January 31, 2022
Sources of Beatles music is from Beatles Radio Stations
Beatles Radio Search Results:
Oldies / Hits 60's / Britpop / Pop / Rock'n'Roll
100% Beatles playing non-stop on Abacus Beatles.
Hits 60's / Hits 70's / Oldies
The Beatles A to Z
181.FM - Classic Hits
Home of The 60s and 70s
Beatles - Get Back
Genres: classic hits 60s 70s
181.FM - The Beatles Channel
Beatles - Glad All Over
Best of The Beatles - LudwigRadio.com
Hits / Hits 60's / Hits UK / Oldies / Classic Rock
This Station plays all the best from The Beatles. Tune in and enjoy!
The Beatles HQ
Hits 60's / Oldies / Britpop / Pop / Rock'n'Roll
The Beatles Music 24/7
The Beatles Radio Station
Hits 60's / Oldies / Pop
The radio station for the Beatles connoisseur! The Beatles big hits, album tracks, out-takes, demos, solo tracks, songs written for other artists, obscure cover versions, tracks on Apple Records, plus Merseybeat and other obscure beat music!
Google Play Radio
The Beatles Radio Mix
Kool Mix Radio - Greatest Hits
Download Mobile App At KoolMixRadio.com
Genres: 60s 70s 80s 90s and today variety greatest hits beatles
The Beatles Channel
The Beatles Channel
The Beatles Channel
Big R Radio
The Beatles Channel
The Beatles - I Saw Her Standing There
The Beatles - Please Mister Postman
Genres: classic rock pop pop oldies classic rock
Manfred Mann - Pretty Flamingo
Genres: classic rock
THE BEATLES - FAB4RADIO
John, Paul, George & Ringo
George Harrison - My Sweet Lord [Demo] [kZQ]
Genres: all beatles
POLSKASTACJA.PL Najwieksze Przeboje
60 70 (Polskie Radio) 48kbps
Beatles - Ob-La-Di,Ob-La-Da
Genres: polskie polska oldies
A psychedelic blend of Classic, Pro, New Wave, Jazz, Blues, Alternative, Independent
Beatles - Strawberry Fields Forever [Tak
Backyard Radio 77380 TX USA
Tanya Tucker - Something - Beatles - Come Together America Salutes
Genres: local news events and music
El Golfo Radio
The Beatles - Something
Genres: easy listening
La Cabina de Teo Veras: by Dominican Internet Group
Beatles - Michelle. 1966 - La Cabina de Teo Veras
Beatles - Twist and Shout
The Beatles (1964) - John Lennon & Paul McCartney: Martha My Dear (The Beatles (White Album)) [Kob
SpacialNet: Coney Island Radio
Beatles - Cant Buy Me Love
The Beatles - All You Need Is Love
Beatles - Norwegian Wood
Paul McCartney and Beatles Radio
Paul McCartney, Beatles Solo, and Beatles songs
January 30, 2022
Apple has finally released just 10 tracks from the Beatles 01-30-1969 Apple Rooftop Concert, taken from footage and audio from the recent Peter Jackson documentary Get Back. It has taken 53 years to see this audio release. However, this has been available for some time from a number of sources. Several of these appear below.
|1-1||Camera A, Roll 562: Get Back (#1) / Get Back (#2) / Get Back (#3) / Don't Let Me Down (#1) / I've Got A Feeling (#1) / I Dig A Pony||26:04|
|1-2||Camera A, Roll 563: I've Got A Feeling (#2) / Don't Let Me Down (#2) / Get Back (#4)||11:19|
|1-3||Camera D, Roll 1: Get Back (#2) / Get Back (#3) / Don't Let Me Down (#1) / I've Got A Feeling (#1) / One After 909 / I Dig A Pony||18:05|
|1-4||Camera D, Roll 3: I've Got A Feeling (#2) / Get Back (#4)||6:36|
|1-5||Camera B3, Unknown Roll: Peoples' Reactions / I've Got A Feeling (#2) / Don't Let Me Down (#2) / Get Back (#4)||5:47|
|2-1||Camera B1, Roll 1146: Various Interviews / Get Back (#1) / Get Back (#2) / I Want You (She's So Heavy) / Don't Let Me Down / Get Back (#3) / Don't Let Me Down (#1) / I've Got A Feeling (#1)||16:23|
|2-2||Camera B1, Roll 1147: Various Interviews / One After 909 / I Dig A Pony / God Save The Queen / I've Got A Feeling (#2) / Don't Let Me Down (#2) / Get Back (#4)||14:54|
|2-3||Camera B3, Roll 1148: Announcement||1:07|
|2-4||Camera B1, Roll 1149: God Save The Queen / I've Got A Feeling (#2) / Don't Let Me Down (#2) / Get Back (#4)||16:07|
|2-5||Camera C: I've Got A Feeling (#1) / One After 909 / I Dig A Pony||11:08|
During the proceedings, The Beatles played a loose rendition of "God Save The Queen" which happened during a tape reel change in the basement studio, so there is no actual recording. It is captured by one of the cameras, and presented here for the first time.
