Much of the Beatles unreleased material used to be in the hands of the non-traditional record companies. Well now the Internet has changed all that with many collectors posting this material to share with the world. The Purple Chick label last year released a series of collections for all Beatles concerts and studio albums with improved artwork and audio quality. Below are some liner notes from the 10 CD set "The Complete Live at the BBC Sessions - Upgraded for 2004". As well as a link below on where to get it. You can also Google it to find it many other places.
The Complete BBC Sessions - Great Dane's Liner Notes.
BBC Light Programme - Stay Tuned!
On 7 March 1962 the Beatles entered a BBC studio for their first session. It was the beginning of a long relationship between the group and BBC radio and was of tremendous importance for their success. These sessions are among the most important documents of the Beatles' music for two main reasons. First of all, the BBC had regulations limiting the number of discs which could be played during the transmissions, so whenever possible the songs were performed live in their studios. The Beatles did not escape this rule, and each number to be broadcast, including their hits, was recorded live a few days or weeks before being aired. Some of these BBC versions can hardly be distinguished from the commercially released ones, but often slight differences (particularly in guitar solos) can be appreciated. In a few cases the songs were played in noticeably different arrangements, and there are even BBC sessions which unquestionably beat the takes recorded at Abbey Road studios: "Honey Don't", Pop Go The Beatles, September 3, 1963; "I Saw Her Standing There", Easy Beat, October 20, 1963; "Rock And Roll Music", Saturday Club, December 26, 1964; "Long Tall Sally", Top Gear, July 16, 1964, are but a few examples. But the real gems of these sessions are all the classics of the fifties and early sixties rock and pop music, performed on BBC and never commercially released by the group.
Why did the Beatles play these songs instead of only promoting their records? At the beginning, they had not yet released enough songs to fill all the programmes, nearly one a week. Later, these performances added exciting surprises to fans waiting to hear their favourite group playing live on the BBC. As a result, these programmes were very similar to their live stage performances. A BBC session also provided the opportunity to try out covers which could later be commercially released. Only on the last shows did the Beatles limit themselves to promoting the commercial releases: by late 1963 they had already conquered the world, and fans just wanted to hear the songs found on the records. What's sure is that the boys had great fun in the BBC studios, joking with the announcers or reading letters from fans; some of the chats in-between the songs are as pleasant as the musical performances. The influences which were important to each of the Beatles also can be recognized. John, for example, was a great fan of Chuck Berry. He sang eight Berry songs, always with great personality, and he had great pleasure in covering Arthur Alexander's tunes. Paul sang powerful covers of Little Richards' numbers which very closely match the original version. But he also was attracted to popular music hits, such as a "rock" version of "Besame Mucho" and the title song from the film "Honeymoon". George, beside performing a few classics, often played a different, more rockabilly rendition of the guitar solos than on the commercially released songs; his covers of Carl Perkins' records are unforgettable. Ringo, apart from his occasional numbers, always displays a very precise rhythm.
The Beatles performed ninety different songs on BBC radio, two of which were taped but not broadcast ("Sheila" and "Three Cool Cats"). Some of these were played many times (usually their hits which were to be promoted, such as "From Me To You", featured in 15 different programmes, but also unreleased songs, such as "Memphis, Tennessee" which had five appearances); many other songs were executed just once, for a total of 288 transmitted performances, including occasional renditions of traditional tunes ("Happy Birthday", etc.). In a few cases, a song was taped once and broadcast on two different programmes. Thirty-six songs have not been commercially released, and many other numbers, later included on their LPs, were presented on BBC radio months or even more than a year before their eventual release. Indeed, considering the few, often low-quality, live concerts available, the BBC sessions represent a true mirror of how the "live Beatles" were on stage. This explains the immense interest of these tracks.
We will not fool anyone by saying that this material has not been previously available to collectors (although two of the programmes and some other songs here included have never been released in any form ). However, it is true that until now all these songs were scattered among many different sources, so that a comprehensive collection would need various LPs, CDs and a few of the tapes which have been traded since the early seventies. Also, sound quality was in general not fully satisfying, at least for many sources. The BBC itself preserved very few programmes in its archives. This is the first attempt to organize all the material available to collectors in the most complete form, chronologically arranged, and with the best possible sound quality. To achieve this aim, we have checked every available source for each track, and in some cases fragments from different sources had to be edited to restore the song the way it was originally performed and in its best possible quality (this is, for example, the case with "Ooh! My Soul", "So How Come (No One Loves Me)", one of the "Memphis" takes, and a few others). Obviously, all our efforts have been addressed to recreate the original sound as it was broadcast about thirty years ago, avoiding any kind of alteration. All this material has been chronologically arranged according to the transmission date (not the recording session date). To provide collectors, and also "normal" Beatles listeners, with the best possible sound quality, DAT masters have been processed with Sonic Solutions software, a powerful digital medium which has helped editing and equalizing. Whenever possible, the particularly boring tape drop-outs have been corrected. Over 100 hours were spent at the mastering studios (plus the hours spent at home checking each track ...), but the results are encouraging, and we hope it's been worthwhile. A few of the original tapes were of really low quality; in these cases there's not much to be done but try to cut background noise to recover the sound; of course, sound distorsions can only be attenuated. However, apart from these very few tracks, the general quality of the recordings is noticeably good. We have mainly been concerned with the musical performances, so we apologize if a few seconds of chat is missing. We also apologize for any mistakes that may have occurred, we tried our best, but no one is perfect. The interview-only programmes have not been included, nor have the TV shows which had also a radio airing. The programme themes which were taped only once and used for all the numbers in the series (such as "Pop Go The Beatles") have been included in the first programme of the series only. The theme of "From Us To You" has always been included.
We hope you'll enjoy these CDs and invite you to write your comments to Great Dane Records, "Beatles projects", Via L. Manara 5, 20122 Milano, Italy. This will help us to make our future projects better. Of the 288 performances which were aired, 247 have been recovered and are included on these CDs. It should be very interesting to rediscover the lost tracks; should any Beatle collector have tapes from BBC programmes (from unidentified as well as already known programms, and even if in poor quality), we'll be glad to hear from him/her. If we find some of the apparently lost tracks, an updated release can be pressed!
This work would not have been possible without the help of many friends and collectors who provided tapes or useful information. Our deepest thanks in particular to Werner, Maurizio, Arno, Doug, U. G. Beanwaste, Dr. Cod and Dr. Moody. DAT masters processed at Audio Time Studios, Digital Post-Production, Cologno Monzese (Milano, Italy). Sound engineering by Marco Lacchini and Massimo Meregalli. Photos of the records by Ezio Degam, Settimo Torinese (Torino, Italy). Art direction by Erlab (Rome, Italy).
Previous Releases
Considering the tremendous importance of the material performed and broadcast in the fifty-two BBC sessions, it is no surprise that many LP and, lately, CD releases have appeared. It is not possible to detail every single production here but some notes on the most important records nevertheless should be of interest. These notes are derived from a forthcoming book which will report on every known unofficial Beatles record.
The first record to contain Beatles BBC radio performances, and one of the most important Beatles bootlegs from the historical point of view, was released in August 1971 by TMOQ (Trade Mark of Quality), a legendary California company which produced, from 1970 to 1975, more than a hundred different unofficial records by many top rock and pop groups. This first record was titled "YELLOW MATTER CUSTARD" and contained 14 "BBC" songs, thirteen of which were never recorded for EMI (the other one was "Slow Down"). These were derived from the Pop Go The Beatles programmes of July and August 1963. The first pressing of this LP had the typical coloured cardboard jacket of TMOQ, with a round sticker with a pig logo, rubber-stamped title (reading "YELLOW MATTER CUSTARD - PREVIOUSLY UNRELEASED STUDIO MATERIAL"), round a label with a large 1 or 2 for side indicators, and coloured vinyl. Its sound quality was reasonably good. The matrix number was BBL-513. It became one of the most sought-after items by Beatles collectors, and during the seventies (and into the eighties) the stamper BBL-513 was used for a great number of repressings, with differences in labels and sleeve, and coloured as well as black, or even multicoloured, vinyl. The issues released from 1973 to 1976 also had the catalogue number 71032 printed on a slipsheet. A different tape, including the same songs in slightly superior sound quality, was used in late 1971 or early 1972 by another outfit known to collectors as White Cover Folks, probably from the eastern coast of the USA. This had the matrix number YMC-101, the same title, "YELLOW MATTER CUSTARD", a red label marked "Yellow Records", and a track listing. After a few reissues, it was repressed in 1975 from the original stampers by Berkeley Records, with the misleading title "THE DECCA AUDITION TAPES". These two original LPs were copied by other manufacturers. The TMOQ record gave rise to the Contra Band Music (CBM) issues, which first appeared in early 1972 on a 2-LP set titled "DON'T PASS ME BY", matrix CBM 2C1/2D1. This set included the Christmas records and, as second disc, TMOQ LP with the addition of "The Saints" and "My Bonnie" from the Polydor Hamburg record. Starting in May 1973, this second disc was also distributed as a single LP with the usual title "YELLOW MATTER CUSTARD". There were repressings (often of poor quality) until 1976. The "Yellow Records" version was copied by Dittolino Discs and issued in 1972 and 1973; this producer originally released it in a cover rubber-stamped with "14 UNRELEASED EARLY BEATLES CUTS". The subsequent editions had an insert titled "AS SWEET AS YOU ARE" (from the song "Don't Ever Change"). The stamper used for these issues was numbered D-1/2. In September 1976 it reappeared for K.O. Records (a name used by the Wizards group). The "Yellow Records" release was also copied by TMOQ-Smokin' Pig (to be distinguished from the original TMOQ by the Smoking Pig logo on their labels), for an LP released in 1973 and again titled "YELLOW MATTER CUSTARD" (matrix and catalogue number 1858). In summer 1975 Wizardo Records reproduced the thirteen unreleased songs, together with a few other BBC tracks copied from other records, on the LP "ORIGINAL AUDITION TAPE CIRCA 1962" (another misleading title... - and they knew it!). Other issues date from the mid-eighties, with a European fake "CBM" titled "AS SWEET AS JOU ARE" (sic!) and a "new" "YELLOW MATTER CUSTARD" version pressed by Starlight Records in 1990. The songs on the latter were taken from sources of better sound quality, and six more tracks were added.
More songs appeared in May 1972, again from TMOQ. This time two LPs, with the titles "OUTAKES 1" and "OUTAKES 2", contained the BBC versions of 21 commercially released songs, plus "Lucille" and "The Hippy Hippy Shake". This material was from Pop Go The Beatles and Saturday Club. The sound quality was comparable with that of the previous release. The records were on matrix BO-519 and BO-520, and the first pressing had coloured vinyl, a rubber-stamped cover with a pig sticker, and white labels with a black 1 and 2 for the sides, and two thin black rings around their border. The further issues, in part on black vinyl, featured the pig label; also a 2-LP set coupling the two single LPs was released. CBM copied the TMOQ records in 2 single LPs, titled "STUDIO SESSIONS VOL. 1" and "STUDIO SESSIONS VOL. 2". They were originally released in May 1973, with the title printed on the label, and subsequently repressed with various generic labels until 1976. In late 1979 or early 1980 the Japanese label Black Discs released these records on matrix ZAP-1061 / 1062. Twenty of these songs were joined together by Wizardo on a single album, titled "WORDS OF LOVE" in its first pressing released in August 1975 and subtitled "STUDIO OUTAKE RECORDINGS 1962-64" in the later issues (continuing the tradition of misleading titles). These issues were on matrix WRMB-326 and had noticeably worse sound quality. Another compilation featuring part of the songs included on the two "OUTAKES" LPs was produced by Wizardo in September 1976, entitled "THE LAST BEETLE RECORD" (matrix 393, black "World Records" label). Excerpts from the "YELLOW MATTER CUSTARD" and "OUTAKES 1 & 2" LPs were spread over a great number of records distributed in the second half of the seventies and in the first half of the eighties. There is no use in listing them here. More material appeared in the early seventies; this did not usually fill a complete LP: one or a few tracks, at times a single programme, were added to other material. The first programme to appear was Top Of The Pops, the U.S. rebroadcast of Top Gear July 16, 1964. This was independently released by an anonymous label on the album titled "THE BEATLES LAST ALBUM" and by CBM on "THE NEVER RELEASED MARY JANE". The first one was released in (possibly) late 1971 or early 1972, matrix 01 971. It was copied in 1972 by White Cover Folks as "LIVE AT NASSAU", matrix 999, originally distributed with a yellow label. This album was repressed in 1973 and 1974 as "TOP OF THE POPS/LIVE IN GERMANY". The CBM record ("THE NEVER RELEASED MARY JANE"), with matrix 3585, was originally distributed in November 1972 with a purple slipsheet and label with printed title. The subsequent issues had generic labels and usually a blue printed insert. This session was also included on a record by Highway HiFi, a subsidiary of TMOQ-Smokin' Pig, titled "TOP OF THE POPS", matrix HHCER 111. This LP was first issued in mid-1974 with a slipsheet printed with "rainbow" effect and repressed a number of times until 1983. In the late seventies the programme Top Of The Pops was independently rereleased by two different manufacturers on 7" EPs. One of these versions, in excellent quality, was on matrix 45x45000/45001 and bore fake "Capitol" P-9431 labels; the other one, from Brown Cloud Records (a name for a Melvin Records issue), had worse sound. Some more BBC items resurfaced in 1973; the following records contained previously unreleased material. "HAVE YOU HEARD THE WORD", by CBM, featured 3 tracks which had been broadcast on the BBC programme "The Beatles Story", transmitted in 1972; it was distributed in February 1973 and its first pressing had a label with a printed title and a red insert; matrix is WEC-3624. This record, quite surprisingly in view of its low level of interesting material and low sound quality, had an astonishing number of repressings and copies, including one by Amazon Etcetera released in 1974 or early 1975. In late spring 1973 CBM distributed another album, titled "PEACE OF MIND", matrix WEC Rl-3670, which, among various material, also included a few songs taken from the BBC sessions, in low quality. Its first pressing had generic labels with side indications. In late 1974 this too was copied by Amazon Etcetera records. In June 1973 TMOQ released "MARY JANE", matrix MJ-543, featuring in good audio quality parts of the June 30, 1964 From Us To You programme plus excerpts from Top Of The Pops; it was distributed in purple cardboard with rubber-stamped title and square gold pig sticker, red vinyl, and a black label with silver pig. The reissues were subtitled "SPICY BEATLES SONGS"; in the late seventies and early eighties it also reappeared as "BUG CRUSHER 'LIVE' ", from the original stamper. More repressings of the MJ-543 stamper, usually distributed with the first titles, date back to the mid and late eighties. The June 30, 1964 session reappeared on the CBM release "SWEDEN 1963", matrix WEC 3795, produced in July 1973; it had deluxe labels with the title printed on them. Very little material appeared in 1974: on "RARE BEATLES" (also titled "HAPPY BIRTHDAY" on another insert), CBM TB5030, distributed in March 1974, four previously unreleased songs made their debut, unfortunately in poor quality and noticeably slow (among these, "Johnny B. Goode" can hardly be recognized!). This LP first appeared with blank labels and had a few repressings on various other CBM labels. The record "HAPPY BIRTHDAY" by Wizardo Records, WRMB 345, featured the BBC track of this song plus songs from other records, in part BBC numbers. "SOLDIER OF LOVE", released in summer 1974 with a yellow CBM "pirate" label, a back cover featuring a D'Anunzio drawing pasted over the CBM "cartoon" print, matrix TB-1022, features the first appearance on LP of "I'll Be On My Way", in quite poor quality (a very rare 7" single had already been released), together with a few other numbers, among which is of course the title track. The last album for a few years to contain BBC material, released in December 1974, was the rare "STOCKHOLM", an LP by CBM on its Instant Analysis yellow label. This featured tracks from the "Easy Beat" show of July 21, 1963, in dreadful quality.
