Looking Back: Beatles Love Album Review

The Beatles Love album was released on CD and DVD in November 2006 with one of the highest quality music in the Beatles catalog. Below is a review of this groundbreaking album along with CD album scans. Enjoy. 

Stereo CD will contain 78 minutes of newly mixed and mastered music packaged in a jewel box with a 28-page booklet including liner notes by George and Giles Martin. First time ever special edition will include both the stereo CD and a BONUS AUDIO DVD packaged in a digi-package with O-card. The DVD is audio only and will contain 81 minutes of music in both 5.1 surround sound and stereo (presented in DVD-Audio MLP, DTS, Dolby and PCM).

Tracks

1. Because

2. Get Back

3. Glass Onion

4. Eleanor Rigby/Julia (Transition)

5. I Am The Walrus

6. I Want To Hold Your Hand

7. Drive My Car/The Word/What You're Doing

8. Gnik Nus

9. Something/Blue Jay Way (Transition)

10. Being For The Benefit of Mr. Kite!/I Want You (She's So Heavy)/Helter Skelter

11. Help!

12. Blackbird/Yesterday

13. Strawberry Fields Forever

14. Within You Without You/Tomorrow Never Knows

15. Lucy in the Sky With Diamonds

16. Octopus's Garden

17. Lady Madonna

18. Here Comes The Sun/The Inner Light (Transition)

19. Come Together/Dear Prudence/Cry Baby Cry (Transition)

20. Revolution

21. Back In The U.S.S.R.

22. While My Guitar Gently Weeps

23. A Day In The Life

24. Hey Jude

25. Sgt. Pepper's Lonely Hearts Club Band (Reprise)

26. All You Need Is Love

Review by Rick Kosmick - October 31, 2015

"Love" is an interesting soundtrack created for the Cirque du Soleil theatrical production that opened in Las Vegas in 2006. The soundtrack is a collage formulated from original Beatles recordings that for some would invite controversy in the use of this music. ‘Love’ was created by the legendary Beatles producer, George Martin and his son Giles Martin from over a 100 clips of original multi-track recordings with the permission of Paul McCartney, Ringo Starr, Yoko Ono (estate of John Lennon) and Olivia Harrison (estate of George Harrison).

The use of original Beatles recordings for this soundtrack could have been expected to receive some negative comments or criticisms upon face value of any changes to the presentation or mixes. Comments such as ‘bewildered’ or ‘befuddled’ were expressed upon the initial release of "Love" on CD and DVD Audio (2006) with detractors ignoring the basic premise of a soundtrack created as a celebration of Beatles music and irrespective of the notable approval from members of The Beatles. I personally found it odd in many statements from critics who commonly ignored the experimental nature of Beatles music in its development and sophistication. ‘Love’ is resplendent with experimentation.

In the DVD-Audio format, "Love" is available only in multi-channel 5.1 MLP 96kHz 24Bit. Suffice it to say, this 5.I mix is absolutely stunning! The first thing that comes to mind is the realization the original Beatles recordings were magnificently recorded by the audio engineers. Even more important, you hear the energy of this quartet that were so talented they set a standard that remains unparalleled in popular music. Their song writing skills and musicianship set them apart and their accomplishments remain unrivalled. The Beatles were magnificent performers in the studio.

On the opening track “Because“, the instrumentation is stripped away as you hear the vocal harmonies a cappella in gorgeous immersive sound. Quickly and uninterrupted, the next track starts with the opening guitar chord from “a Hard Days Night” followed by a brief Ringo Starr drum solo from “The End” before jumping into the song “Get Back” with its full intensity that still strikes me with a chill every time I hear it.

The early 1963 Beatles song “I Want to Hold Your Hand” was their first recording to utilize four-track equipment but the fidelity has limitations. In the 5.1 mix, the presentation disguises the sonic constraints with a live audience as background (a la The Ed Sullivan Show) for a very effective ambient sound. It fits extremely well as it takes you down memory lane when the Beatles first exploded onto the North American music scene and the ensuing sheer madness of fans during live performances.

The original audio quality on the multi-tracks really show their stuff on the instruments. For example, on the song “Something”, you hear the heartfelt vocals from George Harrison but equally striking is how well Ringo Starr’s drum sound was miked in the studio (on a ballad!) as if you're standing just a few feet away. On “Come Together”, some superb bass playing from Paul McCartney is aurally present in a distinctly bold and deep tone. These are but a few examples that reveal Beatles instrumentation as never heard before.

The "Love" soundtrack is a great reminder as to the adeptness of The Beatles to write and perform rock songs. On “Revolution” John Lennon's impassioned vocals are equally supported by his distorted lead guitar work that resonates with shocking clarity. Revolution is immediately followed by another rocker “Back in the U.S.S.R” sung exuberantly by Paul McCartney with a nifty lead guitar break from George Harrison with its excellent tonal quality. Such was the vitality of the Beatles to knockout these great rock songs with flair and energy.

The closing track is “All You Need Is Love” and it actually seems quite appropriate for the last song on the soundtrack. Certainly there is the clear message behind the song but it is the crazy and freaked-out prolonged ending of the original recording that represents the experimental essence of The Beatles and a similar experimental approach is taken with a mash-up by adding snippets of vocals from "Baby You're A Rich Man", "Rain" and "Sgt. Peppers Lonely Hearts Club Band" to this ending. All in all, there is over 80 minutes of glorious music on "Love" that is a tribute to a group of artists that changed the world of music.

The production of George Martin and Giles Martin maintains the character of the original recordings. At the same time, it can be summed up as a daring mix as it opens another door to the potency of The Beatles music. The 5.1 mix is inventive and the balance achieved is outstanding. The transparency is astonishing. The use of the rear channels is discreet for the most part but conceptually steers away from being overly aggressive. It is one of the best multi-channel mixes I have had the pleasure to hear. I consider this DVD-Audio as a spectacular surround soundtrack with a front row seat to the Cirque du Soleil presentation of The Beatles "Love".

As an additional note, high resolution audio for the original recordings of The Beatles has been a long in coming but the time has finally arrived. In a few days on November 6, 2015, Blu-ray versions of The Beatles: 1 and The Beatles: 1+ will be released. Giles Martin is the producer as he continues his work on their catalogue of original recordings. For the multi-channel enthusiasts, to say these Blu-ray releases are highly anticipated would be an understatement.

Copyright © 2015 Rick Kosmick and HRAudio.net

Source: https://www.hraudio.net/showmusic.php?title=11100&showall=1

From Wikipedia:

Love is a soundtrack remix album of music recorded by the Beatles, released in November 2006. It features music compiled and remixed as a mashup for the Cirque du Soleil show Love. The album was produced by George Martin and his son Giles Martin, who said, "What people will be hearing on the album is a new experience, a way of re-living the whole Beatles musical lifespan in a very condensed period."[1]

The album was George Martin's final album as a producer before his death in 2016.