|1||Get Back||30.2||At end Lennon says, "We've had a request from Martin and Luther"||3:55|
|2||Get Back||30.4||"This is all cameras, Take 3" and at end, JL says,|
"We've had a request from Daisy, Maurice and Tommy"
|3||Don't Let Me Down||30.5||Fluffed lines version in 3rd verse||3:25|
|4||I've Got A Feeling||30.6||At end John says, "Peace on Earth"||5:16|
|5||One After 909||30.7 |
|Includes "Oh Danny boy ...."||3:54|
|6||Dig A Pony||30.11||"1-2-3 Hold It" (False start), at end, "Thankyou Brothers"||4:42|
|7||I've Got A Feeling||30.13||Still live on roof||3:43|
|8||Don't Let Me Down||30.16||Still live on roof||3:35|
|9||Get Back||30.17||"I'd like to thank you on behalf of the group ...."||3:20|
|10||The Walk||27.83||Let It Be outtake - Complete version|
Actually "You wont get me that way" + "The Walk"
|11||Oh! Darling||7.73||Let It Be outtake||3:08|
|12||Maxwell's Silver Hammer||7.74||False start, then complete run through with whistling at start and end||3:51|
|13||Across The Universe||7.107||Let It Be outtake||3:16|
|14||Gone, Gone, Gone||7.108||Let It Be outtake - Twickenham, Roll 64 and 65, slate 127||1:59|
|15||Wake Up In The Morning||??||Paul describes the way they do the song half way through|
I could not find this in Sulpy's book .. hence no DDSI no.
|16||She Came In Through The Bathroom Window||8.47||At end, "That'll do", and George says,|
"No good me doing the same harmony as John, and I can't do higher"
Sausages And French Fries
Early In The Morning
|Outtake from film Let It Be, previously unreleased|
"Camera A, Roll 71, Slate 137
("Honey Hush" appeared on Paul's "Run Devil Run" in 1999 !)
|18||Stand By Me||8.10||Outtake from film Let It Be, previously unreleased|
"Operatic version", Paul sings "Figaro, Figaro"
|19||Harry Pinsker||8.11 |
|Hare Krishna pastiche||2:09|
|20||Two Of Us||8.14||Let It Be outtake||3:00|
|21||For You Blue||25.48||Let It Be outtake||1:40|
|22||The Long And Winding Road||31.40||Take 19||3:30|
CD Booklet Notes :
THE ROOFTOP SESSIONS
The Beatles were going to make a documentary film of themselves producing a TV show and writing a bunch of new songs for their next album, which was to be a return to their roots of the rocking days. This was probably inspired by the emergence of The Band, straightforward, downhome and everyone's favourite name to drop at the time.
With a working title of "Get Back" rehearsals began at Twickenham studios on January the 2nd, 1969. The project quickly ran into trouble, George Harrison walked out after eight days complaining of continual criticism from Paul McCartney. However, he returned a week later. The TV show idea had to be dumped because they couldn't find a suitable location. They thought about hiring an ocean liner, but somewhere along the line that idea was also shelved, along with a number of other exotic suggestions. But it was John Lennon's suggestion to record a selection of songs in the controlled atmosphere of a studio.
At this time, plans were made to turn the roof at No 3 Saville Row, the Apple Corps HQ, into a tranquil roof garden, and so Ringo Starr and Michael Lindsay-Hogg decided to take a look. It seemed ideal for what they had in mind.
The Beatles last ever public concert took place around mid-day on Thursday January the 30th and lasted a full 42 minutes, and may well have gone on longer had it not been for the complaints of the neighbour, Stanley Davis. The wool merchant next door was not a Beatles fan so it seemed. He was quoted as saying "I want this bloody noise stopped. It's an absolute disgrace". But the banker, Alan Pulverness, at the end of the street was kin￼der, he said "Some people just can't appreciate good music".
The film won an Oscar for best musical score and it was presented to Paul McCartney by non-other than John Wayne, Big Leggy. But by the time it was premiered on May the 13th, 1970, The Beatles had split. The dream was over...
"I'd like to say 'Thankyou' on behalf of the group and ourselves and I hope we passed the audition".
This release includes the wide-screen version of the movie Let It Be.
The complete Rooftop Concert is also available to hear on the
Hours of Darkness 14CD Collection - Disk 14.
Disc 14: AERIAL BALLET. More Mixes of the Rooftop Concert.
