 / Medley)
11. Here Comes The Sun (Take 9)
12. Maxwell’s Silver Hammer (Take 12)
CD THREE: Sessions
1. Come Together (Take 5)
2. The End (Take 3)
3. Come And Get It (Studio Demo)
4. Sun King (Take 20)
5. Mean Mr Mustard (Take 20)
6. Polythene Pam (Take 27)
7. She Came In Through  The Bathroom Window (Take 27)
8. Because (Take 1 – Instrumental)
9. The Long One (Trial Edit & Mix – 30 July 1969)
(Medley: 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)
10. Something (Take 39 – Instrumental – Strings Only)
11. Golden Slumbers/Carry That Weight (Take 17 – Instrumental – Strings & Brass Only)

BLU-RAY: Abbey Road
Audio Features:
- Dolby Atmos
- 96kHz/24 bit DTS-HD Master Audio 5.1
- 96kHz/24 bit High Res Stereo (2019 Stereo Mix)

DELUXE 3LP VINYL BOX SET (limited edition)
LP ONE: Side 1 (2019 Stereo Mix)
1. Come Together
2. Something
3. Maxwell’s Silver Hammer
4. Oh! Darling
5. Octopus’s Garden
6. I Want You (She’s So Heavy)
LP ONE: Side 2 (2019 Stereo Mix)
1. Here Comes The Sun
2. Because
3. You Never Give Me Your Money
4. Sun King
5. Mean Mr Mustard
6. Polythene Pam
7. She Came In Through The Bathroom Window
8. Golden Slumbers
9. Carry That Weight
10. The End
11. Her Majesty
LP TWO: Side 1 (Sessions)
1. I Want You (She’s So Heavy) (Trident Recording Session and Reduction Mix)
2. Goodbye (Home Demo)
3. Something (Studio Demo)
4. The Ballad Of John And Yoko (Take 7)
5. Old Brown Shoe (Take 2)
LP TWO: Side 2 (Sessions)
1. Oh! Darling (Take 4)
2. Octopus’s Garden (Take 9)
3. You Never Give Me Your Money (Take 36)
4. Her Majesty (Takes 1–3)
5. Golden Slumbers/Carry That Weight (Takes 1–3) / Medley)
6. Here Comes The Sun (Take 9)
7. Maxwell’s Silver Hammer (Take 12)
LP THREE: Side 1 (Sessions)
1. Come Together (Take 5)
2. The End (Take 3)
3. Come and Get It (Studio Demo)
4. Sun King (Take 20)
5. Mean Mr Mustard (Take 20)
6. Polythene Pam (Take 27)
7. She Came In Through The Bathroom Window (Take 27)
8. Because (Take 1 Instrumental)
LP THREE: Side 2 (Sessions)
1. The Long One (Trial Edit & Mix – 30 July 1969)
2. Something (Take 39 – Instrumental – Strings Only)
3. Golden Slumbers/Carry That Weight (Take 17 – Instrumental – Strings & Brass Only)

CD ONE: 2019 Stereo Mix
CD TWO: Sessions
1. Come Together (Take 5)
2. Something (Studio Demo)
3. Maxwell’s Silver Hammer (Take 12)
4. Oh! Darling (Take 4)
5. Octopus’s Garden (Take 9)
6. I Want You (She’s So Heavy) (Trident Recording Session & Reduction Mix)
7. Here Comes The Sun (Take 9)
8. Because (Take 1 Instrumental)
9. You Never Give Me Your Money (Take 36)
10. Sun King (Take 20)
11. Mean Mr Mustard (Take 20)
12. Polythene Pam (Take 27)
13. She Came In Through The Bathroom Window (Take 27)
14. Golden Slumbers/Carry That Weight (Takes 1–3 / Medley)
15. The End (Take 3)
16. Her Majesty (Takes 1–3)
STANDARD [1CD; digital; 1LP vinyl; limited edition 1LP picture disc vinyl]
2019 Stereo Mix


December 01, 2019

Listen to the Beatles Christmas Messages: 7 Vintage Recordings for Their Fans: 1963-1969