Background

George Martin and his son Giles began work on Love after obtaining permission from Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison (the latter two representing the estates of John Lennon and George Harrison, respectively).[1] The idea for using the Beatles' music in a Cirque du Soleil production had originally come from Harrison, who died in November 2001,[2][3] through his friendship with the company's founder, Guy Laliberté.[4]

Speaking to Mojo editor Jim Irvin in December 2006, Giles Martin said that he first created a demo combining "Within You Without You" with "Tomorrow Never Knows", which he then nervously presented to McCartney and Starr for their approval. In Martin's recollection, "they loved it", with McCartney saying: "This is what we should be doing, more of this."[5]

In discussing the project, Giles Martin commented that elements were used from recordings in the Beatles catalogue, "the original four tracks, eight tracks and two tracks and used this palette of sounds and music to create a soundbed".[1] Because he was concerned that they might not get the green light to proceed with Love, he began by making digital back-ups of the original multi-track recordings, just to get started on the project. He also said that he and his father mixed more music than was eventually released, including "She's Leaving Home" and a version of "Girl" that he was particularly fond of, with the latter eventually being released in 2011 as a bonus track on the album on iTunes.[6]

McCartney and Starr both responded very positively to the completed album. McCartney said that it "puts The Beatles back together again, because suddenly there's John and George with me and Ringo". Starr commended the Martins for their work, adding that Love was "really powerful for me and I even heard things I'd forgotten we'd recorded".[7][8]

Composition

Martin smiling to the camera

George Martin at a performance of the Love stage show

Love contains elements from 130 individual commercially released and demo recordings of the Beatles,[9] and is a complex remix and polymix of multiple songs known as a mashup.[10] As described by Alexis Petridis, mashups were popular earlier in the 2000s, with the Beatles serving as popular material; examples included Danger Mouse The Grey Album (2004), on which the producer fuses Jay-Z's rapping with music from the Beatles' White Album (1968), and Go Home Productions' "Paperback Believer", which used the Beatles' "Paperback Writer" and the Monkees' "Daydream Believer".[11] McCartney was a fan of the "bootleg explosion", and hired mash-up producer Freelance Hellraiser as a DJ on his 2004 world tour,[11] leading to the 2005 collaboration Twin Freaks.[12]

Love has also been described as a sound collage.[13][14][15][16][17] According to Neil Spencer of The Observer, the album's 26 tracks "are set in an ambient flow of sound collages",[14] while according to David Cavanagh, Love comprises mashups and megamixes that play "plurally, in collage form", resulting in album that "[flies] in the face of tradition by placing The Beatles in a 21st century sampladelic culture."[17]

Track element notes

"Because" – According to an interview with the Martins in Entertainment Weekly, the opening track includes the bird sounds used in the World Wildlife Fund version of "Across the Universe", as well as "Free as a Bird".[18] In addition, a new recording of a wood pigeon was implemented "to make it more British", according to George Martin.[18]

"Get Back" – The track uses the opening guitar chord from "A Hard Day's Night", the drum and guitar solos from "The End", percussion from "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", and the orchestral swell from "A Day in the Life".[19][20]

"Glass Onion" – This track includes guitar from "Things We Said Today".[21]

"I Want to Hold Your Hand" – George and Giles Martin stated that elements from both the studio recording and the Hollywood Bowl live performance were used in the 5.1 surround sound mix.[18]

"Drive My Car/The Word/What You're Doing" – The medley features the guitar solo from "Taxman" and the horn section from "Savoy Truffle".[22][23][24] The Martins said they also remixed keyboards from "Lucy in the Sky with Diamonds" and backing vocals from "Helter Skelter" into the track.[25]

"Gnik Nus" – The track contains the vocal arrangement of "Sun King" played in reverse[23] and accompanied by tambura drone.[26]

"Something" (with "Blue Jay Way" transition) – The track emphasises the lead vocal[21] and George Martin's string arrangement on "Something" before transitioning into "Blue Jay Way", which also includes elements from "Nowhere Man".[27] Giles Martin said the portion from "Blue Jay Way" set the mood for the next track, which they created in response to an idea by the director of the Love show for a "macabre Victorian circus".[21]

"Being for the Benefit of Mr. Kite!/I Want You (She's So Heavy)/Helter Skelter" – The track contains the whole of "Being for the Benefit of Mr. Kite!", guitars from "I Want You (She's So Heavy)", and heavily delayed vocals from "Helter Skelter". It also includes horse sounds from "Good Morning, Good Morning", harmonium and other elements from "Cry Baby Cry" and laughter from "Piggies".[28]

"Strawberry Fields Forever" – This version builds from an acoustic demo[29] to incorporate sections of take 1 of the song (including harmony vocals that were cut from the edit of take 1 issued on the 1996 Anthology 2 compilation) and take 26.[30] At the end of the track, it includes the orchestral section from "Sgt. Pepper's Lonely Hearts Club Band", the piano solo from "In My Life", the brass included in "Penny Lane", the cello and harpsichord from "Piggies", and the coda of "Hello, Goodbye".[23] According to author John Winn, part of "I'm Only Sleeping" also appears in the closing mashup.[31]

"Within You Without You/Tomorrow Never Knows" – This track combines the vocals and the dilruba from "Within You Without You" with the bass and drums from "Tomorrow Never Knows".[20]

"Lucy in the Sky with Diamonds" – The track includes horns and guitars from "Sgt. Pepper's Lonely Hearts Club Band", clavioline from "Baby, You're a Rich Man", and sound effects from "Tomorrow Never Knows".[32]

"Octopus's Garden" – This track contains the string arrangement from "Good Night", sound effects and vocal elements from "Yellow Submarine", and elements from "Lovely Rita", "Helter Skelter" and ends with the beginning guitar riff from "Sun King".[20][23]

"Lady Madonna" – The song includes the percussion intro from "Why Don't We Do It in the Road?", the piano from "Ob-La-Di, Ob-La-Da", the guitar riff from "Hey Bulldog", Billy Preston's organ solo from "I Want You (She's So Heavy)" and Eric Clapton's guitar solo from "While My Guitar Gently Weeps".[33]

"Here Comes the Sun" (with "The Inner Light" transition) – As mentioned by Giles Martin, the track includes tabla and dilruba from "Within You Without You",[21] backing vocals from "Oh! Darling" and a bass line from "I Want You (She's So Heavy)".[34]

"Come Together/Dear Prudence" (with "Cry Baby Cry" transition) – The track contains nearly all of "Come Together", which transitions into "Dear Prudence". It concludes with the vocal part from the end of "Cry Baby Cry", strings from "Eleanor Rigby", and what Giles Martin referred to as the "climax" from "A Day in the Life".[21]

"While My Guitar Gently Weeps" – The track uses a George Harrison demo of the song, previously issued on the Anthology 3 compilation.[21][29] George Martin wrote a new orchestral score for the track, which he described as being his final Beatles string arrangement.[21][35]

"All You Need Is Love" – The track includes elements from "Baby You're a Rich Man" and "Sgt. Pepper's Lonely Hearts Club Band",[36] and ends with orchestration from "Good Night" and the sign-off from The Beatles Third Christmas Record.[21]

Release and reception

Professional ratings

Aggregate scores

Source Rating

Metacritic 83/100[37]

Review scores

Source Rating

AllMusic [22]

Blender [38]

Entertainment Weekly A[39]

The Guardian [11]

NME 8/10[40]

The Observer [14]

Pitchfork 8.5/10[41]

PopMatters 6/10[42]

Q [43]

Rolling Stone [44]

Slant [45]

Uncut [4]

Love was first played publicly on Virgin Radio's The Geoff Show. Geoff Lloyd, the show's host, chose to play the entire work uninterrupted, to allow younger fans to experience an album premiere.[46]

The album was released as a standard compact disc version, a two-disc CD and DVD-Audio package, a two-disc vinyl package, and as a digital download. The DVD-Audio disc contains a 5.1-channel surround sound mix (96 kHz 24-bit MLP), downmixable to two-channel. For backwards compatibility it also contains separate audio-only DVD-Video content with two-channel stereo (48 kHz 16-bit PCM) and 5.1-channel surround (448 kbit/s Dolby Digital and 754 kbit/s DTS).