01 - 'Mal, you've nailed me down in the wrong place' (Unedited Rooftop Concert) (30 Jan 1969)
02 - Get Back (Rehearsal) (Unedited Rooftop Concert) (30 Jan 1969)
03 - Get Back (Take 1) (Unedited Rooftop Concert) (30 Jan 1969)
04 - Street interviews (Unedited Rooftop Concert) (30 Jan 1969)
05 - Get Back (Take 2) (Unedited Rooftop Concert) (30 Jan 1969)
06 - Don't Let Me Down (Take 1) (Unedited Rooftop Concert) (30 Jan 1969)
07 - I've Got A Feeling (Take 1) (Unedited Rooftop Concert) (30 Jan 1969)
08 - The One After 909 (Rehearsal) (Unedited Rooftop Concert) (30 Jan 1969)
09 - The One After 909 (Unedited Rooftop Concert) (30 Jan 1969)
10 - Dig A Pony (Rehearsal) (Unedited Rooftop Concert) (30 Jan 1969)
11 - Dig A Pony (Unedited Rooftop Concert) (30 Jan 1969)
12 - God Save The Queen (Unedited Rooftop Concert) (30 Jan 1969)
13 - I've Got a Feeling (Take 2) (Unedited Rooftop Concert) (30 Jan 1969)
14 - Don't Let Me Down (Take 2) (Unedited Rooftop Concert) (30 Jan 1969)
15 - Get Back (Take 3) (Unedited Rooftop Concert) (30 Jan 1969)
16 - (10 seconds of silence)
17 - 'Mal, you've nailed me down in the wrong place' (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
18 - Get Back (Take 2) (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
19 - Don't Let Me Down (Take 1) (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
20 - I've Got a Feeling (Take 1) (30 Jan 1969)
21 - The One After 909 (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
22 - Dig A Pony (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
23 - Get Back (Take 3) (Rooftop Concert Stereo Film Mix) (30 Jan 1969)
24 - Get Back (Reprise) (Stereo Film Mix) (28 Jan 1969)
The link below was previously noted here:
Let It Be - The Last Sessions
The final edition “Last Sessions” that will lead to the completion of the Beatles’ last album “LET IT BE” is now available! A sound source collection that summarizes many mix differences and various versions from the unreleased original acetate master! !! [Original press board imported directly from overseas] ★ Remastered all songs of Glyn Johns original acetate master before editing the album “GET BACK”! ★ Covers sound sources with different mixes such as soundtracks for the movie “LET IT BE”, John Barrett and anthology. ★ Includes official unreleased sound sources such as orchestra overdubbing and acetate mix for the album “LET IT BE”.
“LET IT BE: THE LAST SESSIONS”, which is the final version of the DAP label “GET BACK MASTERS” series that summarizes the Beatles series of get back sessions held in January 1969, is now available! The “Get Back Session”, which recorded a recording session accompanied by filming, performed a rooftop concert from Twickennam Studio to Apple Studio. After that, the album “GET BACK” produced by Glyn Johns was produced, but the release was postponed and canceled and it was entrusted to Phil Spector and released as the Beatles’ last album “LET IT BE” in 1970. Until now, the DAP label “GET BACK MASTERS” series with a new stereo remastered sound source has been released as Apple Studio edition (8CD), Rooftop Concert Complete Edition (3CD), Twickennam Studio Edition (8CD). However, in this “Last Sessions”, the original acetate disc up to the completion of the album “LET IT BE”, additional sessions, sound sources for movies and various mixed sound sources are recorded together. It is a sound source collection that follows the process that took place after a series of get-back sessions. The first recorded “GLYN JOHN’S ORIGINAL REFERENCE ACETATE” is known as “KUM BACK” and contains all the songs of the first mix that is familiar even in the analog boot of the past. It is a sound source cut as an acetate disc with a reference mix for members to take home and listen to, not originally for release purposes. These are sound sources that are not recorded in the DX edition, which can only be heard here, because the sound processing and editing are different from the album “GET BACK” by Glyn Johns later. There have been many releases so far, but this time it is a remastered sound source with new noise processing. The following “DIFFERENT MIXES COLLECTION” is