No more "new" BBC songs appeared between 1975 and 1977, only compilations recycling previously released material appeared. New items suddenly flooded the market in 1978, when the important label "Ruthless Rhymes" was founded. "FROM US TO YOU - A PARLOPHONE REHEARSAL SESSION" is a 10" disc featuring the rehearsals for the fourth From Us To You programme. It was released in May 1978 on coloured vinyl, matrix LMW 28 IF, Ruthless Rhymes label, and was later copied on matrix 10 A/B. A new LP by the same label was distributed in June 1978, titled "YOUNGBLOOD". This included on side A 10 BBC cuts, some of which were previously unreleased, but unfortunately the performances were not included in their complete form. This record on matrix BVP-005-RE had a deluxe b&w printed cover, two versions of which exist. The first one, with the group on stage, and a second one, with the Beatles in the field. The original stamper had a few reissues, with various labels (blank, Hohrweite and Stereophonie); a different version was released by Gotham Records in the early eighties: this retained the original cover, but replaced part of the new BBC tracks with other BBC material (already known) or with some Decca numbers. It was on matrix BVP-005. The counterpart of "YOUNGBLOOD" was released in late 1978 by Odd Records as "DEC. 63". This album copies side B of the Ruthless Rhymes production (a Liverpool live show) and adds four tracks from Saturday Club of December 26, 1964, previously unreleased. Apart from the poor audio quality, however, these are affected by overdubbed "live audience" screams, which make them completely useless. "DEC. 63" was repressed in 1982 by Modern Jazz Records as "FIRST U.S. SHOW" (a very imprecise title, as the record does not contain anything from the USA...).
In 1980 a tape with songs in excellent quality reached the producers, and the result was a series of astonishing releases. The first on is a 7" EP titled "FOUR BY THE BEATLES", by Hohrweite Stereophonie, matrix L-1453. This features 4 tracks from the July 16, 1963 Pop Go The Beatles, including some chat. Although three of these were already known to collectors, the audio quality here is excellent. This single, released in April 1980, had many repressings with various sleeves and, subsequently, with "BBC Transcription Service" labels, and was also copied by Gear Records on 2 single 7" discs. These tracks reappeared on an LP by the same producer, "BROADCASTS", matrix L-2087 NR 771 x 100. This record included 18 BBC numbers in excellent quality, in part unreleased. It was distributed in July 1980 on green or black "BBC Transcription Service" labels, deluxe full colour cover (which was later used for a picture disc produced by another manufacturer). As expected, this LP had a series of reissues in the eighties, including one on coloured vinyl by Box Top Records, and was copied by other manufacturers. Even today it should be considered as one of the most interesting Beatles bootlegs. A further release distributed in July 1980 by the same producer under the POD Records label was "ROUGH NOTES". This is a miscellaneous LP, which features 4 BBC songs, three of which were unreleased at the time (from March 30, 1964 From Us To You) and the other one is "I'll Be On My Way" in better, although not particularly good, quality. Its matrix is L-2408-SR-73941, and it was released with 2 different b/w laminated covers.
More than a year after these issues, a very important new LP appeared on the market, "SILVER DAYS (AIR TIME)" contained, besides a perfect copy of the Sweden October 24, 1963 concert, many songs from the BBC sessions, in excellent quality. Some of these tracks had already been known for more than 10 years, but here they sound almost perfect. This album was distributed in October 1981, matrix L-7198-MX 4729; on the cover it was credited to "Johnny and the Moondogs" (one of the Beatles' earlier names). Its first pressing had a blank label, the back cover had a sticker with track listing, and the front cover had a sticker with "AIR TIME" (hence it's common title). More issues were on the Subway Records label (although the cover says Warwick Records), lacking stickers. A few months later, in January 1982, another very important LP, "BEAUTIFUL DREAMER", was released in the USA (all these records were produced by the same manufacturers, under different names). This is the first album to contain tracks from the very early BBC appearances, for example the title song; it's on matrix L-8346-DH-9501 and has a nice full colour jacket. Another producer released "WONDERFUL PICTURE OF YOU" in May 1982, matrix SKI-5430, Circle Records. This is a 2-LP set, which, to a copy of an older record featuring some "Get Back" material, was added some BBC sampler tapes. Very interesting, previously unreleased songs are included, among which are tracks taken from their very first Teenagers Turn programme. The weak point is that these cuts were only in fragments, badly edited and partly off-speed. However, sound quality for a few of them has not been equalled yet.
In early 1982 the BBC (after suggestions by a Beatle fan) decided to prepare a memorial programme to commemorate the twentieth anniversary of the first Beatles BBC sessions. This was quite a difficult task, as only very few parts of the Beatles sessions had survived in the BBC archives. However, using these few programmes and some of the songs which had previously appeared on unofficial releases, the BBC could eventually manage a two-hour programme, which was aired on March 7, 1982. Needless to say, this show was immediately reproduced on a 2-LP set by "Radio Transcription Records", matrix CBB-20 released in June 1982. The BBC show was rearranged by American radio networks, with the addition of some tracks taken from the most recent LPs (in particular "BEAUTIFUL DREAMER" and "SILVER DAYS"). The programme, which was aired in U.S. between May 29 and 31, 1982, was used to produce a couple of LPs: "THE BEATLES BBC", by Dream Records, matrix L-9743-DR-36282 and "WITH LOVE FROM US TO YOU", by Oro Records, matrix L-10328-ORO-6365; both these LPs were released in July 1982. The second one also contained a poster, but, from a musical point of view, they obviously did not add anything new to our knowledge.
On December 27, 1982 BBC aired an expanded version of the Beatles special, with more songs chosen from among those left out in the first edition and included in the American ones, plus some of the material which was traded among collectors on tape (excerpts from the first BBC session of March 8, 1962, for example). This three-hour programme was rebroadcast in the U.S. in May 1983 and, as its preceding one, it was soon transcripted to unofficial records. The first one to appear was a 3-LP set titled "THE BEATLES AT THE BEEB" by (fake) London Wavelength Records, matrix AT THE BEEB A-H. It was released in July 1983 and was the direct transcription of the programme, including commercials. A slightly subsequent release by a different manufacturer was titled "THE BEATLES AT THE BEEB - THE STORY OF THEIR RADIO CAREER", again on (fake) London Wavelength Records labels. This had a better pressing and commercials were edited out; it was on matrix HOUR 1/2/3 and each record had a label of a different colour (red, green and blue). The original stampers were also used for a copy on picture disc, which was included in the 5-LP box "SO MUCH YOUNGER THEN", produced in 1985. A Japanese version, whose pressing is extremely good, is a 2-LP set, which did not include all the songs broadcast by the BBC and cut all the interviews and comments by the presenter of the show. This record is titled "BEATLES BROADCAST COLLECTION" and is on matrix BBC 1/2/3/4. At this point, collectors had a comparatively good representation of the BBC material available. Some compilations or copies of the aforementioned records started appearing, but all the sources were fragmentary. Even the BBC programmes failed to give comprehensive information, as obviously the producers of the memorials chose only the songs available in better quality of those of greater importance.
An essential addition to the collection of BBC tracks came in December 1984, with the release of "DIRECTLY FROM SANTA CLAUS, RARE UNRELEASED BEATLES TRACK", a now rare European picture disc which featured 18 songs as yet unreleased. All these songs were arranged in chronological order of original broadcast (except for a single mistaken attribution) and derived from some tapes which were traded at the time. Although sound quality was not always satisfying, this record gained an extraordinary importance for completists: until now, in fact, it contained tracks not available elsewhere on disc.
The most important series of Beatles BBC unofficial releases started in October 1986, when the first of 13 LPs with BBC sessions, titled "THE BEATLES AT THE BEEB - VOL. 1" to "VOL. 13", appeared. The tapes originating this series had long been preserved by a U.K. collector, who in the middle of the eighties traded them with some Dutch friends. The material was then given to a group of European producers who started the release of the records on the label "Beeb Transcription Records". The first 9 volumes were pressed in Europe, while the last four volumes, due to some problems which arose at the pressing plants, were produced in the USA at two different plants, one of which used noticeably worse vinyl. The absolute importance of this series is that it brings us an incredible amount of previously unreleased sessions, often including chats and announcements. Moreover, sound quality is in general very good, often excellent, and the liner notes (although excessively emphatic) give useful information. A few weak points however affected this production. First of all, some of the incomplete programmes could have been at least in part completed taking the available missing songs from already released sources. Some songs in poor quality could have been replaced with those available in better sound. Slight work with filters and equalizers on the original tapes could have increased the overall audio quality, which sometimes suffers from some hiss or is not equalized. Unfortunately, the tapes start from 1963, thus all the first BBC sessions are missing (and probably many of them are lost forever). The series ended with Vol. 13 in December 1988. These LPs were in part copied in the USA as 2-LP sets, and a few of them also had an issue on coloured vinyl. Starting from 1989, the complete series was transferred onto CD by the European producers Pyramid Records. All these CDs appeared with a stock sleeve saying "RADIOACTIVE", to which some US and European distributors added a reduced copy of the original LP covers. When it was clear that the "BEATLES AT THE BEEB" producers did not own the tapes of the first programmes, some European and U.S. manufacturers (not directly related to the "BEEB" producers) pressed a further record, which included these missing sessions. The first one to appear was "MEET THE BEEB", released in April 1988, on matrix 800, designed to look like number 0 of the "BEEB" series. It was a European record, of much worse sound quality than the tapes from which it was derived. Of course, all the material was unreleased at the time, so this record was nevertheless quite interesting.
An American attempt with a slightly more complete track listing was released in summer 1988. It was titled "THE BEATLES AT THE BEEB WITH PETE BEST", by Drexel Records, matrix L-31 1 23-BEEB 6263 (the lacquers of the "BEEB" volumes 10 and 11 were produced at the same plant). This time the tapes were of better quality, but the release is ruined by a very hissy and noisy pressing. The third attempt, and the worst of all, was released by Tiger Beat Records in December 1988 (this label also pressed the last two "BEEB" volumes). They included on "THE LOST BEEBS", matrix TBR LP-2, also tracks missing from the "BEEB" series: these were taken from "YELLOW MATTER CUSTARD", but sound was awfully distorted, worse than on the original 1971 record! With these releases, nearly all the surviving BBC sessions were published. The BBC itself acquired the "BEEB" series and produced a new 14-episode memorial series, including also a few other sessions which meanwhile had surfaced from their archives; this programme was broadcast in the U.K. from October 1 to December 31, 1988, and, in a somewhat different version, in the USA in the next year. Lots of compilations were derived from these releases of BBC programmes. Among these, the most interesting are the Swingin' Pig 3-LP/2-CD sets "FROM US TO YOU" and the Japanese 2-CD set "THE BEATLES ON BBC". In 1992 a 9-CD series appeared in Europe, claiming to be the complete BBC catalogue ("THE BBC BEATLES: COMPLETE CATALOGUE VOL. 1-9"). However, this was simply produced by adding "AT THE BEEB WITH PETE BEST" to the "Pyramid" CDs, and mastering the programmes according to the broadcast date; the tracks missing from the Pyramid CDs have not been added, and those incomplete or in poorer quality have not been replaced with the ones available in better sound.
The 9-CD set which we have produced should represent the definitive collection of the Beatles' BBC Sessions now available, chronologically arranged, and in the best sound quality. Enjoy listening to the Beatles at the Beeb and...
STAY TUNED!
THE BEATLES LIVE AT THE BBC - COMPILING THE 'LOST' TAPES
Down in the BBC vaults, we were told, they had stumbled upon golden tapes containing long lost recordings of the Beatles' radio performances. It was hailed as the greatest and most fortuitous discovery since the unearthing of Tutankhamun's tomb, but then RICHARD BUSKIN,intrepid reporter, got on the case and spoke to BBC Radio producer Kevin Howlett and Abbey Road Studios engineer, Peter Mew. The truth, he learned, differed somewhat from the hype.
Well, well, well, here we go again! What is it about publicity and press hacks that compels them, every timesome legendary, previously-unreleased material is unleashed on the general public, to summon up images of said tapes being discovered down in the vaults? For one thing, just how many record companies do, in fact, have these mysterious - and, no doubt, cobweb-infested - underground storage chambers; and secondly, are we to assume that there are regularly exploratory expeditions undertaken in order to seek out even more of this hidden treasure? You can just imagine the scene..... Indiana Jones, eat your heart out!