Love placed at number 3 on the UK Albums Chart during its first week of release, trailing Westlife's The Love Album and Oasis' Stop the Clocks compilation.[47] In the United States, it debuted at number 4 on the Billboard 200, where it was certified Platinum in late 2006.[48] At the 50th Grammy Awards in February 2008, Love won in the categories Best Compilation Soundtrack Album and Best Surround Sound Album.

Legacy

Chris Willman of Entertainment Weekly wrote in 2007: "LOVE really does feel fresh in a way that other latter-day Beatles products like Let It Be... Naked and even the Anthology collections haven't, quite. Freed from the need to adhere to chronology or chart success like the 10-million-selling 1's collection of a few years back, this instantly replaces that uninspired hits set as the album you'd give a kid who needs to discover the Beatles for the first time. It also manages to be the album you'd give the jaded boomer who's hearing these songs for the ten thousandth time."[49]

In 2017, Uncut ranked the album at number 75 in their list of "The 101 Weirdest Albums of All Time".[17]

Track listing

All tracks written by Lennon–McCartney, except where noted.

"Because"  – 2:44

"Get Back"  – 2:05

"Glass Onion"  – 1:20

"Eleanor Rigby" (with "Julia" transition)  – 3:05

"I Am the Walrus"  – 4:28

"I Want to Hold Your Hand"  – 1:22

"Drive My Car/The Word/What You're Doing"  – 1:54

"Gnik Nus"  – 0:55

"Something" (with "Blue Jay Way" transition) (George Harrison)  – 3:29

"Being for the Benefit of Mr. Kite!/I Want You (She's So Heavy)/Helter Skelter"  – 3:22

"Help!"  – 2:18

"Blackbird/Yesterday"  – 2:31

"Strawberry Fields Forever"   – 4:31

"Within You Without You/Tomorrow Never Knows" (Harrison/Lennon–McCartney)  – 3:07

"Lucy in the Sky with Diamonds"  – 4:10

"Octopus's Garden" (Richard Starkey)   – 3:18

"Lady Madonna"   – 2:56

"Here Comes the Sun" (with "The Inner Light" transition) (Harrison)  – 4:18

"Come Together/Dear Prudence" (with "Cry Baby Cry" transition)  – 4:45

"Revolution"  – 2:14 (CD version) / 3:23 (DVD and iTunes version)

"Back in the U.S.S.R."  – 1:53 (CD version) / 2:34 (DVD and iTunes version)

"While My Guitar Gently Weeps" (Harrison)  – 3:46

"A Day in the Life"  – 5:08

"Hey Jude"  – 3:58

"Sgt. Pepper's Lonely Hearts Club Band (Reprise)"  – 1:22

"All You Need Is Love"  – 3:39

Digital bonus tracks

"The Fool on the Hill"  – 3:30

"Girl"  – 2:43

Source: https://en.wikipedia.org/wiki/Love_(Beatles_album)

Bonus: You can listen to the entire album here:

https://www.youtube.com/watch?v=6bdqdO5LAIA&list=PLvEL0n-EFBuX7sNQN0PRN-s4m9e2LYA7l

Looking back at: Introducing the Beatles on VeeJay Records (1964)

From Wikipedia: Introducing... The Beatles is the first Beatles album released in the United States. Originally scheduled for a July 1963 release, the LP came out on 10 January 1964, on Vee-Jay Records, ten days before Capitol's Meet the Beatles!. The latter album, however, entered the U.S. album chart one week before the former. Consequently, when Meet The Beatles! peaked at No. 1 for eleven consecutive weeks, Introducing...The Beatles stalled at No. 2 where it remained nine consecutive weeks. It was the subject of much legal wrangling, but ultimately, Vee-Jay was permitted to sell the album until late 1964, by which time it had sold more than 1.3 million copies.[2] On 24 July 2014 the album was certified gold and platinum by the RIAA.





Initial non-release

The Beatles' recording contract that began May 1962 with Parlophone in the United Kingdom gave the parent corporation EMI rights to offer any of the group's recordings to the various labels EMI owned in many countries of the world. However, EMI's United States subsidiary, Capitol Records, declined to release the "Please Please Me" single.[3] Following this, Transglobal, an EMI affiliate that worked to place foreign masters with US record companies, negotiated with several labels before Vee-Jay Records signed a licensing agreement giving it the right of first refusal on Beatles' records for five years.[4] As part of that agreement, even after its singles releases of "Please Please Me" and "From Me to You" failed to chart above No. 116 on the Billboard Hot 100, Vee-Jay planned to release the Please Please Me album in the US, and received copies of the mono and stereo master tapes in late April or early May 1963.[5]


Originally, Vee-Jay considered releasing the Please Please Me LP unaltered, as it appeared in the UK. A surviving acetate made by Universal Recording Corporation of Chicago, probably in May 1963, contains all 14 songs in the same order as on the UK album, with the title still listed as Please Please Me.[6] But in keeping with the American norm of a 12-song album, Vee-Jay chose instead to omit "Please Please Me" and "Ask Me Why" (which had comprised the first single release) and change the album's title to Introducing... The Beatles.[7] Also, the engineer at Universal in Chicago thought that Paul McCartney's count-in at the start of "I Saw Her Standing There" was extraneous rather than intentionally placed there, so he snipped the "one, two, three" (leaving the "four") from Vee-Jay's mono and stereo masters.[8] Except for those omissions, the order and contents of the album were untouched, resulting in a US album that bore the closest resemblance to a British Beatles LP until Revolver in 1966.[9]

Preparations for the LP's release continued in late June and early July 1963, including the manufacturing of masters and metal parts and the printing of 6,000 front covers.[10] But, despite the claims of many older Beatles books and discographies that Introducing... The Beatles was first released on 22 July 1963,[11][12][13] no documentation exists to confirm that the album was released at any time in 1963.[14]

A management shake-up at Vee-Jay, which included the resignation of the label's president Ewart Abner after he used company money to cover gambling debts,[15] resulted in the cancellation of the release of Introducing... The Beatles and albums by Frank Ifield, Alma Cogan and a Jewish cantor.[15]

Version one


Vee-Jay's financial problems forced it to take care of its most pressing debt first. Because the Beatles and Ifield were low priorities, the label chose not to report royalties on their sales. As a result, Transglobal declared its contract with Vee-Jay null and void on 8 August 1963.[16] The next single, "She Loves You", was licensed by Transglobal to the Swan label of Philadelphia.