Every year from 1963 to 1969, the Beatles recorded a special Christmas greeting to their fans. It started when “Beatlemania” took off and the band found itself unable to answer all the fan mail.  “I’d love to reply personally to everyone,” says Lennon in the 1963 message, “but I just haven’t enough pens.” The first message was intended to make their most loyal fans feel appreciated. Like those that followed, the 1963 message was mailed as a paper-thin vinyl “flexi disc” to members of the Beatles fan club. The recording features the Beatles’ trademark wit and whimsy, with a chorus of “Rudolph the Red-Nosed Ringo” and a version of “Good King Wenceslas” that refers to Betty Grable. It was made on October 17, 1963 at Abbey Road Studios, just after the band recorded “I Want to Hold Your Hand.”

The band recorded their next holiday greeting, Another Beatles Christmas Record, on October 26, 1964, the same day they recorded the song “Honey Don’t.” Lennon’s rebellious nature begins to show, as he pokes fun at the prepared script: “It’s somebody’s bad hand wroter.”


Recorded on November 8, 1965 during the Rubber Soul sessions at Abbey Road, the 1965 message features a re-working of “Yesterday,” with the refrain “Oh I believe on Christmas Day.” The band’s gift for free-associational role playing is becoming more apparent. One piece of dialogue near the end was eventually re-used by producer George Martin and his son Giles at the end of the re-mixed version of “All You Need is Love” on the 2006 album Love: “All right put the lights off. This is Johnny Rhythm saying good night to you all and God Blesses.”

You can sense the band’s creative powers growing in the 1966 message, Pantomime: Everywhere It’s Christmas. The recording was made at Abbey Road on November 25, 1966, during a break from working on “Strawberry Fields Forever.” The Beatles were just beginning work on Sgt. Pepper’s Lonely Heart’s Club Band. Instead of simply thanking their fans and recounting the events of the year, the Beatles use sound effects and dialogue to create a vaudeville play based around a song that goes, “Everywhere it’s Christmas, at the end of every year.” Paul McCartney designed the cover.

This was the last Christmas message recorded by the Beatles all together in one place. Titled Christmas Time (Is Here Again), it reveals the group’s continuing experimentation with sound effects and storytelling. The scenario, written by the band earlier on the day it was recorded (November 28, 1967), is about a group of people auditioning for a BBC radio play. Lennon and Ringo Starr designed the cover.

By the Christmas season of 1968, relations within the Beatles were becoming strained. The holiday message was produced around the time the “White Album” was released, in November of 1968. The four members’ voices were recorded separately, in various locations. There’s plenty of self-mockery. Perhaps the most striking moment comes when the American singer Tiny Tim (invited by George Harrison) strums a ukulele and sings “Nowhere Man” in a high falsetto.

The Beatles were in the process of breaking up when they recorded (separately) their final Christmas message in November and December of 1969. A couple of months earlier, just before the release of Abbey Road, Lennon had announced to the others that he was leaving the group. Yoko Ono appears prominently on the recording, singing and talking with Lennon about peace. Fittingly, the 1969 message incorporates a snippet from the Abbey Road recording of “The End.”

This post was written by Open Culture contributor Mike Springer.

Related Content:
The Beatles: Unplugged Collects Acoustic Demos of White Album Songs (1968)
Peter Sellers Reads The Beatles’ “She Loves You” in Four Different Accents
The 10-Minute, Never-Released, Experimental Demo of The Beatles’ “Revolution” (1968)


June 29, 2019

Beatles Past Masters – Mono Mixes in Stereo by Mirror Spock

I recently became aware of this series of Beatles bootlegs. They are very high quality and in many cases reveal sounds buried in the stereo mixes. This is a real treat for fans who can get their hands on them. Below is a review of the Past Master Vol 1 & 2 editions. Here are comments from him directly:
Meticulously declicked from pristine vinyl, with vinyl noise only reduced; all tape sounds preserved for full ambience and air. Some of you already know about my breakthrough in extracting and keeping the "center" channel from the stereo, and and left and right channels minus the center from the stereo, thus separating the stereo into multichannels. My process has been improved since I released a demonstration song.