Indeed, in the case of the recently released Beatles radio sessions, we were informed by news reports on the BBC itself that the vaults in which
the tapes were actually 'dust-encrusted', which doesn't say too much for the work of the BBC archivists. Furthermore the tapes were miraculously
all found to be in pristine condition, and they contained songs which nobody could recall the Beatles ever performing. Well, to all this I will
say just one thing - and, being my usual diplomatic self, I will do so in a typically restrained manner - what a pile of tosh.
Of the 275 Beatles recordings broadcast by the BBC between March 8, 1962 and June 7, 1965, various were in fact re-broadcast by the network in a two hour special entitled The Beatles At The Beeb in 1982. A three hour version was subsequently syndicated in other countries, and in 1988, there was a series of 14 half hour shows entitled The Beeb's Lost Beatles Tapes. What is more, the fans have had bootleg recordings of many of these sessions since the early 1970's. during the past year, an Italian company has even put out a nine CD boxed set containing every single number the band committed to tape in the BBC studios. The only reason for the delay was the protracted legal wrangling between the BBC, EMI Records (to whom the Beatles were contracted from 1962 onwards), and the group's own company Apple Corp. So let's not talk about the mass rediscovery of long lost masters.
DISCOVERING THE TOMB
Kevin Howlett, a senior producer at BBC Radio 1, wrote the sleeve notes for the new album, The Beatles, Live At The BBC, having previously
re-engineered - and acted as a conduit in the location of - much of the material that was used for the 1982 and 1988 re-broadcasts.
"At the press launch for the album, the first question I was asked was whether it was like discovering Tutankhamen's tomb," he says. "So I
replied that the material was very exciting and that I therefore suppose you could use that analogy if you want to. That was a mistake, however,
because the reporter then quoted me as asserting, 'it was like discovering Tutankhamun's tomb!' I should have been wise to his little ploy, because in truth I feel that the material is much more a time capsule that enables you to travel back and rediscover where BBC Radio was at in the mid 1960's.
Such is the case for Howlett himself whose own time at the beeb commenced quite a few years later. "I was just a child listening at home to this stuff - a beatle baby," he says. Nevertheless, while researching the sessions he did talk to numerous people who had worked on them, and
from what they said, he deduced that, during the early to mid 60's, there had actually been a conscious decision among the BBc hierarchy to
dispose of all the material.
"I spoke to Jeff Griffin who was here at the BBC, and he recalled a particular Head Of Department saying, 'This material is taking up too much
room. we've got to get rid of it!' Today that may seem ludicrous, especially as Radio 1 has its own archive and we hang on to all our
sessions. In fairness, there was so much live recording done in those days - because there weren't all that many records being played - that if they had kept absolutely everything, it would have got completely out of control. I mean. you didn't really need to keep the Northern Dance
Orchestra performing Singing The Blues for the fifteenth time or whatever.
"On the other hand, The Beatles had certainly become a phenomenon within a very short space of time, and so you would have though that somebody would have though that somebody would have considered the recordings worth hanging onto for posterity. There again, I've also heard that the contracts made with performing artists back then contained a clause stating that session tapes should be destroyed after three months; possibly a Musicians Union rule that its members would then be required to return and make further recordings.
Nevertheless in spite of all the rules and regulations, some employees fortunately did have the foresight todisregard them, albeit that the task
of tracking down and collating these remnants was anything but straightforward for Howlett and his colleagues. The beeb, you see, is a large corporate body with numerous arms that reach out to both the domestic and overseas markets, and as a result, it has several different archives in a variety of locations.
BACK TO THE ARCHIVE
"Over the years, it's been a process of putting the Beatles archive back together really, as more and more stuff has come to light," says Howlett.
"For the series The Beeb's Lost Beatles Tapes, which included a lot of speech interviews from the timew as well as the tracks, we turned up quite a few things. One of the most exciting finds came from the BBC Transcription Department, which was originally set up to distribute
programmes to far flung corners of the British Empire."
During the 1960's, there was a radio show called Top Of The Pops - not to be confused with the television programme of the same name - hosted by Brian Matthew. This fitted onto two sides of a long playing disc and it featured Matthew presenting session tracks that had been recorded for various BBC programmes by groups such as the Hollie, The Swinging Blue Jeans.... and The Beatles.
"The transcription discs were utilised as the source for some of the 1964 material on the Live At The BBC album," explains Howlett. "On 'Things
We Said Today', for instance, you can hear Brian Matthew voicing-over some sort of introduction, and that's actually taken from a Top Of The Pops disc, because the original version without the voice-over doesn't exist.
"There can be no doubt that the shows were well recorded at the time. So it's just a question as to how well the material has lasted over the years and in what form. I can remeber George Martin (the album's Executive Producer) saying to me that a disc is quite a good storage medium and that he was quite happy to master from it. In fact when I was working on a series called Paul Simon's Songbook a few years ago I talked to (producer) Roy Halee about his re-mastering of the Simon and Garfunkel material and how the original master tapes were in a bad condition, having been played over and over again and not looked after. he was appalled at the state they were in, and said, 'if only they could find me a decent mintcopy of 'Bridge Over Troubled Water', at least I would be able to master from that!"
So much for disc storage, yet within the BBC Transcription Department there is also a tape library, and it is here that the most exciting find was made for the 1988 series The Beeb's Lost Beatles Tapes. "We came across two ten-inch reels with 'The Beatles' on the spine," recalls
Howlett. "One of these was a half-hour reel featuring them larking around for the '65 Christmas Show, (an edition of Saturday Club on which the
group did not perform any songs). They were being interviewed by Brian Matthew and doing a send up of (the then influential TV pop show) Juke Box Jury, and obviously another version was eventually edited down from this.
"At the same time, the other half-hour reel was similar in that it had been left running while the session was in process, but it also included
them performing 'I Feel Fine' and 'She's A Woman'. It had false starts, takes which broke down half-way through, and talkback between the group and the control room. It was fascinating, and that was quite a find, because it's sort of a pre-master really. From it, a master would have
been made - a track would have been dubbed down, edited or whatever".
It's wierd how some things turn up. For instance, I've done a programme about the Rolling Stones' work at the Beeb. Some of their sessions are
still missing, but one of those that is still around is probably the most interseting of all. In 1964, they performed tracks in front of a live audience that they never recorded for Decca. it was an experimantel stereo broadcast for the BBC, whereby they would broadcast one side of the stereo
on the radio and the other side on the television (ie. stereophony). Then there were no television programmes in the early morning, and so they
broadcast one side of the stereo on TV only and you would have to position your radio and your TV to get the stereo image! Now, that tape survived because it was of interest technically. You know, some engineer kept it because it was one of the first stereo broadcasts and not particularly because it featured the Rolling Stones".
ALTERNATIVE SOURCES
Meanwhile, with regard to The Beatles' radio performances, contact with the original session producers yielded some more tapes, but there were still quite a few gaps to be filled. It was for this reason that contact also had to be made with some.... ahem, 'alternative sources'. Indeed,
since the transmission of the 1988 series, the most recent and valuable discovery has been a recording that a member of the public made off his radio back on January 26, 1963. Now it should be pointed out that this kind of practice was, of course, highly illegal, but in the case of The
Beatles sessions, the BBC have had to behavein a manner which could more aptly be described as bloody grateful rather than terribly annoyed, for it is thanks to some eager listeners - and not the hallowed vaults - that certain lost gems have been retreived.
"The 1988 radio series was virtually completed just before it went out on the air", says Howlett, "but then when it did go out, some people
phoned up and said that they has more tapes. Out of all of them one appeared to actually have some stuff that we didn't have, recorded all
those years ago on his little Grundig. While it was too late for the series, I nevertheless kept his letter on file and got back in touch with
him when this album project was imminent. he journeyed down to London with his five-inch reels, we went through them, and that's how 'Keep Your Hands Off My Baby' appeared on the album".
Certainly, a good number of shows were originally broadcast by the BBC in what was then known as VHF, and so, if someone had a half-decent
domestic tape recorder and took a direct feed from his radio, the result of his or her endeavours could well be usable, especially with the digital
technology now available to clean up such recordings. Peter Mew has been utilising the SonicSolutions computer enhancement system for the past 5 years at Abbey Road. He first became involved in the Beatles project when work on the album started in earnest around the middle of 1992.
SONIC ENHANCEMENT
"After George Martin had chosen the tracks that would go on the record, they were passed over to me for de-noising, EQing, and all the rest of
it," he says. "Over the peiod of two and a half years, the album went through various changes - running order changes, title changes and things
like that. At each stage I had to re-edit and make adjustments, so that it still sounded OK. In fact, overall it must have gone through seven
different versions, and so I can now sing almost every song off by heart!
The masters that the BBC had were in pretty reasonable shape, and they therefore needed much the same treatment that old studio tapes would need. From there, however, things went down the scale in terms of sound quality and some items required a lot more work. Coming from so many different sources, each track had its own problems, and so it wasn't like a normal studio job where you had a number of studio reductions which basically required noise reduction. Everything had to be approached as a separate entity, and then, having done that, it was a matter of trying to get continuity of sound, and that worked in some cases and probably not in others!"
Undoubtedly, the greatest attraction of the 56 song Live At The BBC album is the 30 numbers which the band never recorded; mostly old
rock'n'roll covers from thier Hamburg and Cavern Club days, as well as a few contemporary hits and even one of their own compositions, 'I'll Be On My Way', which was a hit for Billy J. Kramer with the Dakotas. Again, as with Little Eva's 'Keep Your Hands Off My Baby', several of these
performances returned the BBC's way courtesy of private recordings, yet in a good number of cases they also came from the Transcription Library at Kensington House, but from Bush House, where the World Service programmes are broadcast.
"The show, Pop Go The Beatles, was broadcast in the summer of 1963 on the domestic service," explains Kevin Howlett. "It featured a guest group and and a presenter and The Beatles reading requests, but it was then re-made for the BBC World Service and put out in '64 featuring just the songs and an announcer, and so that material went over to Bush House. Now, somebody over there made a tape of the more unusual songs, and due to this I was able to get hold of some of the most interesting tracks".
Still, there are half a dozen Beatles performances of 'unreleased' numbers which George Martin deemed as unsuitable for the album: Roy
Orbisin's 'Dream Baby (How Long Must I Dream)', from their very first radio broadcast on March 8, 1962 (featuring Pete Best on drums); The
Coasters' arrangement of 'Besame Mucho' and Joe Brown's 'A Picture Of You', both from June 15, 1962 (still with Best on drums); Slim Whitman's 'Beautiful Dreamer' from January 26, 1963; Chuck Berry's 'I'm Talking About You' from March 16, 1963; and Carl Perkins' 'Lend Me your Comb' from the broadcat of July 16, 1963.
Of these, the first five are audibly much too poor to bring up to scratch for the album - listeners' recordings that were evidently not made
via direct feed into a good quality grundig, but rather with a cheap microphone placed next to the radio speaker while Mum was told to be
quiet. In other words, items of historic importance that are not quite fit for general public consumption. yet the reason for omitting 'Lend Me Your
Comb', which originates from the BBC's Bush House archive, is altogether less obvious.
Officially George Martin's selection criteria for the material involved both technical quality and the standard of the performance, and on the
latter count the number just missed the mark. Unofficially, the powers that be may also wish to keep something in the can, and thus have somthing in reserve to use as a 'bonus track' enticement for some future release along with all of the alternate takes.
DROPOUTS AND MAGIC WANDS
"The Roling Stones only did about 12 sessions, and so the fact that The Beatles did 52 is absolutely phenomenal", says Kevin Howlett. "They really worked at it, and of course, they were playing live in the studio, although by '64 they did get a bit more sophisticated. They certainly
didn't have a multitrack machine at their disposal. The first multitrack to come into the BBC was an eight-track, and that was a very long time
after The Beatles had stopped doing sessions here. So, the only way that they could overdub was to put down a backing track and then play the tape back through the mixing desk and perform over the top of it. You can occasionally hear examples of this on some of their '64 recordings.
30 years later one of the problems which peter mew had to deal with, especially when working on some of the rarer recordings, was that of sound dropouts. For, whilst he was able to repair most of them, a close listen to the album indicates that there were still a few instances wher this was just not possible.
"The art, if you like, of using computer editing systems these days is that they allow you to take very small slithers of sound from elsewhere
and patch them in, much like you would with a painting," mew explains. "But if you can't find a matching piece of sound from somewhere else in
the song, then you just can't do it, because you obviously don't want to apply any new paint!
On 'A Taste Of Honey', for instance, there's an analogue dropout that has bugged me from the word go, but I couldn't do anything about it,
because that piece of sound wasn't repeated anywhere else in the song. I also couldn't boost it, because it's not a particular level that drops for
a particular length of time; it might drop a little bit here and then go up and down, and it's too long to restore using the click removal devices,
which work on several milliseconds of sound. This dropout lasts for perhaps half a second and so you can't use the computer.
So, at the end of the day, contrary to what some people think, the Sonic Solutions system is not a magic wand. It's a piece of technology, and if
you've got absolute garbage going in, then you'll have something better than absolute garbage coming out, but it ain't going to be perfect".
Anyway, in the case of The Beatles, Live At The BBC album, who really cares? This is vintage stuff and it serves to remind one that, in the
final analysis, musical content is of far more importance to the average listener than sheer sonic quality.
SPOTTING TALENT
Brian Willey produced the December 4, 1962 and January 29, 1963 editions of The Talent Spot on which the Beatles first performed before a live audience. The first of these, recorded on November 27, 1962 at the BBC's Paris Theatre in Central London, featured the soon-to-be fab Four at the bottom of a star spangled bill comprising The Ted Taylor Four, Mark Tracey, Elkie Brooks, and Frank Kelly. Still, it served as a showcase for new talent and broke the mould in as much as no audition was required. In effect, therefore, it was like a broadcast audition.