a collection of various sound sources that have been released after being modified, overdubbed or remixed from the get back session. Includes soundtracks for the movie “LET IT BE”, mixed sound sources such as John Barrett and Anthology, and officially unreleased sound sources such as orchestra overdubbing and acetate mix for the album “LET IT BE”. “I Me Mine” “Across the Universe” added with the change from the album “GET BACK” to “LET IT BE”, to the orchestra overdubbing added by Phil Spector “Last session” This is an original edited sound source collection that summarizes the complementary sound sources as the final version of the “GET BACK MASTERS” series, including the sound sources that can be said to be. More about this source textSource text required for additional translation information
CD1 GLYN JOHN’S ORIGINAL REFERENCE ACETATE 1. GET BACK (inc.I’VE GOT A FEELING / HELP!) 2. TEDDY BOY 3. TWO OF US 4. DIG A PONY 5. I’VE GOT A FEELING 6. THE LONG AND WINDING ROAD 7. LET IT BE 8. DON’T LET ME DOWN 9. FOR YOU BLUE 10. GET BACK 11. THE WALK DIFFERENT MIXES COLLECTION 12. LET IT BE (1968 Demo) 13. SHE CAME IN THROUGH THE BATHROOM WINDOW (Anthology Mix) 14. DIG A PONY (Anthology Mix) 15. POST CHAT 16. TWO OF US (Anthology Mix) 17. MAGGIE MAE (John Barrett Mix) 18. CAN YOU DIG IT / HARK THE ANGELS COME (Chat) 19. FOR YOU BLUE (Anthology Mix) 20. LET IT BE (Anthology Mix) 21. ISN’T IT A PITY (Demo) 22. DIG IT (Extended Uncut Version) 23. RIP IT UP / SHAKE RATTLE AND ROLL (John Barrett Mix) 24. KANSAS CITY / MISS ANN / LAWDTY MISS CLAWDY (John Barrett Mix) 25. BLUE SUEDE SHOES (John Barrett Mix) 26. YOU REALLY GOT A HOLD ON ME (Movie Soundtrack Stereo Mix)
CD2 1. OH! DARLING (Anthology Mix) 2. TEDDY BOY (Anthology Mix) 3. CANNONBALL / NOT A FADE AWAY / HEY LITTLE GIRL / BO DIDDLEY (John Barrett Mix) 4. MAILMAN, BRING ME NO MORE BLUES (John Barrett Mix) 5. GET BACK (Movie Soundtrack Stereo Mix) 6. DON’T LET ME DOWN (Movie Soundtrack Stereo Mix) 7. I’VE GOT A FEELING (Movie Soundtrack Stereo Mix) 8. ONE AFTER 909 / DANNY BOY (Movie Soundtrack Stereo Mix) 9. DIG A PONY (Movie Soundtrack Stereo Mix) 10. GET BACK (Movie Soundtrack Stereo Mix) 11. GET BACK (REPRISE) (Movie Soundtrack Stereo Mix) 12. TWO OF US (Movie Soundtrack Stereo Mix) 13. THE LONG AND WINDING ROAD (Movie Soundtrack Stereo Mix) 14. LET IT BE (Take 27 – Original Mix) 15. LET IT BE (Take 27+24 – Anthology Mix) 16. MAILMAN, BRING ME NO MORE BLUES (Sessions Remix) 17. I ME MINE (Anthology Mix) 18. I ME MINE (John Barrett Mix) 19. LET IT BE (Orchestra Overdub – Backing Tracks) 20. ACROSS THE UNIVERSE (Orchestra Overdub – Backing Tracks) 21. I ME MINE (Orchestra Overdub – Backing Tracks) 22. THE LONG AND WINDING ROAD (Orchestra Overdub – Backing Tracks) 23. ACROSS THE UNIVERSE (Alternate 2 Versions Remix) 24. LET IT BE (Original Acetate) 25. THE LONG AND WINDING ROAD (Original Acetate) 26. GET BACK (Capitol Stereo Remix)
Digital Archives Promotion. DAPB064CD1/2
AS NATURE INTENDED – THE ULTIMATE ROOFTOP CONCERT
Location: Apple building rooftop, 3 Savile Row, London
Label: Vigotone (Ref.: VT122)
Medium: 1 cd
Duration: 71:39 mins
Sound quality: 10/10
List of titles:
01. Get Back [rehearsal] (4:08)
02. Get Back (3:20)
03. Don't Let Me Down (3:19)
04. I've Got A Feeling (5:28)
05. The One After 909 (3:37)
06. Dig A Pony (4:35)
07. I've Got A Feeling (3:55)
08. Don't Let Me Down (3:18)
09. Get Back (3 :17)
10. Rocker (0:46)
11. Save The Last Dance For Me (1:38)
12. Don't Let Me Down (4:09)
13. Dig A Pony (3:48)
14. I 've Got A Feeling (3:01)
15. For You Blue (2:42)
16. Teddy Boy (3:44)
17. Two Of Us (3:32)
18. Maggie Mae (0:42)
19. Dig It (4:27)
20. Let It Be (3:59)
21. The Long And Winding Road (3:42)
22. Get Back (Reprise) (0:47)
Tracks 1-9, Apple Rooftop Concert
Tracks 10-22, Glyn Johns "Get Back" album
Comment: The first nine titles of this Bootleg constitute the entirety of the famous " rooftop concert ", this short performance that the Beatles gave, almost improvised, on the roof of the Apple company building, on January 30, 1969 , and which was the last concert in their history (as well as the first since 1966).