On 14 December 1963, Billboard magazine mentioned that Capitol Records planned an all-out promotional campaign for the Beatles in the United States.[17] Following that, the single "I Want to Hold Your Hand" was rush released on 26 December.[18] On 7 January 1964, Vee-Jay's board of directors met for the first time since the single was released, and it discussed the Beatles' material it had in the vault. Desperate for cash, the board decided to release Introducing... The Beatles, even if it meant legal trouble in the future.[17]


Metal parts were already at Vee-Jay's three primary pressing plants, and 6,000 front covers were already printed. But it had no back cover prepared. So, as a stopgap, the label used a back cover slick made from one side of its standard inner sleeve, consisting of full-colour reproductions of the covers of 25 "other fine albums of significant interest".[19] This cover is known by collectors as the "Ad Back" version and is highly sought. A second stopgap back cover was used when the "Ad Back" slicks were exhausted; because it is all-white with no printing at all, it is known by collectors as the "Blank Back" edition and is also very rare. Finally, third editions contain Vee-Jay's official back cover, with Introducing The Beatles near the top and the song titles in two columns underneath. All of these were available on the market within days of the 10 January release date.[19] Also in January, "Please Please Me" was reissued as a single, this time with "From Me to You" as the B-side.[20][21]





But on 16 January 1964, less than a week after Introducing... The Beatles was released, Vee-Jay was served with a restraining order stopping further distribution. Beechwood Music, Inc., Capitol Records' publishing subsidiary, owned the American publishing rights to "Love Me Do" and "P.S. I Love You", and because the two songs had not yet been officially released in the US, Beechwood refused to issue a license for Vee-Jay to release them.[2] Approximately 80,000 copies of Introducing... The Beatles had been released with the two songs on them, with only 2,000 or so in stereo.[2]


Version two

To circumvent the restraining order, Vee-Jay quickly reconfigured Introducing... The Beatles. It removed "Love Me Do" and "P.S. I Love You" and replaced them with the previously omitted "Ask Me Why" and "Please Please Me", though some pressings of the album did not alter the track list. The new versions were prepared in late January and began appearing in stores around 10 February 1964.[2]

Because of the initial restraining order, version two of Introducing... The Beatles did not enter the Billboard charts until three weeks after Capitol's Meet the Beatles! album. Once it did, it quickly rose to the number two spot, where it stayed for nine straight weeks.[22] It also peaked at number two in Cash Box, and it got to number one in Record World magazine.[23] This success inspired a host of other Vee-Jay releases. First came the album Jolly What! England's Greatest Recording Stars: The Beatles and Frank Ifield on Stage issued on 26 February, containing the Beatles tracks "Please Please Me", "From Me to You", "Ask Me Why" and "Thank You Girl" from the 1963 singles and Introducing..., and other tracks from Frank Ifield.[24] The rereleased single "Please Please Me" rose to number three on the Hot 100, Cash Box and Record World. Soon after, "Twist and Shout" was released 2 March on the subsidiary Tollie label with "There's a Place" as the B-side, and "Do You Want to Know a Secret", with "Thank You Girl" on the B-side, was issued on 23 March. Both singles went up to number two on the Hot 100, with "Twist and Shout" reaching number one on both Cash Box and Record World. Also a Beatles EP titled Souvenir of Their Visit to America was released by Vee-Jay on 23 March, featuring "Misery", "A Taste of Honey", "Ask Me Why", and "Anna".[25]





Even with the replacement of the two Beechwood Music songs, Vee-Jay and Capitol battled in court throughout the early part of 1964. Injunctions against Vee-Jay's album were issued, lifted and restored more than once.[26] Because the album was often pressed quickly between restraining orders, there are almost two dozen different label variations, including mono and stereo copies, manufactured at numerous pressing plants.[27] Finally, on 9 April 1964, the two labels settled. Vee-Jay was granted a license giving it the right to issue the 16 Beatles' songs it controlled, in any way it saw fit, until 15 October 1964. At that time, its license expired, and all rights would revert to Capitol.[28] During the time Introducing... The Beatles was available, it sold approximately 1,300,000 mono copies and approximately 41,000 stereo copies. Because only 3.1 percent of all of the LPs were in stereo,[29] true stereo copies are rare.


After the settlement, the Beechwood songs were issued by Vee-Jay as a single, on 27 April on Tollie. "Love Me Do"/"P.S. I Love You" rose to become the Beatles' fourth number one single on Billboard and their fifth on both Cash Box and Record World.[30][31]


Other versions

Twice before its license expired, Vee-Jay repackaged Introducing... The Beatles. Although neither album contained any new music, both of them made the Billboard album charts. VJ 1062 (with photos)

One of these was Songs, Pictures and Stories of the Fabulous Beatles (Vee-Jay VJLP(S)-1062), which featured a three-quarters gatefold cover, portrait paintings of the four musicians and the text:




"Look inside. Complete story of their favourite male and female singer, their favourite foods, types of girls, sport, hobby, songs, colours, real name, birthplace, birthdays, height, education, color of hair & eyes."

he inside cover text describes Paul as the "Nut Beatle" or "Beatle Nut", John as "nearsighted" and the "Chief Beatle", George as the "quietest" and the "one with the deadpan face" and Ringo as the "shortest Beatle" who "will send his steak back if it is not blood red". The back sleeve shows outlines of hearts below each Beatle-photo and holds instructions of how to fill the hearts with personal photos.

The record inside the cover did not even contain the new name; it still stated Introducing... The Beatles on the label.[32] Songs, Pictures and Stories was released either in late July 1964[32] or 12 October 1964,[33] with the latter the more likely date, because it entered the Billboard album chart on 31 October.[22] It eventually peaked at number 63.[33]
VJ 1065 (with the Four Seasons)[edit]







The other repackaging was the two-record set The Beatles vs the Four Seasons, which contained copies of Introducing... The Beatles in one pocket of the gatefold cover and Golden Hits of the Four Seasons (VJLP 1065) in the other.[34] This Vee-Jay creation spent three weeks on the Billboard chart in October 1964 and peaked at number 142.


Though Vee-Jay could not manufacture or distribute any Beatles product after 15 October 1964, it took a long time for the records to vanish from retail stores. Both Introducing... The Beatles and Songs, Pictures and Stories of the Fabulous Beatles remained on the Billboard LP chart until 9 January 1965.[35]
After Vee Jay license expired: The Early Beatles, Rarities[edit]


From the start of Beatlemania in the United States until the October 1964 expiration of its rights to Beatles music, Vee-Jay issued four LP albums, four singles, and an EP out of the 16 tracks it gained from its 1963 license period. On 22 March 1965, Capitol issued The Early Beatles, which contained 11 of the 14 tracks that had previously been issued on Introducing... The Beatles.[36] "Misery" and "There's a Place", two of the other three songs, would not make their Capitol Records LP debut until 1980, on the US version of Rarities. The other Introducing... song was "I Saw Her Standing There", first released in the UK on the Please Please Me LP. The song appeared in the US on both the Vee-Jay album as well as Capitol's Meet The Beatles! LP. These two albums marked the only time that two different Beatles' albums, each from a different record label, were released in the same month with one song appearing on both albums. There is a difference between the two tracks in that Paul's count-off is cut short on the Vee-Jay release by three numbers leaving only "four!" on the intro. Later, in the summer of 1964, Capitol would release Something New in the United States with five songs that had already appeared on the American A Hard Day's Night soundtrack album released by United Artists Records about one month earlier.


Introducing... The Beatles has never been officially released on compact disc in America, although imported second-hand copies have circulated from other countries — in both mono and stereo versions, mostly with the version two line-up (with "Please Please Me" and "Ask Me Why").








A counterfeit Introducing... The Beatles label with the group's name and album title separated by the centre spindle hole

Starting in the late 1960s and continuing through the 1990s, Introducing... The Beatles was frequently counterfeited.[37] These counterfeits can be identified by the cover printing and quality, the label, or the sound quality.