Willey now recalls that after the first show, Brian Epstein, the Beatles' manager, "asked me, 'Do you like them?' and I said 'Well, they're
rough, but they entertain me.' Bearing in mind that it was a live broadcast, a one-take job, they didn't do too badly. Epstein then asked me
if I would have them back on the show. I said 'Yes', and by the time that happened, a few weeks later, they had already climbed the charts, and in
fact, made a hell of a difference to my audience. This usually consisted of about 30 or 40 people, and now, suddenly, hundreds were packing the
Paris and queueing outside on the street".
Full-scale Beatlemania was looming just ahead and the band's phenomenal rise to superstardom was underway. Yet it is only with hindsight that
those who were involved in this story can fully appreciate the significance of what they took part in all those years ago. "Looking back
they were great days", says Brian Willey, "but at the time, I was just doing a job, and I'm sure that none of us ever thought we were making a
mark on history.
Oh well, back to the vaults...
March 7th, 1962
TEENAGERS TURN (HERE WE GO)
The Playhouse Theatre, St. John's Road, Manchester
RECORDED: 07 March, 1962, 8:00 - 8:45 p.m.
TRANSMITTED: 08 March, 1962, 5:00 - 5:29 p.m.
ANNOUNCER: Ray Peters
PRODUCER: Peter Pilbeam
1. MEMPHIS, TENNESSEE BBC.01.01
2. DREAM BABY BBC.01.02
3. PLEASE MR. POSTMAN BBC.01.03
Here We Go was a programme recorded before a live audience, and the Beatles took part in five shows. This is an absolutely essential session: their first radio broadcast, the first live show which has been preserved, the only Beatles recording of "Dream Baby", and the only live perfomances of "Memphis" and "Please Mr. Postman". Also, it is one of the very few available shows with Pete Best on drums.
The group's successful February 12 audition for the show's producer, Peter Pilbeam, consisted of two Lennon-McCartney songs, "Hello Little Girl" and "Like Dreamers Do", along with "Till There Was You" and "Memphis". Of these, only the last song was played again for their first broadcast.
THE SONGS
1. "Hello Little Girl" is a well-known Lennon-McCartney composition, which was played during their Decca audition on January 1, 1962. It is really a pity that it has not been transmitted, as we do not have other performances of this song (other than a 1969 tape).
2. "Memphis, Tennessee" was first released by Chuck Berry in July 1959 and had plenty of cover versions. The Beatles performed it during the Decca audience and five times at the BBC but never released it officially. All these versions closely match Chuck Berry's original recording. Lead vocalist: John
3. "Dream Baby". The original version had been released by Roy Orbison only one month before and was doing very well in the American charts. Paul takes the lead in this Beatles cover (which however cannot compete with Orbison's original take!).
4. "Please Mr. Postman". It was first recorded by the American group The Marvelettes in 1961. The version from this show is quite interesting for two reasons: it precedes its official release by one year, and it is the only live version (the other two BBC appearances were taped in the studio in 1963 and 1964). The Beatles' arrangement is already almost identical to the released one, however, it is more rock 'n' roll than the original record. Lead vocalist: John.
THE SOUND
Purple Chick's previously unbooted tape (and the releases that copied it) sounds much better than other releases.
June 11th 1962
HERE WE GO
The Playhouse Theatre, Manchester
RECORDED: 11 June, 1962, 8:45 - 9:30 p.m.
TRANSMITTED: 15 June, 1962, 5:00 - 5:29 p.m.
ANNOUNCER: Ray Peters
PRODUCER: Peter Pilbeam
1. 1. LOVE ME DO
2. A TASTE OF HONEY BBC.03.02
3. P.S. I LOVE YOU
4. SHEILA (not broadcast)
The last available recording with Pete Best on drums.
THE SONGS
1. "Ask Me Why". This live version predates the Star Club one by six months and the officially released version by seven. It is the first available version, although very similar to later ones. Played 4 times at the BBC.
2. "Besame Mucho". One of the Beatles' favourite "classic" songs. They performed it in their live act during 1961-62, they played it at their Decca audition and their initial Parlophone session (with Pete Best), and it was revived in 1969 and is shown in the film "Let It Be" , although this is the only BBC rendition. The Beatles' version is probably derived from the Coaster cover which had good success in 1960. Lead vocalist: Paul.
3. "A Picture Of You". The only Beatles recording of this song, which was a hit by Joe Brown and the Bruvvers and had just entered the charts. George's first lead vocal at the BBC.
THE SOUND
Purple Chick's previously unbooted tape (and the releases that copied it) sounds much better than other releases.
October 25th, 1962
HERE WE GO
The Playhouse Theatre, Manchester
RECORDED: 25 October, 1962, 8:00 - 8:45 p.m.
TRANSMITTED: 26 October, 1962, 5:00 - 5:29 p.m.
ANNOUNCER: Ray Peters
PRODUCER: Peter Pilbeam
1. 1. LOVE ME DO
2. A TASTE OF HONEY BBC.03.02
3. P.S. I LOVE YOU
4. SHEILA (not broadcast)
Broadcast 26 October 1962 on "Here We Go". This recording has often been identified as coming from the TV show "People And Places", but I disagree due to the audience noise and electric guitars which clash with Lewisohn's description of that TV appearance (no audience, and acoustics).
This show was taped before a live audience. It was Ringo's first BBC session and the only live appearance of "P.S. I Love You". "A Taste Of Honey" predates its official release by a few months. During this session the Beatles also played their unique BBC version of "Sheila", which unfortunately was not aired. A Beatles cover of this song is available on the Hamburg Star Club record.
THE SOUND
The Artifacts tape is a little longer at the end, so it has been edited onto Yellow Dog's ever-so-slightly better quality version.
December 4th, 1963
THE TALENT SPOT
The Playhouse Theatre, Manchester
RECORDED: 27 November, 1962, 7:00 - 8:00 p.m.
TRANSMITTED: 04 December,1962, 5:00 - 5:29 p.m.
ANNOUNCER: Gary Marshal
PRODUCER: Brian Willey
1. LOVE ME DO
2. P.S. I LOVE YOU
3. TWIST AND SHOUT
Not currently available. Here the Beatles were
promoting their first single release. "Twist And Shout" appears
for the first of its 9 BBC performances and predates its
commercial release by four months.
January 16th, 1963
HERE WE GO
The Playhouse Theatre, Manchester
RECORDED: 16 January, 1963, 8:00 - 8:45 p.m.
TRANSMITTED: 25 January, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Ray Peters
PRODUCER: Peter Pilbeam
1. CHAINS BBC.05.01
2. PLEASE PLEASE ME BBC.05.02
3. ASK ME WHY BBC.05.03
4. THREE COOL CATS (not broadcast)
A recently rediscovered program. This show presented the first BBC appearance of "Chains" (perfomed three more times.) "Three Cool Cats"
unfortunately was not broadcast. The Beatles were obviously promoting their single "Please Please Me"/"Ask Me Why" which had just been released.
THE SOUND
Yellow Dog was the first release of this long-circulating show.
January 22nd, 1963
SATURDAY CLUB
The Playhouse Theatre, Northumberland Avenue, London WC2
RECORDED: 22 January, 1963, 4:00 - 5:00 p.m.
TRANSMITTED: 26 January, 1963, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCER: Jimmy Grant
1. SOME OTHER GUY BBC.06.01
2. LOVE ME DO BBC.06.02
3. PLEASE PLEASE ME BBC.06.03
4. KEEP YOUR HANDS OFF MY BABY BBC.06.04
5. BEAUTIFUL DREAMER BBC.06.05
The first of ten appearances on Saturday Club. This programme was set up in 1958, offering a mix of pop, jazz,country, and rock. Being the only chance to hear this kind of music on the BBC, it soon gained great popularity in Great Britain and was an essential promotional medium for any artist. The Beatles took this opportunity to present their brand-new single, "Please Please Me", together with their first one.
Only fragments of 'Please Please Me' are currently available - but the whole song exists and hopefully will surface shortly.
THE SONGS:
1. "Some Other Guy".
This song was recorded by Ritchie Barrett in May 1962 and quickly became a favourite of many groups. A very famous Beatles live version was filmed at the Cavern Club on August 22, 1962. The group presented this song at the BBC three times. Lead vocalist: John.
4. "Keep Your Hands Off My Baby".
This Goffin-King song was released in 1962 by Little Eva, and this is the only Beatles version known to exist. Lead vocalist: John.
5. "Beautiful Dreamer". An old song written in the second half of the nineteenth century by Stephen Foster, which had other versions by Bing Crosby and Al Jolson. It became very famous in the fifties, and the Beatles probably learned their rock 'n' roll arrangement during their time in Hamburg. It was recorded there by fellow Liverpudlians, the Searchers, who released their version later in 1963. It is the Beatles' only known recorded performance. Lead vocalist: Paul.
THE SOUND
We stuck with the original Purple Chick presentation of this show - using our previously unbooted upgrade along with BBC Trailer's "Love Me Do". Then we added a few previously unheard fragments of Please Please Me, taken from the full song which exists (alas, the rest of the show apparently does not survive in this quality)
January 29th, 1963
THE TALENT SPOT
BBC Paris Theatre, London
RECORDED: 22 January, 1963, 8:45 - 9:30 p.m.
TRANSMITTED: 29 January, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Gary Marshal
PRODUCER: Brian Willey
1. PLEASE PLEASE ME
2. ASK ME WHY BBC.07.02
3. SOME OTHER GUY
A recently rediscovered song.
THE SOUND
Yellow Dog was the first release of this long-circulating show.
February 20th, 1963
PARADE OF THE POPS
The Playhouse Theatre, London
TRANSMITTED. live: 20 February, 1963, 12:31 - 1:30 p.m.
ANNOUNCER: Denny Piercy
PRODUCER: John Kingdon
1. LOVE ME DO
2. PLEASE PLEASE ME
Not currently available. A live show (the Beatles' first for the BBC) where the group was promoting their records
March 6th, 1963
HERE WE GO
The Playhouse Theatre, Manchester
RECORDED: 06 March, 1963, 8:00 - 8:45 p.m
TRANSMITTED: 12 March, 1963, 5:00 - 5:29 p.m.
ANNOUNCER:Ray Peters
PRODUCER: Peter Pilbeam
1. MISERY BBC.09.01
2. DO YOU WANT TO KNOW A SECRET BBC.09.02
3. PLEASE PLEASE ME BBC.09.03
4. I SAW HER STANDING THERE (not broadcast)
The Beatles' last appearance on Here We Go. This show features the only live performance of track 2.
THE SOUND
We used Yellow Dog's version, which is probably just a different eq of Great Dane's tape.
Here We Go was normally broadcast on Fridays, but for some reason this show was broadcast on a Tuesday. This was the Beatles' fifth and final appearance on the show, but host Ray Peters incorrectly refers to it as their fourth. Brian Epstein later cancelled three appearances scheduled for June and July. The series was originally titled Teenagers Turn: Here We Go and was the show on which the Beatles made their radio debut in March 1962.
The Beatles also recorded I Saw Her Standing There for this particular show, but it was edited from the final broadcast. This was the first time that the public got to hear Do You Want To Know A Secret and Misery as the Beatles' debut LP wouldn't be released until 22 March - on the same day that Kenny Lynch released Misery. His was the first cover version, while Billy J. Kramer & the Dakotas' version of Do You Want To Know A Secret would be released in April.
This show was recorded three days before the beginning of their U.K. tour, opening for Tommy Roe and Chris Montez. The single version of Please Please Me had just topped the New Musical Express chart, hence the reference in Ray Peters' introduction, although this wasn't the chart which the BBC normally used.
Here We Go's house band was the Northern Dance Orchestra, aka the NDO, one of several bands employed by the BBC to fulfil a long-held agreement with the Musicians Union. Bands like the NDO, the Midlands Dance Orchestra, etc., were Musicians Union members and had to be employed to fulfil the BBC commitment to "live" music. It was because of this agreement that bands like the Beatles were booked to play live. A certain amount of "live" music time had to be alloted to counter the then-growing amount of time given over to the playing of records, so-called "needle time" in radio parlance. Hence, some shows like Here We Go, Pop Go The Beatles, and others were entirely live with no records played, while Saturday Club and Top Gear were a mixture of records and pre-recorded live sessions. Radio Luxembourg and the pirate stations (which appeared in 1964) had no such agreement with the Musicians Union and just played records.
The Trad Lads may have been another Musicians Union member band, specially formed for the purposes of radio work on the BBC. However, a group called the Trad Grads recorded for Decca in 1963. Ben Richmond recorded two songs for Pye's Piccadilly label in 1963. Warmed Over Kisses was not one of them.
About the survival of this particular tape
This show survives only because one of the evening's performers taped it directly off of FM radio onto a domestic tape recorder (which explains the superb sound quality). The 13'46" worth of Here We Go featuring the Beatles' three songs was buried in the middle of nearly three hours' worth of recordings of children playing, a few other minor off-air recordings, and the like. The original tape - believed to be in the possession of the original taper - is complete as reproduced here, but it is shedding oxide and was poorly spooled. Additionally, it was recorded as four mono tracks to get the maximum recording time, so it is impossible to play back on most conventional domestic open-reel decks.
The tape was salvaged by a recording expert in the UK, who transferred it onto analogue cassette while performing some minor tweaking. All that was done after this transfer was to feed the recording through No-Noise and Sonic Solutions to eliminate the prominent hiss, while a touch of boost was added to the drums. Unlike most Beatles' BBC sessions, this recording comes directly off an original open-reel copy, via a single generation of professionally recorded cassette without Dolby noise reduction. As such, you are hearing a fourth-generation-from-source recording (two analogic and two digital generations), which is closer to source than most commercial recordings. Any minor drop-outs are due to the age of the original open-reel tape; however, whenever possible these were edited.
This recording came to light just after the release of Great Dane's 9CD box set, in the Spring of 1994, and was donated to Great Dane to help complete the saga of the Beatles at the BBC.
Great Dane Records is proud to offer this exceptional tape to all Beatles fans and collectors, and also wishes to express sincere thanks to the owner of the original tape for having made this possible. Enjoy and ... stay tuned!!!