The rest of the bootleg consists of versions of the songs from the "Let it be" album before they went through the heavy remixing done by Phil Spector to release a record that would sound like a finished product and not just studio sessions. This is how the album Let it be was born, but for most Beatles fans, Spector had betrayed the spirit of the Beatles and, even more, the spirit of the "Get Back" project, which was a sort of return to the roots and the simplicity of rock. There are multiple versions of these non-spectorized tapes, including the three different mixes made by recording engineer Glyn Johns , but which were not retained.
Here's what's special about this version: " Unlike most of the Get Back bootlegs which were taken from an acetate and digitally declicked and denoised (which added some strange phasing artifacts over the stereo image), these tracks were taken from a stereo tape source, and are here presented “as nature intended”, so there is some tape noise and some drop outs. But the recording may have more crispness preserved here . »
January 15, 2022
The Beatles: Get Back 3-Disc Blu-ray Collector's Edition
This is a pre-order. Expected ship date is February 05, 2022.
Directed by filmmaker Peter Jackson, The Beatles: Get Back is a three-part documentary series that takes audiences back in time to the band’s intimate recording sessions. The documentary showcases the warmth, camaraderie and creative genius that defined the legacy of the iconic foursome, and is compiled from over 60 hours of unseen footage shot in January 1969 (by Michael Lindsay-Hogg) and more than 150 hours of unheard audio, all of which has been brilliantly restored. Also featured — for the first time in its entirety — is The Beatles’ last live performance as a group — the unforgettable rooftop concert on London’s Savile Row — as well as other songs and classic compositions featured on the band’s final two albums, Abbey Road and Let It Be.
Director: Peter Jackson
Executive Producers: Jonathan Clyde, Peter Jackson, Jeff Jones, Ken Kamins, Clare Olssen
Creator: Peter Jackson
Cast: Paul McCartney, Ringo Starr, John Lennon, George Harrison
4 Collector Cards
January 02, 2022
The Beatles 2CD collection called "From Liverpool to Hamburg" is a combination of recordings from "In the Beginning 1960 - The Beatles Featuring Tony Sheridan" , 8 of the group's first singles, and "Live! At the Star Club in Hamburg, Germany; 1962". It is still on Amazon but unavailable to order. Below is a track listing of all 44 tracks. Not sure if there is anything new here, but it is a worthy addition to have as both of these albums are out of print. These recordings have been available for years from a number of bootleg sources. The Beatles stopped official distribution of these recordings back in 1998. The Star Club recordings sound better from other sources. Details from the wiki and history for them appear below.
1-1 The Beatles– Ain't She Sweet
1-2 The Beatles– Cry For A Shadow
1-3 The Beatles– When The Saints Go Marching In
Featuring – Tony Sheridan
1-4 The Beatles– Why
Featuring – Tony Sheridan
1-5 The Beatles– If You Love Me, Baby
Featuring – Tony Sheridan
1-6 The Beatles– My Bonnie
Featuring – Tony Sheridan
1-7 The Beatles– Nobody's Child
Featuring – Tony Sheridan
1-8 The Beat Brothers (2)– Ready Teddy
1-9 The Beatles– Sweet Georgia Brown
Featuring – Tony Sheridan
1-10 The Beat Brothers (2)– What'd I Say
1-11 The Beat Brothers (2)– Ruby Baby
1-12 The Beat Brothers (2)– Let's Dance
1-13 The Beat Brothers (2)– Ya Ya
1-14 The Beat Brothers (2)– Kansas City
1-15 The Beatles– Love Me Do
1-16 The Beatles– P.S. I Love You
1-17 The Beatles– Please Please Me
1-18 The Beatles– Baby It's You
1-19 The Beatles– Do You Know A Secret
1-20 The Beatles– Twist And Shout
1-21 The Beatles– From Me To You
1-22 The Beatles– She Loves You
2-1 The Beatles– I Saw Her Standing There
2-2 The Beatles– I'm Going To Sit Right Down And Cry
2-3 The Beatles– Roll Over Beethoven
2-4 The Beatles– The Hippy Hippy Shake
2-5 The Beatles– Sweet Little Sixteen
2-6 The Beatles– Lend Me Your Comb
2-7 The Beatles– Your Feets Too Big
2-8 The Beatles– Where Have You Been All My Life
2-9 The Beatles– Mr. Moonlight
2-10 The Beatles– A Taste Of Honey
2-11 The Beatles– Eveybody's Trying To Be My Baby
2-12 The Beatles– Nothin' Shakin'
2-13 The Beatles– To Know Her Is To Love Her
2-14 The Beatles– Little Queenie
2-15 The Beatles– Sheila
2-16 The Beatles– Ask Me Why
2-17 The Beatles– Red Sails In The Sunset
2-18 The Beatles– Matchbox
2-19 The Beatles– I'm Talking About You
2-20 The Beatles– I Wish I Could Shimmy Like My Sister Kate
2-21 The Beatles– Long Tall Sally
2-22 The Beatles– I Remember You
Copyright © – Echos (2)
Distributed By – Da Music
In the Beginning (Circa 1960)
The Beatles featuring Tony Sheridan
In the Beginning (Circa 1960) was released by Polydor Records in 1970 (catalogue number 24-4504). It was recorded in Hamburg with The Beatles in 1961 (except for "Sweet Georgia Brown" in 1962) and features Pete Best on the drums. This album, expanded with four more tracks without the Beatles' participation, was originally released as "The Beatles' First !" in Germany in 1964. It was reissued in the United Kingdom in 1967 with the same title - without the exclamation point - then in Canada under the title Very Together in 1969. Previous American releases of this material in 45RPM form was split in 1964 between MGM Records and Atco Records. Polydor (which eventually absorbed MGM) established its United States branch in 1969 which explains why this package was released much later in The Beatles' history. All of the tracks feature vocals by Sheridan except for "Ain't She Sweet", sung by John Lennon, and the instrumental "Cry for a Shadow". The album was released only four days before Let It Be, The Beatles' final studio album. This is therefore the last Beatles compilation album released whilst the band were still releasing studio albums although the group was already unofficially split.