The Beatles Mono Masters – Mono Mixes in Stereo

A much welcomed surprise from Mirror Spock arrived a few weeks ago, THE BEATLES MONO MASTERS – (mono mixes in stereo) and I must say this has been one of the most delightful remix CDs that I’ve had the privilege of cranking up on the stereo.

Headphones do not do these discs justice. As with the original mono mixes he worked from, these remixes have more snap and punch; more so than the true stereo counterparts from EMI. The remixes bring out subtleties buried in the mono mixes or enhance the bass, drums and rhythm guitars. There is actually more clarity in some of these remixes than I ever expected to hear. It’s like a breath of fresh air and honestly, I’m amazed at what can be done by a non-professional outside of a studio environment. I know Mirror Spock has been working on perfecting these for quite some time now. I think the wait was worth it. Are they perfect? Most are. Some tracks do exhibit artifacts, but I believe it’s mostly unavoidable. The Beatles original recordings were never perfect anyhow.

I have no idea if anything but the mono recordings were used but they certainly match up with the original mono mixes in terms of where oddities come into play or where they contained noticeable differences vs the original stereo mixes. There is nice stereo separation. It feels natural and not contrived. Obvious care was taken to make these remixes as palatable as possible. As noted by some collector’s, “She Loves You” seems a bit problematic, but I never liked the way the backing track comes off on this studio recording. It always sounded cluttered to me. It’s certainly played to get attention. I think it gets enhanced in this mix. Songs on the first disc like “I Call Your Name”, where in original mono the cowbell seems to jump out of your speakers – now it jumps off them but in stereo. The cowbell in the original stereo mix never felt this distinct. “I’m Down”, John’s guitar comes alive. The power of this song will knock you out.

On the 2nd disc Ringo’s drumming on “Rain” is more pronounced and forceful. When the bass drum kicks in on “Lady Madonna” you’re literally knocked off your seat. “The Inner Light” never sounded so appealing before. A few of the later tracks, such as “Revolution”, “It’s All Too Much”, “Across the Universe” seem a bit harsh. These later period recordings are denser. I guess this makes it more difficult to make it free of artifacts. The bonus tracks on each disc are centered vocals and for disc #2, Mirror Spock centered the guitar on “Revolution”. I like it. It makes a powerfully recorded song that much more powerful.

There are two additional discs in this series by Mirror Spock, A HARD DAY’S NIGHT and SGT. PEPPER’S LONELY HEARTS CLUB BAND. I’ve only given them curiosity spins so far. They appear to be just as well executed.

Overall this is a commendable remixing effort by Mirror Spock. It must not have been an easy remixing job working from mono recordings – and I’d never be one to explain how it was done even after someone explains it to me!

Mirror Spock
Reviewer: Howard Fox (aka Beatle Bob)

More info available here:

June 23, 2019

Help! Movie Blu Ray Review

After the massive success of “A Hard Day’s Night,” director Richard Lester was given more money and more creative freedom to direct “Help!,” a film seen as a disappointment by many at the time, including The Beatles themselves, but historically appreciated (as are most things John, Paul, George, and Ringo). The Beatles 1965 classic has been given a loving restoration, particularly in the sound department, and accompanied by interesting special features and attractive packaging. It’s a great gift idea for The Beatles fan in your family. Blu-ray rating: 4.0/5.0
Rating: 4.0/5.0

How has the movie held up? So-so. It’s easier to appreciate some of the manic energy of the piece, a style that would influence everything from The Monkees to “Spice World,” but the film kind of wears out its welcome in terms of wacky behavior and doesn’t contain nearly enough actual music for a huge fan of The Beatles such as myself. There are only seven songs in the film, including hits like the title track, “Ticket to Ride,” “You’ve Got to Hide Your Love Away,” and “Another Girl.” The goofy plot, modeled as a spoof of Bond movies in a way to fully capitalize on everything popular in the mid-’60s, gets grating more quickly than I remembered but one has to admire the “let’s have fun” spirit of the whole thing. Even John Lennon reportedly came around to liking the film.