March 16th, 1963
SATURDAY CLUB
Studio 3A, Broadcasting House, Portland Place, London W1
TRANSMITTED live: 16 March,1963, 10:00 a.m. - 12:00p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. I SAW HER STANDING THERE BBC.10.01
2. MISERY BBC.10.02
3. TOO MUCH MONKEY BUSINESS BBC.10.03
4. I'M TALKING ABOUT YOU BBC.10.04
5. PLEASE PLEASE ME BBC.10.05
6. THE HIPPY HIPPY SHAKE BBC.10.06
This show was broadcast live, a rarity for Saturday Club, because one of the Beatles had a severe cold the day the recording was scheduled. Although it predates the release of their first LP by just one week , the group only played three cuts from it, the remaining songs being rock classics.
THE SONGS
3. "Too Much Monkey Business". A Chuck Berry number originally released in 1956. The Beatles presented it four times on the BBC, always in a powerful arrangement. Lead vocalist: John.
4. "I'm Talking About You". The only BBC recording of another Berry song, originally released in 1961; also played by the Beatles in Hamburg. Lead vocalist: John.
6. "The Hippy Hippy Shake". Originally released by Chan Romero in 1959, it soon became a Beatles favourite: it was taped in Hamburg and played 5 times during the BBC shows. Lead vocalist: Paul.
THE SOUND
Here's a dilemma. Purple Chick's unbooted tape sounds significantly better, but there's significant interference here and there. Yellow Dog's tape sounds a little worse but has no interference. We tried editing them together, but that just wasn't working. So most of this show comes from Yellow Dog. We edited on the very beginning of "I Saw Her Standing There" from Purple Chick's tape as it was missing from Yellow Dog's. Also, we chose the Deflating The Mythology version of "I'm Talking About You" and added an unbooted tape to top and tail the ends.
March 28th, 1963
ON THE SCENE
Number 1 Studio, BBC Piccadilly Theatre, Denman Street, London W1
TRANSMITTED live: 16 March,1963, 10:00 a.m. - 12:00p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. MISERY
3. DO YOU WANT TO KNOW A SECRET
5. PLEASE PLEASE ME
A typical short (and currently unavailable) appearance to promote their records.
April 3rd, 1963
EASY BEAT
The Playhouse Theatre, London
RECORDED: 03 April, 1963, 8:30 - 9:45 p.m.
TRANSMITTED: 07 April, 1963, 10:31 - 11:30 a.m.
ANNOUNCER: Brian Matthew
PRODUCER: Ron Belchier
1. PLEASE PLEASE ME
2. MISERY
3. FROM ME TO YOU BBC.12.03
Only track 3 is available, although it is possible that also the other two numbers are in the hands of some Beatles collectors. It was taped in front of a live audience, thus it features the only live appearance of "Misery".
THE SOUND
Yellow Dog's tape is a tremendous improvement on previous releases.
April 18th, 1963
SWINGIN' SOUND
The Royal Albert Hall, Kensington Gore, London SW7
TX. live: 18 April, 1963, 9:10 - 10:15 p.m.
ANNOUNCERS: George Melly & Rolf Harris
PRODUCERS: Terry Henebery & Ron Belchier
1. TWIST AND SHOUT BBC.13.01
2. FROM ME TO YOU BBC.13.02
The group's only appearance in the live concerts from the Royal Albert Hall broadcast by the BBC in 1963.
THE SOUND
Although Yellow Dog's tape is much better than before, the very beginning is missing, so we edited that in from Great Dane.
April 22, 1963
SIDE BY SIDE
Number 1 Studio, BBC Piccadilly Theatre, London
REC.: 01 April, 1963, 2:30 - 6:30 p.m.
TX.: 22 April, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: John Dunn
PRODUCER: Bryant Marriott
1. SIDE BY SIDE
2. I SAW HER STANDING THERE
3. DO YOU WANT TO KNOW A SECRET
4. BABY IT'S YOU
5. PLEASE PLEASE ME
6. FROM ME TO YOU
7. MISERY
The first appearance on Side By Side, where the Fab Four only promoted tracks from their first releases. Currently not available. See also the notes for the second show (listed next), which was recorded the same day.
April 1st, 1963
SIDE BY SIDE
Number 1 Studio, BBC Piccadilly Theatre, London
RECORDED: 01 April, 1963, 6:30 - 10:30 p.m.
TRANSMITTED: 13 May, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: John Dunn
PRODUCER: Bryant Marriott
1. SIDE BY SIDE BBC.15.01
2. FROM ME TO YOU
3. LONG TALL SALLY BBC.15.03
4. A TASTE OF HONEY BBC.15.04
5. CHAINS BBC.15.05
6. THANK YOU GIRL BBC.15.06
7. BOYS BBC.15.07
The title track was played by the Karl Denver Trio, with John and Paul adding their vocals to Karl Denver's. The backing track was used for all three of the Beatles' appearances, with a different voice-over by John Dunn. All the songs here included, with the exclusion of "Long Tall Sally", had already been released. These versions are played in arrangements nearly identical to the released ones.
THE SONGS
3. "Long Tall Sally". This version predates the official version, which was recorded in February 1964, by nearly one year. It is quite interesting as its arrangement is clearly distinct from the released one, particularly in the rockabilly guitar solos. Lead vocalist: Paul.
5. "Chains". Released in late 1962 by the American group The Cookies, it was clearly one of the Beatles favourites. They not only included it on their first LP but also performed it four times at the BBC, starting with Here We Go, January 25, 1963. 'From Me To You' is currently unavailable.
THE SOUND
Yellow Dog's tape is a little better, except for their glitch in "Long Tall Sally". We fixed that using Great Dane.
May 21st, 1963
SATURDAY CLUB + STEPPIN' OUT
The Playhouse Theatre, London
SATURDAY CLUB
RECORDED: 21 May, 1963, 5:30 - 6:30 p.m.
TRANSMITTED: 25 May, 1963, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. I SAW HER STANDING THERE BBC.16.01
2. DO YOU WANT TO KNOW A SECRET BBC.16.02
3. BOYS BBC.16.03
4. LONG TALL SALLY BBC.16.04
5. FROM ME TO YOU BBC.16.05
6. MONEY (THAT'S WHAT I WANT) BBC.16.06
Their third Saturday Club appearance features songs from their first LP, plus two tracks, "Long Tall Sally" and "Money (That's What I Want)", which appeared on a Beatles disc only in November 1963.
THE SONGS
6. "Money (That's What I Want)". The first hit for Motown, by Barrett Strong in 1960, and one of the classic numbers in the Beatles' repertoire. They played it often (including the Decca session), and it was released on their second LP in November 1963. There are 6 BBC takes, four of which predated the commercial release. These versions differ from the one taped at the EMI studio which included a piano intro. Lead vocalist: John.
THE SOUND
You may disagree, but Great Dane gets my vote for this show, just edging out Yellow Dog. It's a pretty subjective call though.
STEPPIN' OUT
RECORDED: 21 May, 1963, 10:00 - 11:15 p.m.
TRANSMITTED: 03 June, 1963,10:31 - 11.30 a.m.
ANNOUNCER: Diz Disley
PRODUCER: Terry Henebery
1. PLEASE PLEASE ME BBC.17.01
2. I SAW HER STANDING THERE BBC.17.02
3. ROLL OVER BEETHOVEN
4. THANK YOU GIRL
5. FROM ME TO YOU
6. TWIST AND SHOUT
Only the first two tracks seem to have been preserved, in comparatively inferior quality. This is the first BBC performance of Chuck Berry's "Roll Over Beethoven" and predates its official release on the Beatles' 2nd LP by about 5 months
THE SOUND
It was never going to be much improvement, but for what it's worth, we used Yellow Dog.
May 24th, 1963
POP GO THE BEATLES 1
Number 2 Studio, BBC Aeolian Hall, 135-137 New Bond Street, London W1
RECORDED: 24 May, 1963, 2:00 -6:00 p.m.
TRANSMITTED: 04 June, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Lee Peters
PRODUCER: Terry Henebery
GUEST GROUP: The Lorne Gibson Trio
1. POP GO THE BEATLES
2. FROM ME TO YOU
3. EVERYBODY'S TRYING TO BE MY BABY
4. DO YOU WANT TO KNOW A SECRET
5. YOU REALLY GOT A HOLD ON ME
6. MISERY
7. THE HIPPY HIPPY SHAKE
8. POP GO THE BEATLES
The first appearance on the most important series of radio shows for the Beatles' career. A trial of four programmes had been scheduled first, but it proved so popular that the series counted eleven more transmissions. It should be kept in mind that when Pop Go The Beatles started, the Beatles had scored only two number one records, and one year before they were virtually unknown outside of Liverpool: the BBC decision was an extremely progressive one. The Beatles enjoyed this programme and had fun joking with the announcers, reading fans' cards, and introducing their songs. What's more interesting is that the group, more than on other programmes, used to play a great number of rock and pop classics, which they never commercially released on record. The title track of the programme was a new arrangement of the nursery rhyme "Pop Goes The Weasel". Although from the first show only "The Hippy Hippy Shake" did not make it onto disc, two more songs were still unreleased in June 1963: "Everybody's Trying To Be My Baby" and "You Really Got A Hold On Me".
THE SONGS
3. "Everybody's Trying To Be My Baby" was by Carl Perkins and was on his self-titled 1959 UK LP.The Beatles included it in their repertoire years before releasing it in November 1964, and indeed this BBC version closely matches the released one. They performed it 5 times at the BBC, twice before the official release, twice to promote their "Beatles For Sale" LP, and the last time during their last appearance in 1965. Lead vocalist: George.
5. "You Really Got A Hold On Me". Another American classic, written by Smokey Robinson for the Miracles. It was performed four times on the BBC before its release on the Beatles' second album. Lead vocalist: John.
THE SOUND
Not only does Yellow Dog sound better (except for the glitch in the PGTB theme, which we fixed with BBC Trailer) it also includes a new introduction.
June 1st, 1963
POP GO THE BEATLES 3 + POP GO THE BEATLES 2
BBC Paris Theatre, London
PGTB #3
RECORDED: 01 June, 1963, 9:30 a.m - 1:30 p.m.
TRANSMITTED: 18 June, 1963, 5:00 - 5:29 p.m
ANNOUNCER: Lee Peters
PRODUCER: Terry Henebery
GUEST GROUP: Carter Lewis and the Southerners
1. POP GO THE BEATLES
2. A SHOT OF RHYTHM AND BLUES BBC.18.01
3. MEMPHIS, TENNESSEE BBC.18.02
4. A TASTE OF HONEY BBC.18.03
5. SURE TO FALL (IN LOVE WITH YOU) BBC.18.04
6. MONEY (THAT'S WHAT I WANT) BBC.18.05
7. FROM ME TO YOU BBC.18.06
8. POP GO THE BEATLES
Considering that track 6 was still unreleased in June 1963, we have 4 "new" performances here, 3 of which never made it onto disc. Track 3 is complete and in the best possible quality.
THE SONGS
2. "A Shot Of Rhythm And Blues". The original version had been released in March 1962 by Arthur Alexander as the flip side of another R & B standard, "You Better Move On". It soon became very famous, with many covers. They performed it twice more for the BBC. They apparently learned it in Hamburg since John wrote from there in April 1962 to his then-girlfriend Cynthia Powell to "send me the words of 'A Shot of Rhythm + Blues' please? There's not many." Lead vocal: John.
5. "Sure To Fall (In Love With You)". Another Carl Perkins song, recorded in 1956. It was a favourite of the Beatles, who considered it for release in 1964. Although it eventually was not included on their discs, we know the Decca audition version and four more takes at the BBC. Lead vocalist: Paul.
THE SOUND
Yellow Dog has the best sounding tape and includes new segments, although "From Me To You" is slightly longer on Great Dane, which also has a more complete version of the show outro. Naturally these were all merged into the best presentation possible for this show.
PGTB #2
RECORDED: 01 June, 1963, 1:30 - 5:30 p.m.
TRANSMITTED: 11 June, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Lee Peters
PRODUCER: Terry Henebery
GUEST GROUP: The Countrymen
1. POP GO THE BEATLES
2. TOO MUCH MONKEY BUSINESS BBC.19.01
3. I GOT TO FIND MY BABY BBC.19.02
4. YOUNG BLOOD BBC.19.03
5. BABY IT'S YOU BBC.19.04
6. TILL THERE WAS YOU BBC.19.05
7. LOVE ME DO BBC.19.06
8. POP GO THE BEATLES
This programme was taped the same day as the previous one; actually, they first recorded PGTB (3) and then PGTB (2).
THE SONGS
3. "I Got To Find My Baby" was another Chuck Berry number, first played by Little Walter in 1954 and released by Berry in 1960. The Beatles played it twice at the BBC, this performance being distinctly better. Lead vocalist: John.
4. "Young Blood". A song originally released by The Coasters in 1957. This is the only available Beatles version. Lead vocalist: George
THE SOUND
Yellow Dog sounds better and includes new segments
June 19th, 1963
EASY BEAT
The Playhouse Theatre, London
RECORDED: 19 June, 1963, 8:45 - 9:45 p.m.
TRANSMITTED: 23 June, 1963, 10:31- 11:30 a.m.
ANNOUNCER: Brian Matthew
PRODUCER: Ron Belchier
1. SOME OTHER GUY BBC.21.01
2. A TASTE A HONEY BBC.21.02
3. THANK YOU GIRL BBC.21.03
4. FROM ME TO YOU BBC.21.04
The last appearance of "Some Other Guy" and a fascinating version of "Thank You Girl" with a different arrangement for the background vocals. This programme was recorded in front of a live audience.
THE SOUND
The origianal Pyramid release wins out on this one although a few seconds of applause at the end of "A Taste Of Honey" were grafted on from Yellow Dog. Otherwise, YD's release is a little distorted.
April 4th, 1963
SIDE BY SIDE
BBC Paris Theatre, London
RECORDED: 04 April, 1963, 11:00 a.m - 2:00 p.m.