Counterfeits have some significant differences from the commercial issue. Some of the more common variations include...
Labels with the title of the album and the group's name separated by the center spindle hole (as shown in the photo to the right)[37]
Labels with color bands that are off-center and/or missing the color green (as shown in the photo to the right)
Labels with large white "brackets" (no color band)
Album covers with dark brown borders
Dating from the late 1970s, George Harrison's shadow is not visible on the right side of the cover (However, all legitimate copies of the album and even most counterfeits include his shadow).[38]

Nearly all fakes claim to be in stereo (though the actual sound of the record is often in mono). As legitimate stereo copies of Introducing... The Beatles are rare,[38] the majority of copies with "stereo" or "stereophonic" printed on the cover are counterfeits.[37]

There are also known fake versions of Songs, Pictures, and Stories of the Fabulous Beatles.[37] These counterfeits often omit "Stories" from the album title, since they are circulated without the gatefold cover and the text inside, renaming it Songs and Pictures of the Fabulous Beatles. These versions have 3 songs not on the original album. "From Me To You" (in place of "Anna"), "Love Me Do" (in place of "Ask Me Why") and "P.S I Love You", which opens side 2 rather than "Please Please Me" (The song is rather placed on side 1, track 3).[37]






Track listing
All tracks written by Lennon–McCartney, except where noted.

Side one
No. Title Lead vocals Length
1. "I Saw Her Standing There" (McCartney counting "one, two, three" is omitted; recording starts with "four") Paul McCartney 2:50
2. "Misery" John Lennon and Paul McCartney 1:48
3. "Anna (Go to Him)" (Arthur Alexander) John Lennon 3:00
4. "Chains" (Gerry Goffin, Carole King) George Harrison 2:25
5. "Boys" (Luther Dixon, Wes Farrell) Ringo Starr 2:28
6. "Love Me Do[a]" Paul McCartney and John Lennon 2:19
Side two
No. Title Lead vocals Length
1. "P.S. I Love You[b]" Paul McCartney 2:04
2. "Baby It's You" (Burt Bacharach, Mack David, Barney Williams) John Lennon 2:41
3. "Do You Want to Know a Secret" George Harrison 1:59
4. "A Taste of Honey" (Ric Marlow, Bobby Scott) Paul McCartney 2:05
5. "There's a Place" John Lennon and Paul McCartney 1:53
6. "Twist and Shout" (Phil Medley, Bert Russell) John Lennon 2:33
Replaced by "Ask Me Why" in February 1964


Source: https://en.wikipedia.org/wiki/Introducing..._The_Beatles

Beatles - Introducing The Beatles (VJ Records)

VJ Records had exclusive distribution rights for the Beatles songs circa 1962 - 1963. After a series of singles were released by VJ and did not catch on, disk jockey's started playing imported copies of British Beatles records. In order to cash in on this rising popularity, VJ assembled this collection of songs. It was the first U.S. Beatles album distributed. VJ later failed to make royalty payments, and lost its distribution rights. Capitol Records (a division of EMI-England) started promoting and distributing Beatles records thereafter.

1. I Saw Her Standing There (Lennon/McCartney) 2:50
Regular
RM Take 9 & 12
11 Feb 1963
SS.PPM.01.09/12.RM
Used for mono LP & CD "Please Please Me".
Also found on mono US "Introducing The Beatles" (Brennan) but missing the count-in (only the "4" remains). It is not sure if the version found on "Introducing .." is the UK mono mix or the UK stereo mix reduced to mono. According to Brennan (again), if it was a reduction from the stereo mix we would hear the volume dropout on verse 3 that is typical on the UK stereo mix.
Beginning with different count " FOUR ", not " 1, 2, 3, 4! ".
Album version mixed from take 9.

2. Misery (Lennon/McCartney) 1:47
Regular
RM Take 16 - US
11 Feb 1963
SS.PPM.02.16.RM.US
The Beatles
Used exclusively on "Introducing The Beatles" US mono LP.
It is usually assumed that this mix is a mono reduction of the regular stereo mix (SS.PPM.02.16.RS) but it's hard to determine.
Mixed by George Martin in 1963 or 1964 in Los Angeles.
Album version mixed from take 11

3. Anna (Go To Him) (Alexander) 2:56
Regular
RM Take 3
11 Feb 1963
SS.PPM.03.03.RM
The Beatles
Released on
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987.
Album version mixed from take 3

4. Chains (Goffin/King) 2:21
Regular
RM Take 1
11 Feb 1963
SS.PPM.04.01.RM
The Beatles
4 takes were recorded. Take 1 & 4 were complete. Take 2 & 3 were false starts.
All tapes were destroyed. Take 1 was used for the CV.
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987.
Album version mixed from take 1

5. Boys (Dixon/Farrell) 2:24
Regular
RM Take 1
11 Feb 1963
SS.PPM.05.01.RM
The Beatles
Only one take was recorded.
Appears on:
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987.
Album version mixed from take 1

6. Ask Me Why (Lennon/McCartney) 2:24
Regular
RM Take 6 - UK/US LP
26 Nov 1962
SS.PPM.06.06.RM
The Beatles
Recorded in 6 takes.
LP mono mix. Issued in UK on "Please Please Me" mono LP & CD and the EP "All My Loving".
Issued in USA on "Introducing The Beatles" mono LP (second version).
Released on:
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing second issue 1963, Vee Jay VJ 581 single 1964.
CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988.
Album version mixed from take 6

7. Please Please Me (Lennon/McCartney) 2:00
Regular
RM Take Unknown
26 Nov 1962
SS.PPM.07.xx.RM
The Beatles
Mono mix based on unknown takes (possibly takes 16, 17 & 18).
UK: Parlophone R4983 single 1963, Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJ 498 single 1963, Vee Jay VJLP 1062 Introducing second issue 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987, EMI single 1988, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.
Album version mixed from take ?

8. Baby It's You (David/Bacharach/Williams) 2:36
Regular
RM Take 5
11 Feb 1963
SS.PPM.10.05.RM
The Beatles
Released on "Please Please Me" UK mono LP and on "Introducing The Beatles" (both versions) US mono LP.
Recorded in 3 takes + 3 overdubs takes of celeste and piano (George Martin only). The piano overdub was never used while one of the celeste overdubs combined with take 3 became take 5.
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987.
Album version mixed from take 3

9. Do You Want To Know A Secret (Lennon/McCartney) 1:55
Regular
11 Feb 1963
The Beatles
Album version mixed from take 8

10. A Taste Of Honey (Marlow/Scott) 2:02
Regular
RM1 Take 7 - UK/US
11 Feb 1963
SS.PM.12.07.RM1
The Beatles
Regular mono mix: take 7 RM1.
Released on
UK: Parlophone PMC 1202 Please Please Me 1963.
US: Vee Jay VJLP 1062 Introducing 1963.
CD: EMI CDP 7 46435 2 Please Please Me 1987.
Album version mixed from take 7

11. There's A Place (Lennon/McCartney) 1:49
Regular
11 Feb 1963
The Beatles
Album version mixed from take 13

12. Twist And Shout (Russell/Medley) 2:32
Regular
11 Feb 1963
The Beatles
Album version mixed from take 2



There are also bootleg copies available printed on CD. Below are examples:

















You can listen to the entire album here:


https://www.youtube.com/watch?v=oxwAB3SECtc&list=PLKKsb10K6yRgRXYl5PEbEcFv7a3-6bL7b

https://www.youtube.com/playlist?list=PL4buxmiKwyph0FIjzUvAZjTHFKkCxTdKd

More info available here:
https://mega.nz/file/FT0DGZjR#hiISjx_Du6jjsudSLBoHg1jfiNYdMb2E564O1josiew

Introducing the Beatles - VJ Records - 01-10-1964 - Original vs Bootlegs

Perhaps the most distinctive component in the history of Beatles records is the album Introducing the Beatles (Vee Jay VJLP/SR-1062). This eccentric LP is distinctive on many fronts, not the least of which is that its dozen tracks have proliferated into over two dozen subsequent albums and singles.