As for the Blu-ray, the new audio mix is stellar. The video is so-so but the audio track in DTS-HD Master Audio 5.1 is something every Beatles fan will enjoy. Special features are thorough and the packaging includes a booklet with stills and promotional material for the film. It’s an unexpected treat for music fans in a season in which the Blu-ray market is often dominated by the dreck that played the multiplex in the first quarter of the year. “Help!” may not be the best of The Beatles but most fans of the band want everything related to the Fab Four and they’ll be more than satisfied.

Directed by Richard Lester, who also directed the band’s debut feature film A Hard Day’s Night, Help! made its theatrical debut in 1965. The story follows The Beatles as they become passive recipients of an outside plot that revolves around Ringo’s possession of a sacrificial ring, which he cannot remove from his finger. As a result, he and his bandmates John, Paul and George are chased from London to the Austrian Alps and the Bahamas by religious cult members, a mad scientist and the London police. In addition to starring the Beatles, Help! has a witty script, a great cast of British character actors and features 7 classic Beatles tracks.

Special Features:
o The Beatles In Help!: 30 Minute Documentary About The Making of The Film, With Richard Lester, The Cast and Crew
o A Missing Scene: Featuring Wendy Richard
o The Restoration Of Help!: An In-Depth Look At The Restoration Process
o Memories Of Help!: The Cast And Crew Reminisce
o 3 Theatrical Trailers
o 1965 Radio Spots

“Help!” was released on Blu-ray on June 25, 2013.



The Beatles’ second feature film, 1965’s Help!, is on the way on Blu-ray. On June 24 (June 25 in North America), Help! makes its eagerly awaited Blu-ray debut in a single-disc package pairing the digitally restored film and 5.1 soundtrack with an hour of extra features, including a 30-minute documentary about the making of the film, memories of the cast and crew, an in-depth look at the restoration process, an outtake scene, and original theatrical trailers and radio spots. An introduction by the film’s director, Richard Lester, and an appreciation by Martin Scorsese are included in the Blu-ray’s booklet.

Help!’s Blu-ray edition follows the 2012 release of The Beatles’ digitally restored Yellow Submarine and Magical Mystery Tour feature films on Blu-ray, DVD and iTunes with extensive extras. Help!’s restoration for its 2007 DVD debut wowed viewers, earning five-times platinum sales in the U.S. and praise from a broad range of top media outlets around the world, including USA Today heralding the DVD as “a grand re-release,” The Guardian’s appreciation of the film’s director, Richard Lester, saying “Lester matches The Beatles’ ‘star’ power with smart, colourful visuals and casual surrealism,” The Los Angeles Times’ restoration rave: “With dynamic compression that was standard in the 1960s lifted for the digital age, the full range of the group’s musicality comes through – it’s like several coats of dust have been cleaned off an old master’s painting,” and four-star reviews from Rolling Stone and MOJO with the latter saying, “They really don’t make them like this anymore.”

Directed by Richard Lester, who also directed the band’s debut feature film, 1964’s A Hard Day’s Night, Help! follows The Beatles as they become passive recipients of an outside plot that revolves around Ringo’s possession of a sacrificial ring, which he cannot remove from his finger. As a result, he and his bandmates John, Paul and George are chased from London to the Austrian Alps and the Bahamas by religious cult members, a mad scientist and the London police.

In addition to starring The Beatles, Help! boasts a witty script, a great cast of British character actors, and classic Beatles songs “Help!,” “You’re Going To Lose That Girl,” “You’ve Got To Hide Your Love Away,” “Ticket To Ride,” “I Need You,” “The Night Before,” and “Another Girl.”