All subsequent releases of Sheridan/Beatles/Beat Brothers material are simply repackages of the same tracks. In the Beginning (Circa 1960) was also the only Beatles album not owned by EMI though Universal's purchase of Polydor and the Beatles' main catalogue put them under the same ownership. In 1984, this album was released on CD by Polydor under the title "The Early Tapes of the Beatles" with two additional tracks by Sheridan and with both parts of "Ya Ya". Only part one of that track was released on the original LP.
For a time, In the Beginning (Circa 1960) was the only Beatles album available on the iTunes Store until the full catalogue of the Beatles was made available in 2011, although it is not available for purchase any longer.
All vocals by Tony Sheridan unless otherwise indicated.
- Side one
- "Ain't She Sweet" (Ager/Yellen) (vocal: John Lennon) – 2:10
- "Cry for a Shadow" (Harrison/Lennon) (instrumental) – 2:22
- "Let's Dance" (Lee) (by Tony Sheridan & The Beat Brothers) – 2:32
- "My Bonnie" (traditional) – 2:06
- "Take Out Some Insurance on Me, Baby" (Hall/Singleton) – 2:52
- "What'd I Say" (Charles) (by Tony Sheridan & The Beat Brothers) – 2:37
- Side two
- "Sweet Georgia Brown" (Bernie/Casey/Pinkard) – 2:03
- "When the Saints Go Marching In" (traditional) – 3:19
- "Ruby Baby" (Leiber/Stoller) (by Tony Sheridan & The Beat Brothers) – 2:48
- "Why" (Crompton/Sheridan) – 2:55
- "Nobody's Child" (Coben/Foree) – 3:52
- "Ya Ya" (Dorsey/Lewis/Robinson) (by Tony Sheridan & The Beat Brothers) – 2:48
Live! at the Star-Club in Hamburg, Germany; 1962
Below is the older CD and vinyl release on 2 LPs:
Below is the vinyl album back cover:
Some other bootlegs of these recordings:
Live! at the Star-Club in Hamburg, Germany; 1962 is a double album featuring live performances by the English rock band the Beatles, recorded in late December 1962 at the Star-Club during their final Hamburg residency. The album was released in 1977 in two different versions, comprising a total of 30 songs by the Beatles.
The performances were recorded on a home tape machine using a single microphone, resulting in a low fidelity recording. Ted "Kingsize" Taylor began to investigate possible marketing of the tapes in 1973. The tapes were eventually bought by Paul Murphy and subjected to extensive audio processing to improve the sound, leading to the 1977 album.
Although the poor sound quality limits its commercial appeal, the
album provides historic insight into the group's club act in the period
after Ringo Starr joined but before the emergence of Beatlemania.
The Beatles were unsuccessful in legally blocking the initial release
of the album; the recordings were reissued in many forms until 1998,
when the group were awarded full rights to the performances.
The Beatles' five residencies in Hamburg during 1960 to 1962 allowed the Liverpool band to develop their performance skills and widen their reputation. Drummer Pete Best was added to the band in August 1960 to secure their first Hamburg booking, where they played for 48 nights at the Indra Club and then 58 nights at the Kaiserkeller. The Beatles returned to Hamburg in April 1961 to play at the Top Ten Club for three months.
A new Hamburg music venue, the Star-Club, opened on 13 April 1962, with The Beatles booked for the first seven weeks. The Beatles returned to Hamburg in November and December 1962 for their fourth and fifth engagements there, which had been booked for the Star-Club many months in advance. Unlike their previous three trips to Hamburg, their drummer was Starr, having replaced Best in August. The Beatles were reluctant to return for their final two-week booking, which started 18 December, as they were gaining popularity in Britain and had just achieved their first charted single with "Love Me Do".