In the summer of 1963, a product of Chicago's Vee Jay label competed heartily in the marketplace, right along with the big boys over at Capitol. As a small, independent company with a big hit record on their hands, Vee Jay and their vendors worked around the clock to meet the enormous demand for this LP. For the last few months of '63, this was the only Beatles album available for purchase in American shops. Although a huge seller, its sales life was cut very short by the courts, when, in early 1965, the rights to all of the Beatles recordings were turned over to Capitol/EMI.

Not surprisingly, most of the world's rare and valuable records, including Introducing the Beatles, have been counterfeited -numerous times and in a myriad of variations. It is probably the most counterfeited record in history, and deserving of consideration for a gold or platinum award in the category: Rock Album Most Frequently Faked.

With so many different bogus copies floating around, perhaps we should begin by giving a precise description of the original album. Knowing how to spot an original is one of the best weapons against getting stuck with a pretender.

The first issue covers were manufactured in both Chicago and St. Louis. All original covers have a glossy coated paper stock, both front and back. Approximately 90% of all Introducing the Beatles covers were produced at these plants. If either the front or the back cover is flat -lacking gloss -it is a counterfeit.

In late 1964, when Vee Jay relocated their offices to Santa Monica, California, a small number of original covers were then made on the west coast. These have less of a gloss on the back cover; however, they do have some shine and are clearly not a flat stock.

Although color shades do vary on originals, the printing of the photo and text is always very sharp and clear. Any with poor quality printing are probably counterfeits. All legitimate covers are made using varying shades of gray or tan cardboard, with the printed front and back slicks bonded on them. All original covers we have seen have a 1/4" overlap of cardboard at the top and bottom of the inside cover. This check can only be made by viewing the inside of the cover at the top and at the bottom. On most fakes, these overlaps are either much larger than 1/4", or there is no flap at all. The California plant made a small quantity of original monaural covers that have no flap at all, but they still have the glossy back cover slick as well as high quality printing. Also, these come with an authentic disc inside, yet another way to help determine originality.

A few counterfeits do have covers with high quality printing, but their overall construction and/or disc quality are noticeably imperfect.

While it is very helpful to have a known original on hand for comparison, few folks have that luxury. When this is not possible, use the following checklist to make a determination regarding authenticity.

Some of the more common characteristics found on COUNTERFEIT COVERS:

Covers with a brown border around the front cover photo are fakes.
Covers with a bright yellow tint and the word "STEREO" printed in black at the upper left are fakes.
Covers without George Harrison's shadow-visible to his right of where he stands, near the edge are fakes.
Covers with red, blue, and yellow dots, unmistakable under the top of the back cover, are fakes. The dots are used by the printers during the printing process. On originals, the dots are in a different area and are not normally visible. (This fake is of particular importance due to the high quality of the front cover photo. For that reason, this cover has fooled many a collector. Look for the dots! Fake covers are almost always accompanied by a fake disc.)
Covers for the stereo issue that list Love Me Do and P. S. I Love You, among the two columns of tracks on the back, are almost always fakes. Only a couple of authentic copies of these versions are known to exist.
Covers having a flat paper stock on the back side slick are fakes.
Some of the more common characteristics found on COUNTERFEIT DISCS:

Any labels with flat textured rainbow/colorband labels are fakes.
Labels that have "THE BEATLES" and "INTRODUCING The BEATLES" separated by the center hole are fakes.
If the width of the vinyl trail-off -the gap between the end of the last track and the edge of the label is greater than one inch, you have a fake.
Any copy with black labels that do not have the rainbow colorband, that are printed on glossy paper stock, are fakes.
Copies with rainbow/colorband labels that have faint print and/or weak color brightness and a lack of clarity are fakes.
Some of the more common characteristics found on ORIGINAL COVERS:

Covers-front and back-must have slicks that are either glossy or semi-glossy.
Printing on covers must be of high quality and professional looking.
Back cover lists contents in two columns
Stereo copies must meet one of the following conditions:
Back cover pictures 25 color photos of other Vee Jay albums.
This copy is commonly known as the "Ad Back" cover.
Back cover is totally blank; a completely white slick with no print whatsoever.
Some of the more common characteristics found on ORIGINAL DISCS:

Labels have "THE BEATLES" and the title "INTRODUCING THE BEATLES" above the center hole.
Only gloss or semi-gloss rainbow/colorband labels are used on originals.
All original labels have bright, sharp silver print.
The vinyl trail-off -the gap between the end of the last track and the edge of the label usually measures from 7/8" to 1" wide, but never greater.
The rainbow/colorband that circles the perimeter of an original label is of high resolution, with smooth, gradual changes in color.
The vinyl trail-off area on over 90% of all originals has one or more of the following mechanical Stampings:
1. The term "AudioMatrix."
2 The letters "MR" inside of a circle.
3. The letters "APP" in italics. Among originals, only those made in Santa Monica lack machine Stampings. Regardless, these still have the aforementioned bright silver print and glossy labels. To date, we have never seen a counterfeit copy with machine stamping in the trail-off area.
We have never found a counterfeit with the word "STEREO" printed on the label.
Any copy with "STEREO" printed on the label is more than likely an original.
All originals with black labels that do not have the rainbow colorband are printed on a flat-not glossy-paper stock.
Any item under scrutiny must measure up in all the above areas of originality testing. If either the cover, disc or label fails even one criterion of the test, then it is likely from that secluded, middle Eastern country: Itsa Fakka!

======

Collectors' Corner: How to value ‘Introducing The Beatles’May 22, 2008, by Bruce Spizer
One of the most dreaded e-mails a Beatles dealer or expert can receive goes something like this: “I just got my mom’s copy of Introducing The Beatles that she purchased back when she was a kid. What’s it worth?”

Of course, there is no simple way to answer such a question. Before determining the value, you might have to go through a dozen or more questions. Information, prices and images of Introducing The Beatles are spread over four pages in Perry Cox & Frank Daniels’ “Price Guide for the Beatles American Records.”

First, you must determine whether or not the record is counterfeit. Does “The Beatles” appear above or below the center hole on the label? If the group’s name is below the center hole, the record is a fake, most likely pressed in the ’70s. There are other things about these records that indicate they were not pressed in 1964, such as improper trail-off area markings and thin vinyl. But, there is no need to go any further once you determine that “The Beatles” is below the center hole.

Because some counterfeits have the group’s name above the center hole, additional questions need to be asked before you conclude that the record is legitimate. If the label has a colorband, does it contain the color green? If the colorband is missing the color green and has a jagged line between red and purple, the record is a fake. If the label is black without a colorband, does it have a large white VJ brackets logo? If yes, the record is a fake.

If the record is fake, chances are the cover is too. But, because covers and discs can get mixed up over the years, one should also test the cover. Does the cover have a blurry image of the group? If yes, then the cover is a fake, probably from the ’60s. Does the cover have a brown border ? If yes, then the cover is bogus.

Unfortunately, most counterfeit covers closely resemble the real thing. This is particularly true of stereo Version One covers that have the song titles “Love Me Do” and “P.S. I Love You” on the back. Legitimate Version One stereo column back covers are extremely rare. There are two tests to spot the bogus covers.
The “flap test” requires inspection of the inside of the cardboard jacket. Does the cover have either no flaps, ½” flaps at the top and bottom or a ¼” flap only at the bottom? If so, the cover is a fake. Legitimate Version One stereo covers have a ¼” flap at both the top and the bottom.