Help!’s Blu-ray package pairs the digitally restored original film with these extra features:

• “The Beatles in Help!” – a 30-minute documentary about the making of the film with Richard Lester, the cast and crew, including exclusive behind-the-scenes footage of The Beatles on-set.
• “A Missing Scene” – a film outtake, featuring Wendy Richard
• “The Restoration of Help!” – an in-depth look at the restoration process
• “Memories of Help!” – the cast and crew reminisce
• 1965 Theatrical Trailers – two original U.S. trailers and one original Spanish trailer
• 1965 U.S. Radio Spots (hidden in disc menus)

The Beatles:

John………..…………………………………………………………John Lennon
Paul………………………………………………………………Paul McCartney
George……….…………………………………………………George Harrison
Ringo……….……………………………………………………………Ringo Starr

Clang………………………………………………………………….Leo McKern
Ahme…………………………………………………………………Eleanor Bron
Foot…………………………………………………………………………….Victor Spinetti
Algernon…………………………………………………………………………Roy Kinnear
Superintendent………………………………………………………………Patrick Cargill
Bhuta…………………………………………………………………………….John Bluthal
Jeweller………………………………………………………………Peter Copley
Doorman…………………………………………………………………Alfie Bass
Abdul…………………………………………………………..…Warren Mitchell
Lawnmower…………………………………………………………Bruce Lacey

Cross channel swimmer………………………………………………Mal Evans
Women in street……………………Dandy Nichols and Gretchen Franklin

Director ……………………………………………………………Richard Lester
Producer …………………………………………………………Walter Shenson
Screenplay…………………………………..Marc Behm and Charles Wood
Story by………………………………………………………………..Marc Behm
Director of Photography…………………………………………David Watkin
Production Manager……………………………………………….John Pellatt
Art Director………………………………………………………Raymond Simm
Colour Consultant and Titles…………………………………Robert Freeman
Costume Designer…………………………………………………….Julie Harris
Musical Director………………………………………………………Ken Thorne
Songs composed by…………………..John Lennon and Paul McCartney
and by George Harrison
Songs performed by…………………………………………………The Beatles
Songs produced by……………………………………………..George Martin



‘Help!’ follows in the great tradition of classic comedy chase movies.

In this instance, John, Paul, George and Ringo, find themselves being pursued across the world by not one but two groups of fanatics with separate agendas.

Ringo possesses a ring with a large red stone set in the middle, sent to him by a fan. Unknown to him this artifact is the sacred sacrificial ring of Goddess Kaili: the deity of an Asian religious cult led by Swami Clang (Leo McKern).

The younger sister of High Priestess Ahme (Eleanor Bron) has been selected by Kaili’s thuggish followers as a human sacrifice. However, panic breaks out when, as she is about to be dispatched by the ceremonial-sword wielding fanatic, Swami Clang, he realizes that she is not wearing this religious bauble.

The human sacrifice is promptly placed on hold.  Clang, Ahme and a bunch of bumbling henchmen organized by Blutha (John Bluthal), set about tracking down the wearer with the aim of retrieving the ring by covering Ringo in bright red paint and sacrificing him in the process.

Even before he realizes he is the object of these fanatics attention, Ringo finds that he can’t slip it off his finger. It’s stuck!

Meanwhile, unbeknownst to Clang, the lovely Ahme is a secret Beatles fan with a shine for Paul.


These cult followers of Kaili frantically pursue The Beatles first, through London, then up the snow-covered Austrian Alps, followed by Buckingham Palace across Salisbury Plain and finally along the sandy beaches of the Bahamas.

Amidst this turmoil, two scientists named Foot (Victor Spinetti) and Algernon (Roy Kinnear) have become involved, being called in by the Government to try and remove the ring from Ringo’s finger. Algernon is a harmless fool, however, Foot is a megalomaniac and sees the ring as a means to “rule the world!” and is prepared to go to extremes to get his hands on the ring.  Following up the rear is dapper Scotland Yard Police Superintendent (Patrick Cargill).

Fortunately, all attempts to remove this religious artifact from Ringo’s hand are thwarted at every turn often by John, Paul and George. This wild chase eventually culminates on a beach in the Bahamas when the ring suddenly falls off Ringo’s finger and those in pursuit are suddenly afraid to pick it up in case they themselves become splattered with red paint and selected as the sacrificial victim!


• ‘Help!’
• ‘You’re Going To Lose That Girl’
• ‘You’ve Got To Hide Your Love Away’
• ‘Ticket To Ride’
• ‘I Need You’
• ‘The Night Before’
• ‘Another Girl’