Portions of The Beatles' final Star-Club performances (along with other acts) were recorded by the club's stage manager, Adrian Barber, for Ted "Kingsize" Taylor. Barber used a Grundig home reel-to-reel recorder at a tape speed of 3¾ inches per second, with a single microphone placed in front of the stage. Taylor, leader of The Dominoes (who were also playing at the club), said that John Lennon verbally agreed to the group being recorded in exchange for Taylor providing the beer during their performances.
The tapes were originally described as having been recorded in the spring of 1962, an attempt to pre-date The Beatles' June 1962 contract signing with Parlophone. However, song arrangements and dialogue from the tapes pointed to late December 1962, and a recording date of 31 December 1962 (the group's last day in Hamburg) was commonly cited. Later researchers have proposed that the tapes are from multiple days during the last week of December; Allan Williams (The Beatles' booking agent at the time) recalled that a total of about three hours was recorded over three or four sessions between Christmas and New Year's Day.
The tapes captured The Beatles performing at least 33 different titles, plus some repeated songs. Of the 30 songs that were commercially released from the tapes, only two were Lennon–McCartney compositions. The others were an assortment of cover versions, 17 of which would be re-made by The Beatles and appear on their various studio albums or Live at the BBC. The arrangements played at the Star-Club are similar to the versions recorded later, albeit less refined, although there are a few cases with distinct differences. For example, "Mr. Moonlight" has a much quicker tempo, a guitar-based instrumental break, and an intentionally altered lyric with Lennon proclaiming he is on his "nose" instead of his "knees"; "Roll Over Beethoven" was described as "never taken at a more breakneck pace".
The recording equipment and method resulted in the tapes being unmistakably low fidelity. The vocals, even in the best cases, sound "somewhat muffled and distant". The vocals on a few songs are so indistinct that labelling and liner notes on early releases gave incorrect information about who was singing and the exact song being performed. Much of The Beatles' dialogue between songs is audible, which includes addressing the audience in both English and German, as well as repartee among themselves. The banter is irreverent and coarse at times, an aspect of their stage act that would soon cease under the influence of manager Brian Epstein.
Taylor said he had offered to sell the tapes to Epstein in the mid-1960s, but that Epstein did not consider them to be of commercial value and offered only £20. Taylor said he kept the tapes at home, largely forgotten until 1973 when he decided to look into their marketability. Williams related a different history than Taylor, stating that after Taylor returned to Liverpool, he left the tapes with a recording engineer for editing into a potential album. The project was never finished and the engineer later relocated, with the tapes being among many items left behind. In 1972, Williams, Taylor, and the engineer gained access to the abandoned office and recovered the tapes "from beneath a pile of rubble on the floor."
When the existence of the tapes was first publicly reported in July 1973, Williams was planning to ask Apple for at least £100,000. Williams said he later met with George Harrison and Starr to offer the tapes for £5,000, but they declined, citing financial difficulties at the time. Williams and Taylor teamed up with Paul Murphy, head of Buk Records, to find an outlet for the tapes.
Murphy eventually bought the tapes himself and formed a new company, Lingasong, specifically for the project. He sold the worldwide distribution rights to Double H Licensing, which spent more than $100,000 on elaborate audio processing and mixing of the songs under the direction of Larry Grossberg. The sequence of songs was rearranged, and some of the individual songs were edited to bypass flawed tape sections or make up for an incomplete recording.
After an unsuccessful attempt by The Beatles to block it, the 26-song Live! at the Star-Club in Hamburg, Germany; 1962 was released by Lingasong. The album first appeared in West Germany in April 1977 in association with Bellaphon Records, and was released in the UK the following month. For the album's June 1977 US release (in association with Atlantic Records), four songs were removed and replaced with four different songs from the tapes.
Over the next two decades, the recordings were licensed to several record companies, resulting in numerous releases with varying track selections. In 1979, Pickwick Records performed some additional audio filtering and equalisation of the songs on the Lingasong US version, and released it over two volumes as First Live Recordings; the set included the song "Hully Gully" that was mistakenly credited to The Beatles, but was actually performed by Cliff Bennett and the Rebel Rousers, another act on the Star-Club bill. In 1981, Audio Fidelity Enterprises released Historic Sessions in the UK, the first single package with all 30 Beatles tracks from the original Star-Club releases. Several additional songs from the Star-Club tapes have appeared on Beatles bootleg records over the years.
In 1985, a bootlegger known as "Richard", who had already found infamy by issuing several titles with controversial covers and content, issued his own bootleg version of the Star Club tapes without any of the editing found on the official releases, entitled The Beatles vs. the Third Reich—directly parodying The Beatles vs. the Four Seasons in both name and cover.