TRANSMITTED: 24 June, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: John Dunn
PRODUCER: Bryant Marriott
1. SIDE BY SIDE BBC.22.01
2. TOO MUCH MONKEY BUSINESS BBC.22.02
3. LOVE ME DO
4. BOYS BBC.22.04
5. I'LL BE ON MY WAY BBC.22.05
6. FROM ME TO YOU BBC.22.06
THE SONGS
5. "I'll Be On My Way". This is the most fascinating item of the programme, and for sure one of the highlights of the Beatles' entire BBC career. It is a Lennon-McCartney song which the Beatles gave to Billy J. Kramer and never recorded for EMI. Billy J.'s recording at EMI took place the same day as the Beatles' BBC session (April 4, 1963), so it seems likely that the group tried out the song at the BBC before giving it to the performer. When more than two months later the programme was broadcast, Billy J. Kramer had already scored number one in the charts! 'Love Me Do' apparently has not been preserved.
THE SOUND
Becase of Yellow Dog's glitch, the theme song is taken from a combination of Silent Sea and BBC Trailer (Trailer silenced out the gap in the tape, but sounded better, SS kept the tape hiss - we merged them). Otherwise Yellow Dog is the best source.
June 17th, 1963
POP GO THE BEATLES 4
Studio Number 5, BBC Maida Vale, Delaware Road, London W9
RECORDED: 17 June, 1963, 10:30 a.m. - 1:00 p.m.
TRANSMITTED: 25 June, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Lee Peters
PRODUCER: Terry Henebery
GUEST GROUP: The Bachelors
1. POP GO THE BEATLES
2. ANNA (GO TO HIM) BBC.23.01
3. I SAW HER STANDING THERE BBC.23.02
4. BOYS BBC.23.03
5. CHAINS BBC.23.04
6. P.S. I LOVE YOU BBC.23.05
7. TWIST AND SHOUT BBC.23.06
8. POP GO THE BEATLES
9. A TASTE OF HONEY (recorded but not broadcast)
somewhat less interesting programme, where the Beatles only played already released material. This was to be the last programme of the series, but with the tremendous success it had, 11 more programmes were scheduled for the following months.
THE SOUND
The majority of this show was taken from Yellow Dog, which sounds better. However YD simply copies the Masterfraction versions of track 6 while Great Dane's tape is longer at the end of each.
June 24th, 1963
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 24 June, 1963, 5:30 - 6:30 p.m.
TRANSMITTED: 29 June, 1963, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCER: Jimmy Grant & Bernie Andrews
1. I GOT TO FIND MY BABY BBC.24.01
2. MEMPHIS, TENNESSEE BBC.24.02
3. MONEY (THAT'S WHAT I WANT) BBC.24.03
4. TILL THERE WAS YOU BBC.24.04
5. FROM ME TO YOU BBC.24.05
6. ROLL OVER BEETHOVEN BBC.24.06
A session mainly devoted to Chuck Berry, with three of his songs, all unreleased when the show was aired (as was also "Money").
THE SOUND
Yellow Dog's version sounds better, but the beginning of "Till There Was You" is clipped, so that was restored from Great Dane
July 3rd, 1963
THE BEAT SHOW
The Playhouse Theatre, Manchester
RECORDED: 03 July, 1963, 8:00 - 9:00 p.m.
TRANSMITTED: 04 July, 1963, 1:00 - 1:30 p.m.
ANNOUNCER: Gay Byrne
PRODUCER: Geoff Lawrence
1. FROM ME TO YOU
2. A TASTE OF HONEY BBC.25.02
3. TWIST AND SHOUT BBC.25.03
Recorded before a live audience.Track 1 is not currently available to collectors,tracks 2 and 3 only survived on a tape of inferior quality.
THE SOUND
The original Purple Chick presentation remains the best - a combination of Great Dane and an unbooted tape.
July 2nd, 1963
POP GO THE BEATLES 5
Number 5 Studio, BBC Maida Vale, London
RECORDED: 02 July, 1963, 6:30 - 9:30 p.m.
TRANSMITTED: 16 July, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery
GUEST GROUP: Duffy Power and The Graham Bond Quartet
1. POP GO THE BEATLES
2. THAT'S ALL RIGHT (MAMA) BBC.26.01
3. THERE'S A PLACE BBC.26.02
4. CAROL BBC.26.03
5. SOLDIER OF LOVE BBC.26.04
6. LEND ME YOUR COMB BBC.26.05
7. CLARABELLA BBC.26.06
8. POP GO THE BEATLES
9. THREE COOL CATS (not broadcast)
10. SWEET LITTLE SIXTEEN (not broadcast)
11. ASK ME WHY (not broadcast)
The best of the BBC Beatles performances! Of the nine songs recorded for this show, seven were never to appear on a Beatles disc; five of these have been transmitted (luckily those which were not taped on other BBC sessions), while "Sweet Little Sixteen" was re-recorded for the next programme of the series. "Three Cool Cats" had an unfortunate fate at the BBC: it was taped twice (the first time during the recording session for Here We Go, January 25, 1963) but never broadcast; we only know it from the Decca session.
THE SONGS
2. "That's All Right" was Elvis Presley's first single, released back in 1954. As with the other classics broadcast in this programme, this is the only BBC version ever taped by the Beatles. Lead vocalist, much in Presley's style, is Paul.
4. "Carol". A rock'n'roll song written by Chuck Berry and released in 1958. As is often the case with Berry's repertoire, the group adheres closely to the original while John sings a very spirited vocal.
5. "Soldier Of Love". An intriguing song by Arthur Alexander, released in 1962, and a powerful interpretation by John. Also excellent is Ringo's drumming.
6. "Lend Me Your Comb". A Carl Perkins tune released in the U.K. in 1958 and also included on the Hamburg December 31, 1962 tape. Lead vocal is shared by John & Paul.
7. "Clarabella". This song was released by the Jodimars in 1956, but failed to have any particular success on either side of the ocean. It is thus somewhat surprising that the Beatles played their own version of this number which was probably completely unknown to their audience. Nevertheless, it's a great performance by Paul.
THE SOUND
Yellow Dog is horribly distorted throughout so we stuck with Great Dane for the most part - which sounds great.
July 17th, 1963
EASY BEAT
The Playhouse Theatre, London
RECORDED: 17 July, 1963, 08:45 - 09:45 p.m.
TRANSMITTED.: 21 July, 1963, 10:31 - 11:30 a.m.
ANNOUNCER: Brian Matthew
PRODUCER: Ron Belchier
1. I SAW HER STANDING THERE BBC.27.01
2. A SHOT OF RHYTHM AND BLUES BBC.27.02
3. THERE'S A PLACE BBC.27.03
4. TWIST AND SHOUT BBC.27.04
The second of the three BBC performances of track 2 and the only one in front of a live audience.
THE SOUND
There's really not much in it, but we went with Yellow Dog.
July 10th, 1963
POP GO THE BEATLES 6 + BBC POP GO THE BEATLES 7
Number 2 Studio, BBC Aeolian Hall
PGTB #6
RECORDED: 10 July, 1963, 10:30 a.m. - 1:30 p.m.
TRANSMITTED.: 23 July, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery
GUEST GROUP: Carter Lewis and the Southerners
1. POP GO THE BEATLES
2. SWEET LITTLE SIXTEEN BBC.28.01
3. A TASTE OF HONEY BBC.28.02
4. NOTHIN' SHAKIN' BBC.28.03
5. LOVE ME DO BBC.28.04
6. LONESOME TEARS IN MY EYES BBC.28.05
7. SO HOW COME (NO ONE LOVES ME) BBC.28.06
8. POP GO THE BEATLES
Again a great show: three songs were only taped on this occasion during the Beatles' BBC career, and also the re-recording of "Sweet Little Sixteen". rack three was thought to have been lost, but eventually surfaced on 'The Beatles Live At The BBC' CD.
THE SONGS
2. "Sweet Little Sixteen". One of the most famous (and covered) Berry songs, originally released in 1958. It was a mainstay in the Beatles repertoire and was also recorded at the Star Club, Hamburg. Lead vocalist is John, who gives a great performance.
4. "Nothin' Shakin' ". A rockabilly number sung by George, who obviously liked this style. It was originally recorded by Eddie Fontaine in 1958.
6. "Lonesome Tears In My Eyes" is a Johnny Burnette Trio number released in November 1956. Lead vocalist is John.
7. "So How Come (No One Loves Me)". This Everly Brothers song enjoyed success in the USA in late 1960. Lead vocalist: George
THE SOUND
Yellow Dog generally sounds better and has a new segment.
PGTB #7
RECORDED: 10.07.1963, 1:30 - 3:30 p.m.
TRANSMITTED: 30.07.1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery
GUEST GROUP: The Searchers
1. POP GO THE BEATLES
2. MEMPHIS, TENNESSEE BBC.29.01
3. DO YOU WANT TO KNOW A SECRET BBC.29.02
4. TILL THERE WAS YOU BBC.29.03
5. MATCHBOX BBC.29.04
6. PLEASE MR. POSTMAN BBC.29.05
7. THE HIPPY HIPPY SHAKE BBC.29.06
8. POP GO THE BEATLES
NOTES
This programme was recorded the same day as PGBT (6). At the time of this broadcast tracks 5 and 6 were unreleased, while tracks 2 and 7 never made it onto record.
THE SONGS
5. "Matchbox". Although credited to Carl Perkins, this is in fact an old blues song recorded by Blind Lemon Jefferson in 1927. Perkins' version, from which the Beatles derived their cover, was released in 1957. This take predates the officially released version by nearly one year and is slightly different in lyrics and arrangement. Lead vocalist: Ringo
THE SOUND
For the most part, Yellow Dog sounds better - it also has a new segment - except for the tracks included on the Masterfraction release. Even for those YD has slightly longer fades, so we edited them back in. The old vinyl release Broadcasts has a version of "Til There Was You" without the wow and flutter caused by tape drag that is evident on other releases, so we used that here, editing on the clipped beginning and end from Yellow Dog.
July 16th, 1963
POP GO THE BEATLES 8 +
POP GO THE BEATLES 9 +
POP GO THE BEATLES 10
BBC Paris Theatre, London
PGTB #8
RECORDED: 16 July 1963, 3:00 - 5:30 p.m.
TRANSMITTED: 06 August,1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery
GUEST GROUP: The Swinging Blue Jeans
1. POP GO THE BEATLES
2. I'M GONNA SIT RIGHT DOWN AND CRY BBC.30.01
3. CRYING, WAITING, HOPING BBC.30.02
4. KANSAS CITY/HEY!-HEY!-HEY!-HEY! BBC.30.03
5. TO KNOW HER IS TO LOVE HER BBC.30.04
6. THE HONEYMOON SONG BBC.30.05
7. TWIST AND SHOUT BBC.30.06
8. POP GO THE BEATLES
Together with Pop Go The Beatles (5), this is the most important BBC programme ever taped by the Beatles. In August 1963, only track 7 was known to the audience, and track 4 would be released on disc only more than one year later. All the other songs were played at the BBC only on this occasion.
THE SONGS
2. "I'm Gonna Sit Right Down And Cry (Over You)" was first recorded by Roy Hamilton in 1954 and also released by Elvis Presley in 1956. The Beatles covered this second version. Lead vocalist: Paul.
3. "Crying Waiting Hoping". Another highlight from the unreleased BBC takes. This song was recorded by Buddy Holly just a few weeks before his tragical death in the plane crash of February 2, 1959. A backing track was added to his home-recorded voice and guitar, and the disc was released in June 1959. The Beatles were great fans of Buddy Holly and recorded this song both at the Decca audition and for this programme, this version being by far better. Lead vocalist: George.
4. "Kansas City/ Hey!-Hey!-Hey!-Hey!". Little Richard recorded his own composition "Hey!-Hey!-Hey!-Hey! (Goin' Back To Birmingham) in 1958. In 1959 he rerecorded it in a medley with "Kansas City", which was a number one single in the USA for Wilbert Harrison in May 1959. The Beatles included this medley in their repertoire from the beginning. Paul, who was particularly fond of Little Richard's songs, takes the lead vocal.
5. "To Know Her Is To Love Her". This is the Beatles' cover version (with "him" changed to "her") of the Teddy Bears' number from 1958, with a noticeably different arrangement (the Teddy Bears were Phil Spector, who would produce the "Let It Be" album at the end of the Beatles' career, with Annette Kleinbard and Marshall Leib). It was also played by the Fab Four in Hamburg. Lead vocalist: John
6. "The Honeymoon Song". The title song from the 1959 film "Honeymoon" was first performed by Manuel and the Music of the Mountains. In June 1959 Marino Marini and his Quartet released a vocal version. Although not typical of the Beatles' style, Paul seems to have liked this song a lot since he not only sang it at the BBC but also produced a version for Mary Hopkin in 1969.
THE SOUND
For the most part Yellow Dog sounds better and has a longer outro to "To Know Her Is To Love Her". The exception are the songs which appear on Masterfraction, which sound better, but have the longer endings from Yellow Dog restored.
PGTB #9
RECORDED: 16 July, 1963, 6:00 - 8:30 p.m.
TRANSMITTED: 13 August, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery & Ian Grant
GUEST GROUP: The Hollies
1. POP GO THE BEATLES
2. LONG TALL SALLY BBC.31.01
3. PLEASE PLEASE ME BBC.31.02
4. SHE LOVES YOU BBC.31.03
5. YOU REALLY GOT A HOLD ON ME BBC.31.04
6. I'LL GET YOU BBC.31.05
7. I GOT A WOMAN BBC.31.06
8. POP GO THE BEATLES
This programme was taped the same day as PGTB (8) and PGTB (10), a real marathon in the BBC studio. Only three items were unreleased when broadcast (2, 5 and 7), and only track 7 has not been released by the Beatles; however, "She Loves You" and "I'll Get You" make their debut here (they would be released as a single on August 23). John and Paul make a little mistake with the lyrics of "She Loves You".
THE SONGS
7. "I Got A Woman". A hit by Ray Charles in 1954, covered by Elvis Presley in 1956. The group played Elvis' version twice at the BBC. Both these takes are powerful, although quite different from each other. Another unforgettable performance.