The flap test is not an absolute rule for all covers. Legitimate Version One mono covers without flaps have been found with the later Version One mono pressings with the brackets logo (more on that later). In addition, there are some legitimate Version Two mono covers with no flaps.

The “Honey test” requires the inspection of the back cover. Many counterfeit covers have back slicks with the same imperfections. The most noticeable flaw appears in the word HONEY in the song “A Taste Of Honey.” Are the letters H and the E missing ink in their upper left parts? If so, the cover is a fake. If not, the cover may or may not be legitimate. While the “Honey test” does not always work, it is often useful in weeding out albums still in the shrink wrap.

If you get past all of the above and determine that both the album cover and the record are legitimate, then you move on to the next group of questions.

First, you should determine if the album is the rarer first configuration or the later second configuration. Does the album contain the songs “Love Me Do” and “P.S. I Love You” or the songs “Ask Me Why” and “Please Please Me?” If it contains “Please Please Me” rather than “Love Me Do,” it is the more common Version Two package.

Of course, there is always the possibility of a Version One record being paired with a version two cover, or vice-versa, but let’s assume for now that you have a Version Two cover and record. The next big question is whether the record is the mono or much rarer stereo version.

Does the word “STEREO” appear on the label? If not, the record is, for collecting purposes, mono even if you have a mislabeled disc that actually plays stereo. If mono, we next need to determine the type of label, for this also affects value.

Does the label have a colorband? If yes, we still are not done! Does the label have an oval Vee-Jay logo or a brackets VJ logo at the top? If it is the rarer oval logo, we can at last get a preliminary value. Assuming you have a basic cover without any value enhancements (more on that later), we can value the album after determining condition. So, what is the condition of the record and cover? If both are near mint (NM), the value is $400. Very good (VG) is valued at $100 and good (G) is valued at $40.
If the mono colorband label has a brackets logo at the top, we still have one more question. Is the label the normal size or is it a smaller 45-size label? If it is the normal size, you have the most common label variation of the album. While there are five different type-setting variations for this label, they are all valued at the same amount: NM at $250; VG at $50; and G at $15. If it has the 45-size label, the values increase to: NM at $350; VG at $60; and G at $25. If the label does not have a colorband, it is the rarer all-black label with silver print.

As expected, we still have more questions to ask. What appears at the top in silver? If it is the letters “VJ” with “VEE-JAY RECORDS” typed below, the album is valued: NM at $300; VG at $75; and G at $30. If it is the oval logo, the album is valued: NM at $600; VG at $150; and G at $60. If it is a small brackets logo, congratulations! The album is valued: NM at $2,000; VG at $500; and G at $200. But before you get too excited, remember not to confuse this rare variation with the counterfeit label that has a large white brackets logo.

There is one more mono black label with small silver bracket logo oddity to discuss. There are some records with this label that list “Love Me Do” and/or “P.S. I Love You” on the labels but actually play both “Ask Me Why” and “Please Please Me.” If both labels list the Version One songs, the value is: NM at $4,000; VG at $2,000; and G at $500. If you have a transition disc where only one of the labels lists the Version One song, the value is: NM at $3,000; VG at $1,250; and G at $350.

And now, let’s return to the cover. We can enhance the value of the album if the cover has certain special qualities. Is there a comma in the song title “Please, Please Me”? If there is no comma, you have the rarer version and can add another $200 if the cover is NM. Does the cover have a sticker promoting “Twist And Shout” and “Please, Please Me?” If so, add $150. Do you have a stereo cover with a “MONO” sticker? If so, add $400. Do you have a cover where the Version Two back cover slick was pasted over a Version One slick? If so, add $600. Do you have a cover with “DJ COPY NOT FOR SALE” stamped in red? If so, add $450.

Well, now that we’re through the mono Version One discs, let’s turn to the rarer stereo version. Does the label have a colorband? If yes, is it a regular-sized label with a brackets logo or a 45-sized label with an oval logo? If it is, the regular-sized brackets logo label, it is valued: NM at $1,500; VG at $375; and G at $150.

There are five different confirmed typesetting variations to look for. If it is the 45-size oval logo label, it is valued: NM at $1,800; VG at $450; and G at $180. If the label does not have the colorband and is all black with silver text, it is valued: NM at $1,250; VG at $315; and G at $125. There are two confirmed variations of this label.

And yes, there are cover enhancements for the stereo album as well. Does the cover have a sticker promoting “Twist And Shout” and “Please, Please Me?” If so, add $200. Is the cover a converted mono cover lacking the STEREOPHONIC banner at the top but with a sticker or other marking to indicate that the cover contains a stereo record? If yes, you can add between $200 to $700 depending on the stereo designation: $200 for a white rectangular sticker with STEREOPHONIC in black; $400 for a gold foil sticker with STEREO written vertically three times in black; $500 for either an oval or rectangular gold foil sticker with STEREO written horizontally; and $700 for a black machine stamped STEREOPHONIC embossing.
If you are lucky enough to have the rarer Version One album, there are still many questions to ask. Is the album the mono or stereo? If mono, the key consideration in determining value is the cover, so we’ll run through that first.

What is on the back cover? If the back cover has color images of 25 Vee-Jay albums, you most likely have a legitimate Ad-Back. It should be paired with a disc having an oval logo on its standard size colorband label. There are three label type-setting variations. This highly desirable package is valued: NM at $4,000; VG at $1,000; and G at $400.

If the back cover is a blank semi-gloss white slick, you have a blank back. It should also be paired with a
disc having an oval logo on its standard size colorband label. Mono blank backs are valued: NM at $2,500; VG at $625; and $250.

If the back cover has the song titles listed in two columns, you have the more common Column Back (or Titles on Back) version. To determine value, we must also examine the record inside the jacket. Does the label have a colorband with an oval logo? If yes, is it a standard-size label? If yes, it is valued: NM at $1,000; VG at $250; and G at $100.

If the label is a 45-size label, it is valued: NM at $1,200; VG at $300; and G at $120. If the label has a brackets logo, it is a later pressing. But in this case, it is worth more, because fewer Version One discs were pressed with Vee-Jay’s new brackets logo. It is valued: NM at $1,500; VG at $375; and G at $150.

If you have a stereo Version One album, you have one of the rarest of all Beatles albums. The label will have a colorband and an oval logo with the word STEREO at either the top, left or right part of the label. As was the case with the mono Version One albums, the cover determines value.

What is on the back cover? If it is the 25 Vee-Jay album covers, you have one of the cornerstones of Beatles record collecting, a stereo Ad-Back. It is valued: NM at $12,000; VG at $3,500; and G at $1,200. If the back cover is blank, it is valued: NM at $10,000; VG at $2,500; and G at $1,000. If it has the song titles on the back in two columns, it is valued: NM at $14,000; VG at $3,500; and G at $1,400.

Some cautionary words are needed regarding the Version One stereo covers. As discussed at the very beginning of this article, most counterfeit covers mimic the Version One stereo column back cover.
Be sure the cover is not counterfeit based upon the tests detailed above. Also, one should be on the lookout for altered Ad-Back covers. A legitimate Ad-Back cover should have “Printed in U.S.A.” located towards the lower left side of the front cover. If it does not have this designation, the cover has been altered by having its original back slick replaced with an Ad-Back slick removed from a Betty Everett album. If the borders of the slick are not smooth, you can be sure that someone has glued on the Ad-Back slick. So, more than 2,000 words later, we have finally gone through the valuation process of an Introducing The Beatles album. Now you can see why I cringe every time I get an e-mail from someone asking me what his or her copy of the album is worth. The next time that happens, I’ll refer the person to this Goldmine article!