The release of the recordings on two CDs by industry giant Sony Music in 1991 sparked renewed legal attention by The Beatles (as represented by Paul McCartney, Harrison, Starr, and Yoko Ono). Sony also produced a version specifically for their Columbia House music club, but Sony withdrew the titles in 1992 as a lawsuit was progressing. Lingasong's CD release of the original set prompted another lawsuit from The Beatles in 1996; the case was decided in 1998 in favor of The Beatles, who were granted ownership of the tapes and exclusive rights to their use. Harrison appeared in person to provide evidence in the case, and his testimony was cited as an important factor in the judge's decision. Harrison characterised the claim that Lennon gave Taylor permission for the recording as "a load of rubbish", and added: "One drunken person recording another bunch of drunks does not constitute business deals."
Professional ratingsReview scores
AllMusic 2/5 stars
Christgau's Record Guide B–
Encyclopedia of Popular Music 2/5 stars
The Rolling Stone Album Guide 2/5 stars
The album had limited commercial success, reaching a peak position of No. 111 during a seven-week run on the US Billboard 200 album chart. Assessments of the album often weigh the poor sound quality against the historic importance and insight provided into The Beatles' early stage act. Rolling Stone reviewer John Swenson called the album "poorly recorded but fascinating" and commented that it showed The Beatles as "raw but extremely powerful." Allmusic, commenting on a reissue, wrote: "The results were very low-fidelity, and despite The Beatles' enormous success, it took Taylor fifteen years to find someone greedy and shameless enough to release them as a record". Q magazine described the recordings as having "certain historical interest" and remarked: "The show seems like a riot but the sound itself is terrible – like one hell of a great party going on next door." George Harrison gave the assessment: "The Star-Club recording was the crummiest recording ever made in our name!"
(Bellaphon BLS5560/Lingasong LNL1)
Introduction/"I Saw Her Standing There" (John Lennon, Paul McCartney) – 0:34/2:22
"Roll Over Beethoven" (Chuck Berry) – 2:15
"Hippy Hippy Shake" (Chan Romero) – 1:42
"Sweet Little Sixteen" (Berry) – 2:45
"Lend Me Your Comb" (Kay Twomey, Fred Wise, Ben Weisman) – 1:44
"Your Feet's Too Big" (Ada Benson, Fred Fisher) – 2:18
"Twist and Shout" (Phil Medley, Bert Russell) – 2:03
"Mr. Moonlight" (Roy Lee Johnson) – 2:06
"A Taste of Honey" (Bobby Scott, Ric Marlow) – 1:45
"Bésame Mucho" (Consuelo Velázquez, Sunny Skylar) – 2:36
"Reminiscing" (King Curtis) – 1:41
"Kansas City/Hey, Hey, Hey, Hey" (Jerry Leiber, Mike Stoller, Richard Penniman) – 2:09
"Nothin' Shakin' (But the Leaves on the Trees)" (Eddie Fontaine, Cirino Colacrai, Diane Lampert, John Gluck) – 1:15
"To Know Her Is to Love Her" (Phil Spector) – 3:02
"Little Queenie" (Berry) – 3:51
"Falling in Love Again (Can't Help It)" (Frederick Hollander, Sammy Lerner) – 1:57
"Ask Me Why" (Lennon, McCartney) – 2:26
"Be-Bop-A-Lula" (Gene Vincent, Bill Davis) – 2:29
Guest lead vocal by Fred Fascher, Star-Club waiter
"Hallelujah I Love Her So" (Ray Charles) – 2:10
Guest lead vocal by Horst Fascher, Star-Club manager
"Red Sails in the Sunset" (Jimmy Kennedy, Hugh Williams) – 2:00
"Everybody's Trying to Be My Baby" (Carl Perkins) – 2:25
"Matchbox" (Carl Perkins) – 2:35
"I'm Talking About You" (Berry) – 1:48
"Shimmy Like Kate" (Armand Piron, Fred Smith, Cliff Goldsmith) – 2:17
Based on The Olympics' arrangement of "I Wish I Could Shimmy Like My Sister Kate"; sometimes misidentified as "Shimmy Shimmy" or "Shimmy Shake"
"Long Tall Sally" (Enotris Johnson, Robert Blackwell, Penniman) – 1:45
"I Remember You" (Johnny Mercer, Victor Schertzinger) – 1:54
The US version includes the above except "I Saw Her Standing There", "Twist and Shout", "Reminiscing", and "Ask Me Why", and substitutes the following four songs:
Introduction/"I'm Gonna Sit Right Down and Cry (Over You)" (Joe Thomas, Howard Biggs) – 3:04
"Where Have You Been (All My Life)" (Barry Mann, Cynthia Weil) – 1:55
"Till There Was You" (Meredith Willson) – 1:59
"Sheila" (Tommy Roe) – 1:56