THE SOUND
Yellow Dog generally sounds better. However "I Got A Woman" is superior on Masterfraction, but again the longer Yellow Dog ending is Yellow Dog restored.
PGTB #10
RECORDED: 16 July, 1963, 8:45 - 10:50 p.m.
TRANSMITTED: 20 August, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Terry Henebery
GUEST GROUP: Russ Sainty and the Nu Notes
1. POP GO THE BEATLES
2. SHE LOVES YOU BBC.31.03 (repeated from PGTB #9)
3. WORDS OF LOVE BBC.32.01
4. GLAD ALL OVER BBC.32.02
5. I JUST DON'T UNDERSTAND BBC.32.03
6. DEVIL IN HER HEART BBC.32.04
7. SLOW DOWN BBC.32.05
8. POP GO THE BEATLES
The third programme recorded on July 16. Track 2 is the same version broadcast on August 13 and was the only song performedin this show to be known by the audience in August 1963. Track 6 only appeared on disc in November 1963, track 7 in June 1964, and track 3 in December 1964.
THE SONGS
3. "Words Of Love". Another Buddy Holly number, originally released in 1957. This and the next song have great rockabilly guitar by George. John and Paul share the vocal leads.
4. "Glad All Over". A Carl Perkins song released in December 1957 in the USA. As with most of Perkins' numbers in the Beatles repertoire, it was sung by George.
5. "I Just Don't Understand". Another song not typical of the Beatles' style, originally performed by actress Ann-Margret in 1961. John took lead vocals. It's the only known version by the group.
6. "Devil In Her Heart" was recorded by the girl-group the Donays in 1962. The Beatles slightly changed the title ("his" was replaced by "her") and covered it twice at the BBC in a version very similar to that released on their second LP.
7. "Slow Down". An old blues song in a rock 'n' roll version credited to Larry Williams, who released it in 1958. The Beatles included it on the "Beatles for Sale" LP, and played it only once at the BBC, this version being noticeably different from the 1964 release.
THE SOUND
Again, Yellow Dog is the best choice for the majority of this show. This time, the tracks taken from Masterfraction don't need to have their endings edited back. The beeb vinyl series has a couple of extra words at the end which we restored.
July 30th, 1963
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 30 July, 1963, 5:30 - 6:30 p.m.
TRANSMITTED: 24 August, 1963, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. LONG TALL SALLY BBC.33.01
2. SHE LOVES YOU BBC.33.02
3. GLAD ALL OVER BBC.33.03
4. TWIST AND SHOUT BBC.33.04
5. YOU REALLY GOT A HOLD ON ME BBC.33.05
6. I'LL GET YOU BBC.33.06
The fifth appearance on Saturday Club. The Beatles promoted their latest single and played three then-unreleased songs. "Long Tall Sally" is probably better here than on the officially released record.
THE SOUND
Perhaps it's the glitch, but Yellow Dog's "Long Tall Sally" seems inferior to Purple Chick's unbotted tape. Conversely, YD's "She Loves You" wins over PC. The intro of "Glad All Over" (with voiceover) has been edited back onto the YD version, which omits it.
August 1st, 1963
POP GO THE BEATLES 11 +
POP GO THE BEATLES 12
The Playhouse Theatre, Manchester
PGTB #11
RECORDED: 01 August, 1963, 1:30 - 4:00 p.m.
TRANSMITTED: 27 August, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Ian Grant
GUEST GROUP: The Cyril Davis Rhythm and Blues All Stars with Long John Baldry
1. POP GO THE BEATLES
2. OOH! MY SOUL BBC.34.01
3. DON'T EVER CHANGE BBC.34.02
4. TWIST AND SHOUT BBC.34.03
5. SHE LOVES YOU BBC.34.04
6. ANNA (GO TO HIM) BBC.34.05
7. A SHOT OF RHYTHM AND BLUES BBC.34.06
8. POP GO THE BEATLES
This programme includes two songs only recorded once (tracks 2 and 3) and the last appearance of track 7.
THE SONGS
2. "Ooh! My Soul". Another Little Richard number, originally released in May 1958; as usual with his material, Paul offers a powerful rendition.
3. "Don't Ever Change" was first released by The Crickets in 1962; John and Paul share the vocals in the Beatles cover.
THE SOUND
"She Loves You" is new to Yellow Dog, which also has two new segments and sounds better than Great Dane's version. Even so, Masterfraction is still the best source for some tracks.
PGTB #12
RECORDED: 01 August, 1963, 4:00 - 6:00 p.m.
TRANSMITTED.: 03 September, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Ian Grant
GUEST GROUP: Brian Poole and the Tremeloes
1. POP GO THE BEATLES
2. FROM ME TO YOU BBC.35.01
3. I'LL GET YOU BBC.35.02
4. MONEY (THAT'S WHAT I WANT) BBC.35.03
5. THERE'S A PLACE BBC.35.04
6. HONEY DON'T BBC.35.05
7. ROLL OVER BEETHOVEN BBC.35.06
8. POP GO THE BEATLES
9. LUCILLE (not broadcast)
10. BABY IT'S YOU (not broadcast)
Tracks 5, 6 and 7 were then-unreleased.According to some sources, the Beatles also taped a version of "She Loves You" which was not broadcast. Probably this refers to the take which was broadcast on August 27, as often they did not record the songs twice that were scheduled for two different programmes when these were taped in the same session. "Lucille", not broadcast on this occasion, was performed on two later BBC shows.
THE SONGS
6. "Honey Don't". Originally released by Carl Perkins in December 1955 and covered by Ronnie Hawkins and the Hawks (later The Band) in 1960. The Beatles played it on four BBC programmes and later released it on,disc with Ringo on vocals. The first two BBC recordings feature John on the vocals, and this one in particular is an absolutely terrific performance.
THE SOUND
"From Me To You" - Yellow Dog's tape is better, but runs too fast, which we fixed.
"I'll Get You" - Purple Chick - the original appearance of this track - is still the best, and the same is true for PC's unbooted "There's A Place."
"Money" has a new intro on Yellow Dog, which also has two segments which are longer than before.
September 3rd, 1963
POP GO THE BEATLES 13 +
POP GO THE BEATLES 14 +
POP GO THE BEATLES 15
Number 2 Studio, BBC Aeolian Hall, London
PGTB #13
RECORDED: 03 September, 1963, 2:00 - 4:30 p.m.
TRANSMITTED: 10 September, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Ian Grant
GUEST GROUP: Johnny Kidd and the Pirates
1. POP GO THE BEATLES
2. TOO MUCH MONKEY BUSINESS BBC.36.01
3. LOVE ME DO BBC.36.02
4. SHE LOVES YOU BBC.36.03
5. I'LL GET YOU BBC.36.04
6. A TASTE OF HONEY BBC.36.05
7. THE HIPPY HIPPY SHAKE BBC.36.06
8. POP GO THE BEATLES
After track 2 Paul announces "Till There Was You", and it is also listed in the BBC archives. But in fact "Too Much Monkey Business" is followed by "Love Me Do", and this really seems to be the way the programme ran (no edit is apparently present on the original tape). Also, track 6 is not indicated in the BBC archives. It is very likely that some mistake occurred at the BBC during the preparation of this and the two following transmissions, which were all recorded the same day. This show features the last appearance of track 2, which was played four times at the BBC.
THE SOUND
Again, Yellow Dog is the best sounding, except for "Too Much Monkey Business" Masterfraction (which has YD's longer ending appended here).Unfortunately I'll Get You suffers from a mastering glitch, so we used Great Dane instead - although there really wasn't too much in it.
PGTB #14
RECORDED: 03 September,1963, 5:00 - 7:30 p.m.
TRANSMITTED: 17 September, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Ian Grant
GUEST GROUP: The Marauders
1. POP GO THE BEATLES
2. CHAINS BBC.37.02
3. YOU REALLY GOT A HOLD ON ME BBC.37.02
4. MISERY BBC.37.02
5. LUCILLE BBC.37.02
6. FROM ME TO YOU BBC.37.02
7. BOYS BBC.37.02
8. POP GO THE BEATLES
Apart from the unreleased "Lucille",this show is notable for the performance of "Chains", which is quite different from the released version and closely matches the Cookies' original.
THE SONGS
5. "Lucille" was another classic by Little Richard released in March 1957. It must surely be one of Paul's favourites, as he continued singing it even in the nineties, thirty years after these performances (although, quite obviously, the powerful interpretation at the BBC cannot be matched nowadays!). This song was taped three times during the BBC programmes, and broadcast twice.
THE SOUND
Yellow dog for all this show.
PGTB #15
RECORDED: 03 September, 1963, 8:00 - 10:00 p.m.
TRANSMITTED: 24 September, 1963, 5:00 - 5:29 p.m.
ANNOUNCER: Rodney Burke
PRODUCER: Ian Grant
GUEST GROUP: Tony Rivers and the Castaways
1. POP GO THE BEATLES
2. SHE LOVES YOU BBC.36.03 (repeated from PGTB #13)
3. ASK ME WHY BBC.38.01
4. DEVIL IN HER HEART BBC.38.02
5. I SAW HER STANDING THERE BBC.38.03
6. SURE TO FALL (IN LOVE WITH YOU) BBC.38.04
7. TWIST AND SHOUT BBC.38.05
8. POP GO THE BEATLES
The last programme in the fifteen-part series. For the last two programmes the Beatles reduced the unreleased material to two songs per programme (here, track 4, later to be released on disc, and track 6, one of their favourites). Track 2 is the same take broadcast on PGTB (13).
THE SOUND
Great Dane was used to fix a tape flaw in "I Saw Her Standing There," otherwise it's Yellow Dog all the way - it even has a slightly longer outro.
September 7th, 1963
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 07 September, 1963, 1:00 - 4:00 p.m.
TRANSMITTED: 05 October, 1963, 10:00 a.m. - 12:00 p.m. ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. I SAW HER STANDING THERE BBC.39.01
2. MEMPHIS, TENNESSEE BBC.39.02
3. HAPPY BIRTHDAY SATURDAY CLUB BBC.39.03
4. I'LL GET YOU BBC.39.04
5. SHE LOVES YOU BBC.39.05
6. LUCILLE BBC.39.06
This session was inserted into the Fifth Birthday Anniversary edition of Saturday Club, and the Beatles performed a special rendition of "Happy Birthday" with amended lyrics. This show also features the last of the five appearances of "Memphis, Tennessee" and the last of the two of "Lucille". Track 5 was rebroadcast on Saturday Club December 21.
THE SOUND
Yellow Dog is better for the first half, whilst Great Dane sounds best for the second. There's really not much in it though.
October 16th, 1963
EASY BEAT
The Playhouse Theatre, London
RECORDED: 16 October, 1963, 9:00 - 10:00 p.m.
TRANSMITTED: 20 October, 1963, 10:31 - 11:30 a.m.
ANNOUNCER: Brian Matthew
PRODUCER: Ron Belchier
1. I SAW HER STANDING THERE BBC.40.01
2. LOVE ME DO BBC.40.02
3. PLEASE PLEASE ME BBC.40.03
4. FROM ME TO YOU BBC.40.04
5. SHE LOVES YOU BBC.40.05
Recorded in front of a live audience. Although there are no unreleased tracks, this session features one of the most exciting performances of "I Saw Her Standing There" that the Beatles ever played. Tracks 2 and 3 are performed at the BBC for the last time.
THE SOUND
Yellow Dog's tape is much better, although there's a glitch in the first track, so we used BBC Trailer to patch it.
October 9th, 1963
THE KEN DODD SHOW
BBC Paris Theatre, London
RECORDED: 09 October, 1963, 10:00 - 11:00 p.m.
TRANSMITTED:03 November, 1963, 2:30 - 3:00 - 8:00 - 8:30 pm.
PRODUCER: Bill Worsley
1. SHE LOVES YOU BBC.41.01
This show was part of the series starring the Liverpudlian comedian Ken Dodd. It was recorded before a live audience, and in this edition the musical interlude featured the Beatles. There is no absolute certainty that the version of "She Loves You" here included is the one broadcast on The Ken Dodd Show. This is how this performance has been traded among collectors, and indeed it is different from all the other "live" performances of known origin. If from a radio programme, then it is surely the Ken Dodd Show. Alternatively (and perhaps more likely), it could be from a TV show, and in this case there are good chances that it is from "Sunday Night At The London Palladium", October 13, 1963 ("Twist and Shout" recently surfaced from this show). It is not from the October 1963 Sweedish TV programme "Drop In" (as was previously thought). In spite of its uncertain attribution, we preferred to include this item: after all, it could be the Ken Dodd show.
THE SOUND
Missing entirely from Yellow Dog, we stuck with Purple Chick's unbooted upgrade.
December 17th, 1963
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 17 December 1963, 3:00 - 6:30 p.m.
TRANSMITTED: 21 December, 1963, 10:00 a.m. - 12:00 p.m. ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. ALL I WANT FOR CHRISTMAS
2. ALL MY LOVING
3. THIS BOY BBC.42.01
4. I WANT TO HOLD YOU HAND BBC.42.02
5. TILL THERE WAS YOU BBC.42.03
6. ROLL OVER BEETHOVEN BBC.42.04
7. SHE LOVES YOU BBC.42.05
8. SHAZAM 'CRIMBLE MEDLEY' BBC.42.06
A special Christmas edition of Saturday Club, with the Beatles playing a few traditionals and the "Chrimble Medley" in which John sings snatches of their five hits ("Love Me Do", "Please Please Me", "FromMe To You", "She Loves You", and "I Want To Hold Your Hand") and "Rudolph The Red-Nosed Reindeer". Announcer Brian Matthews describes it as a "muddley . . . I'm sorry . . . a medley". The linking riff played on guitar and bass is from Duane Eddy's "Shazam!". By now, with more singles and the second LP released, the group had a larger repertoire to promote, and the unreleased tunes became rare. Track 2 has not been preserved (there is only Paul's intro to it).
THE SOUND
We went mostly with Yellow Dog for this show. They moved the intro and placed itbefore "I Want To Hold Your Hand" if you disagree, you can move it back! "Til There Was You" sounds best on Yellow Dog, but is clipped at either end. We restored the beginning with Great Dane and the end with Beeb.