[Note: All of the prices in this article are from the “Price Guide for the Beatles American Records” (Sixth Edition) by Perry Cox & Frank Daniels, available through the publisher in standard, slipcase and collector’s editions at www.beatle.net.]

Click here to check out the latest price guides from Goldmine

More info available here:
https://mega.nz/file/FT0DGZjR#hiISjx_Du6jjsudSLBoHg1jfiNYdMb2E564O1josiew

The Incredible Story of Beatles First U.S. Album & How To Tell If Yours Is Genuine

 

Beatles - The Beatles vs The Four Seasons

The Beatles vs The Four Seasons (VJ Records)
VJ Records had first rights to distribute the Beatles records circa 1962 - 1963. VJ also had similar rights to distribute The Four Seasons. While mainly used as a way for disk jockey's to boost ratings, both the Beatles and the Four Seasons were very popular on the East Coast radio shows. Philadelphia was a Four Seasons stronghold. VJ later released the album. It is very rare. I found this double vinyl LP album in King Karol record shop in NYC, mismarked for just $5.00. I later sold it at a Beatlesfest show in the Meadowlands for $75.00. It contained VJ's Introducing The Beatles album's songs again.

The Records The Beatles Never Wanted You To Hear

 

Beatles Christmas Messages Recordings

As a special treat for Christmas, I've posted the Beatles Christmas Messages recordings. 

Below are details on each of the recordings and their audio to enjoy. These bring back fond memories.




Each year from 1963 through 1969, the Beatles recorded a special Christmas greeting for their fans. The Official Beatles Fan Club in England sent flexi-discs containing the Christmas messages to its members each holiday season.The American fan club, Beatles (U.S.A.) Ltd., was established in 1964, and for their first Christmas, the American fan club sent fans the 1963 Christmas message on a soundcard, which is like a flexi-disc, but is "printed" on the post card that is mailed. No message was sent to the American fans in 1965 because the tape was not received on time.[Read more →] The Beatles Christmas flexis are very rare, and sell, in excellent condition, anywhere from $200 to $500.


These recordings offer a unique time-capsule glimpse into the personalities and evolution of the Beatles from 1963 through 1969. In the early years, like their appearances in A Hard Day’s Night, even though these messages were scripted by “somebody’s bad hand-wroter” (their Press Agent Tony Barrow), the Beatle’s geniune wit and humor shines through, for example, in 1963, when as John mentions taking part in the Royal Variety show, the boys extemporaneously launch into a whistling version of God Save The Queen, or in 1964, when Paul mentions that they don’t really know where they’d be without the fans, John says, off-handedly, “In the Army, perhaps…”


For older Beatles fans who remember hearing these messages over the years, “these little bits of plastic” are a fond holiday tradition, while for younger Beatles fans they offer a whole new insight into a pop music phenomenon which might never be repeated.


We present the Beatles Christmas Records here as a Christmas present to you from the Internet Beatles Album. Happy Crimble!

 





1963
The Beatles Christmas Record
Released December 6, 1963
Recorded October 17, 1963
EMI Abbey Road Studio 2
Engineer: Norman Smith
Recorded after a session for I Want To Hold Your Hand and This Boy.
About 30,000 total copies were manufactured.
This recording was sent to US Fan Club members in 1964.









 

1964
Another Beatles Christmas Record
Released December 18, 1964
Recorded October 26, 1964
EMI Abbey Road Studio 2
Engineer: Norman Smith
The only Beatles Fan Club Christmas record that played at 45 RPM instead of 33 1/3 RPM.
Recorded on the same day that they recorded Honey Don’t for Beatles For Sale.
US Fan Club members received the 1963 Christmas message this year.







 


1965
The Beatles Third Christmas Record
Released December 17, 1965
Recorded November 8, 1965
EMI Abbey Road Studio 2
Engineer: Norman Smith
Recorded during the Rubber Soul sessions, on the same day they recorded Think For Yourself. Cover photo taken on November 1 during the taping of Granada-TV’s ‘The Music of Lennon and McCartney’.

 


1966
Pantomime (Everywhere It’s Christmas)
Released December 16, 1966
Recorded November 25, 1966
Recorded in the basement studio of Dick James Music in London
Mixed at Abbey Road, December 2, 1966. Produced by George Martin.
Cover designed by Paul.

Some of the historical info on this page is from the books The Beatles: A Day In The Life by Tom Schultheiss, The Beatles Day By Day by Mark Lewisohn and The Price Guide for the Beatles American Records by Perry Cox and Frank Daniels As the 60’s evolve, so do the Beatles, and so do their Christmas records.


The previous year, the Christmas message changed from scripted messages talking directly to the fans, to sketch comedy, mostly Paul’s idea, but enthusiastically joined in by the other three. 1967 brings a similar production, but as the members of the group start desiring to go their separate ways, this is also reflected in the Christmas records, as the final two years bring messages recorded in bits and pieces recorded separately by each Beatle and assembled together later.







1967
Christmas Time (Is Here Again)
Released December 15, 1967
Recorded November 28, 1967
EMI Abbey Road Studio 2
Produced by George Martin
Special guest: Victor Spinetti

The script was written earlier in the day by the band. Last Christmas record the Beatles recorded together as a group. Cover designed on November 29 by John and Ringo.

The song Christmas Time (Is Here Again) was later released on the Real Love single in 1995.

1968
Happy Christmas
Released December 20, 1968
Recorded in November, 1968 at John’s home in London, Paul’s home in London, in the back of Ringo’s van in Surrey, with George in America and at George’s house in Esher during rehearsals for the White Album.
Special guest: Tiny Tim.

Created by Radio 1 disc jockey Kenny Everett who edited together separately-recorded messages from John, Paul, George and Ringo, and inter-cut random fragments from the White Album.

1969
Happy Christmas 1969
Released December 19, 1969
Recorded in fall of 1969 at John and Yoko’s home in Ascot, Ringo’s home in Weybridge, Paul’s home in London, and the London offices of Apple.
Edited by Maurice Cole (Kenny Everett’s original name)
Cover designed by Ringo

Because the Beatles officially broke up in 1970, no Christmas message was prepared for that holiday season.


In early 1971, fan club members were sent an album on the Apple label containing all seven of the Christmas messages.
Pictured is the American version of the LP. The British LP entitled From Then To You included a reproduction of the cover of the 1963 Christmas record.




Along with Let It Be and Introducing The Beatles, this is one of the notoriously most heavily counterfeited of Beatles albums. Counterfeits can be identified by blurry cover photos and an indentation ring much larger than 1 1/2″.

Some of the historical info on this page is from the books The Beatles: A Day In The Life by Tom Schultheiss, The Beatles Day By Day by Mark Lewisohn and The Price Guide for the Beatles American Records by Perry Cox and Frank Daniels.


You can listen to all Christmas Messages here:
https://brunchradio.com/beatles-christmas-messages-all-7/

Below is my previous post of scans of the covers:
http://jfnmusicmemories.blogspot.com/2009/07/christmas-messages-covers.html

You can get the recordings here:
http://teenagedogsintrouble.blogspot.com/2009/12/very-merry-beatles-christmas.html




Source : http://www.ringofstars.ru/across/?p=2767