Also, for what it's worth, "what will they do without amplifiers" is longer on YD whilst "I like it" is two words shorter.
December 18th, 1963
FROM US TO YOU
BBC Paris Theatre, London
RECORDED: 18 December, 1963, 7:00 - 10:30 p.m.
TRANSMITTED: 26 December, 1963, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Rolf Harris
PRODUCER: Bryant Marriott
1. FROM US TO YOU BBC.43.01
2. SHE LOVES YOU BBC.43.02
3. ALL MY LOVING BBC.43.03
4. ROLL OVER BEETHOVEN BBC.43.04
5. TILL THERE WAS YOU BBC.43.05
6. BOYS BBC.43.06
7. MONEY (THAT'S WHAT I WANT) BBC.43.07
8. I SAW HER STANDING THERE BBC.43.08
9. TIE ME KANGAROO DOWN, SPORT BBC.43.09
10. I WANT TO HOLD YOU HAND BBC.43.10
11. FROM US TO YOU BBC.43.11
The first of five specials held on a Bank Holiday, four of which were titled From Us To You. This one was presented by the Australian singer Rolf Harris, who had a smash hit (number 3) in the USA then with "Tie Me Kangaroo Down, Sport". He performed together with the Beatles for a hilarious version with parody lyrics. The opening and closing themes are a variation of the hit "From Me To You", with "I"/"Me" replaced by "We"/"Us".
THE SOUND
The first two bars of "From Us To You" are missing on Yellow Dog's presentation of this show, so they had to be patched in with Great Dane's. Otherwise, YD is definitely better sounding and complete apart from Purple Chick's unbooted "blue skies by jeannie lamb" intro.
January 7th, 1964
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 07 January, 1964, 2:30 - 4:00 p.m.
TRANSMITTED: 15 February, 1964, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. ALL MY LOVING BBC.44.01
2. MONEY (THAT'S WHAT I WANT) BBC.44.02
3. THE HIPPY HIPPY SHAKE BBC.44.03
4. I WANT TO HOLD YOUR HAND BBC.42.02
5. ROLL OVER BEETHOVEN BBC.44.04
6. JOHNNY B. GOODE BBC.44.05
7. I WANNA BE YOUR MAN BBC.44.06
An interesting session, which features the last of the five appearances of track 3 and the only known recording of track 6. Track 4 is the same take recorded for the previous Saturday Club (recorded 21.12.1963).
THE SONGS
6. "Johnny B. Goode" is probably the best-known song by Chuck Berry, originally released in 1958. It was (and still is) in the repertoire of nearly every rock band. The Beatles' version is somewhat different from the original but not particularly remarkable. Lead vocalist is John.
THE SOUND
Yellow dog almost all the way, including a new intro. Alas the "and it was old ringo" outro is missing entirely as is the very end of "I Wanna Be Your Man" so these were taken from Great Dane.
February 28th, 1964
FROM US TO YOU
Number 1 Studio, BBC Piccadilly Theatre, London
RECORDED: 28 February, 1964, 6:30 - 9:00 p.m.
TRANSMITTED: 30 March, 1964, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Alan Freeman
PRODUCER: Bryant Marriott
1. FROM US TO YOU BBC.45.01
2. YOU CAN'T DO THAT BBC.45.02
3. ROLL OVER BEETHOVEN BBC.45.03
4. TILL THERE WAS YOU BBC.45.04
5. I WANNA BE YOUR MAN BBC.45.05
6. PLEASE MR. POSTMAN BBC.45.06
7. ALL MY LOVING BBC.45.07
8. THIS BOY BBC.45.08
9. CAN'T BUY ME LOVEBBC.45.09
10. FROM US TO YOU BBC.45.01
A session devoted to the promotion of their records, without unreleased tracks. This show is probably more interesting for the Beatles' chats than for the music.
THE SOUND
Once more a good combination of Yellow Dog and Masterfraction gives the best presentation of this show.
March 31st, 1964
SATURDAY CLUB
The Playhouse Theatre, London
RECORDED: 31 March, 1964, 7:00 - 10:30 p.m.
TRANSMITTED: 04 April, 1964, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Bernie Andrews
1. EVERYBODY'S TRYING TO BE MY BABY BBC.46.01
2. I CALL YOUR NAME BBC.46.02
3. I GOT A WOMAN BBC.46.03
4. YOU CAN'T DO THAT BBC.46.04
5. CAN'T BUY ME LOVE BBC.46.05
6. SURE TO FALL (IN LOVE WITH YOU) BBC.46.06
7. LONG TALL SALLY BBC.46.07
Track 2 was performed only on this show.Apart from promoting their new EP "Long Tall Sally", this is an important show for the terrific performance of track 3, in its second appearance at the BBC. This take is much different from the previous one, and is among the best BBC unreleased tracks. John's vocals are double tracked, a rare occurrence at the BBC. The performance of "Sure To Fall" is excellent, too. It seems as if the group tested some covers for further release in these early 1964 sessions. Of the three then-unreleased songs (tracks 1, 3 and 6), only the first one - probably the weakest - made it onto disc.
THE SOUND
Yellow Dog mostly. The end of Long Tall Sally is more complete on Great Dane and also contains the outro, which YD does not. However the vinyl "Broadcasts" has a better quality tape altogether (the start and end of which is slightly clipped) so we used that and fixed the clipping.
The original Beeb vinyl has an extra word on one of the other outros, whilst the YD "was that request really from your mother" is missing some segments that are on filler beebs and the beeb vinyl(!)
Also, Beeb has an extra word at the start of "I Got A Woman"
May 1st, 1964
FROM US TO YOU
BBC Paris Theatre, London
RECORDED: 01 May, 1964, 6:30 - 9:00 p.m.
TRANSMITTED: 18 May, 1964, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Alan Freeman
PRODUCER: Bryant Marriott
1. FROM US TO YOU BBC.47.01
2. I SAW HER STANDING THERE BBC.47.02
3. KANSAS CITY/ HEY!-HEY!-HEY!-HEY! BBC.47.03
4. WHIT MONDAY TO YOU (HAPPY BIRTHDAY)
5. I FORGOT TO REMEMBER TO FORGET BBC.47.04
6. YOU CAN'T DO THAT BBC.47.05
7. SURE TO FALL (IN LOVE WITH YOU) BBC.47.06
8. CAN'T BUY ME LOVE BBC.47.07
9. MATCHBOX BBC.47.08
10. HONEY DON'T BBC.47.09
11. FROM US TO YOU BBC.47.01
The most interesting From Us To You session, which presented four songs as yet unreleased when broadcast (tracks 3, 5, 7 and 10). Tracks 5 and 7 were never commercially released, while the other two items were included on the "Beatles For Sale" LP. This is the last BBC programme where the Beatles performed songs which did not make it onto disc. John Lennon again takes the vocal lead on "Honey Don't".
THE SONGS
5. "I Forgot To Remember To Forget" was released by Elvis Presley in 1955. The Beatles' cover version is sung by George.
THE SOUND
Yellow Dog all the way, baby.
July 14th, 1964
TOP GEAR
Studio 2, Broadcasting House, London
RECORDED: 14 July, 1964, 7:00 - 11:00 p.m.
TRANSMITTED: 16 July, 1964, 10:00 - 11:55 p.m.
ANNOUNCER: Brian Matthew
PRODUCER: Bernie Andrews
1. LONG TALL SALLY BBC.48.01
2. THINGS WE SAID TODAY BBC.48.02
3. A HARD DAY'S NIGHTBBC.48.03
4. AND I LOVE HER BBC.48.04
5. I SHOULD HAVE KNOWN BETTER BBC.48.05
6. IF I FELL BBC.48.06
7. YOU CAN'T DO THAT BBC.48.07
A promotional session for their third LP. Track 1 features another terrific performance by Paul! Track 5 is the commercially released version. Selected parts of this show were broadcast in the USA.
THE SOUND
Although Yellow Dog has a superior tape, we have to go to Masterfraction for some better-sounding tracks. "Things We Said Today" is mainly taken from there, but YD takes over at the beginning (no voice over) and end (much longer). YD is also missing a few parts of the "lots more from the unruly four" segment.
Why there are three different versions of "hold it" will probably remain a mystery...
July 17th, 1964
FROM US TO YOU
BBC Paris Theatre, London
RECORDED: 17 July, 1964, 2:15 - 6:15 p.m.
TRANSMITTED: 03 August, 1964, 10:00 a.m.- 12:00 p.m.
ANNOUNCER: Don Wardell
PRODUCER: Bryant Marriott
1. FROM US TO YOU BBC.49.01
2. LONG TALL SALLYBBC.49.02
3. IF I FELLBBC.49.03
4. I'M HAPPY JUST TO DANCE WITH YOUBBC.49.04
5. THINGS WE SAID TODAYBBC.49.05
6. I SHOULD HAVE KNOWN BETTERBBC.49.06
7. BOYSBBC.49.07
8. KANSAS CITY/ HEY!-HEY!-HEY!-HEY!BBC.49.08
9. A HARD DAY'S NIGHTBBC.49.09
10. FROM US TO YOUBBC.49.01
The only live performance of track 4. The Beatles now had less time to spend on the BBC sessions, and three months passed before their next programme.
Part of the recording session is also included here. The first take of "From Us To You" has bad lyrics ("me" instead of "us" at the end), the second is the complete theme, without the announcer's voice. The first "I'm Happy Just To Dance With You" is the backing track before the overdubbed vocals. "I Should Have Known Better" has a false start, the next version lacks the harmonica, which was later overdubbed for the broadcast version.
THE SOUND
Yellow Dog is the winner for this one, and also for the recording session, although PC does have its good points.
November 17th, 1964
TOP GEAR
The Playhouse Theatre, London
RECORDED: 17 November, 1964, 7:30 - 11:30 p.m.
TRANSMITTED: 26 November, 1964, 10:00 a.m.- 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCER: Bernie Andrews
1. I'M A LOSERBBC.50.01
2. HONEY DON'T BBC.50.02
3. SHE'S A WOMANBBC.50.03
4. EVERYBODY'S TRYING TO BE MY BABY BBC.50.04
5. I'LL FOLLOW THE SUN BBC.50.05
6. I FEEL FINE BBC.50.06
A session devoted to the promotion of their new single and LP releases. The recording for tracks 1, 3, 4 and 6 was used again for Saturday Club of December 26, 1964. This is the only BBC recording of track 5. This time "Honey Don't" is sung by Ringo.
THE SOUND
We used Yellow Dog for most of this, although it's missing some parts of the "few, hard facts" segment. Also, they completely screw up "Honey Don't" by repeating a solo and chorus. Naturally we fixed it.
November 25th, 1964
SATURDAY CLUB
Number 2 Studio, BBC Aeolian Hall, London
RECORDED: 25 November, 1964, 7:00 - 10:30 p.m.
TRANSMITTED: 26 December, 1964, 10:00 a.m. - 12:00 p.m.
ANNOUNCER: Brian Matthew
PRODUCERS: Jimmy Grant & Brian Willey
1. ROCK AND ROLL MUSIC BBC.51.01
2. I'M A LOSER
3. EVERYBODY'S TRYING TO BE MY BABY
4. I FEEL FINE
5. KANSAS CITY/ HEY!-HEY!-HEY!-HEY! BBC.51.02
6. SHE'S A WOMAN
A session notable for the great performance by John on "Rock And Roll Music", which is better here than on its commercially released counterpart. As mentioned before, the recordings for tracks 2, 3, 4 and 6 are the same as broadcast on Top Gear of November 26, 1964. The recordings for these two programmes were mixed together for a broadcast on the Top Of The Pops series in the USA, aired in early 1965. Chats from both Top Gearand Saturday Club were edited in various pieces for the USA rebroadcast, with new Brian Matthew parts. In some cases the songs fade out earlier in the US rebroadcasts to allow a new voice-over by Matthew.
THE SOUND
Once more, Yellow Dog comes out the winner, with a few minor tweaks for parts it's missing.
May 26th, 1965
THE BEATLES INVITE YOU TO TAKE A TICKET TO RIDE
Number 1 Studio, BBC Piccadilly Theatre, London
RECORDED: 26 May, 1965, 2:30 - 6:00 p.m.
TRANSMITTED: 07 June, 1965, 10:00 a.m.- 12:00 p.m.
ANNOUNCER: Denny Piercy
PRODUCER: Keith Bateson
1. TICKET TO RIDE (Lennon-McCartney) BBC.52.07
2. EVERYBODY'S TRYING TO BE MY BABY (Perkins) BBC.52.01
3. I'M A LOSER (Lennon-McCartney) BBC.52.02
4. THE NIGHT BEFORE (Lennon-McCartney) BBC.52.03
5. HONEY DON'T (Perkins) BBC.52.04
6. DIZZY MISS LIZZY (Williams) BBC.52.05
7. SHE'S A WOMAN (Lennon-McCartney) BBC.52.06
8. TICKET TO RIDE (Lennon-McCartney) BBC.52.07
The last Bank Holiday special, and the end of the Beatles' BBC radio performances.
THE SOUND
Apart from the two Masterfraction tracks, Yellow Dog is the best presentation of this show.
The Beatles: Complete BBC Sessions Upgraded for 2004
All tracks cleaned up and speed checked. Source as noted.
bbc trailer = The Beatles Broadcast Collection Trailer (Yellow Dog)
beeb = The Beatles At The BEEB (BEEB Transcription Records)
broadcasts = Broadcasts (Circuit Records)
deflating = Deflating The Mythology (no label)
filler beebs = Attack Of The Filler Beebs (Silent Sea)
great dane = The Complete BBC Sessions (Great Dane)
masterfraction = Radio Sessions 1962-65 (Masterfraction)
pyramid = The Beatles At The BEEB (Pyramid)
unbooted = unique (originally, at least) to Purple Chick
yellow dog = At The Beeb (Yellow Dog)
More information is available here:
https://superdiscografiathebeatles.blogspot.com/search?q=bbc+great+dane
Below are CD scans of all the discs:
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