The Beatles – Yellow Submarine (1969)

FrontCover1And here´s the soundtrack to the comic book (*smile*)

Yellow Submarine is the tenth studio album by English rock band the Beatles, released on 13 January 1969 in the United States and on 17 January 1969 in the United Kingdom. It was issued as the soundtrack to the animated film of the same name, which premiered in London in July 1968. The album contains six songs by the Beatles, including four new songs and the previously released “Yellow Submarine” (1966) and “All You Need Is Love” (1967). The remainder of the album was a re-recording of the film’s orchestral soundtrack by the band’s producer, George Martin.

The project was regarded as a contractual obligation by the Beatles, who were asked to supply four new songs for the film. Some songs were written and recorded specifically for the soundtrack, while others were unreleased tracks from other projects. The album was issued two months after the band’s self-titled double LP (also known as the “White Album”) and was therefore not viewed by the band as a significant release. Yellow Submarine has since been afforded a mixed reception from music critics, some of whom consider that it falls short of the high standard generally associated with the Beatles’ work. It reached the top 5 in the UK and the US, and has been reissued on compact disc several times.

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The album arose from contractual obligations for the Beatles to supply new songs to the soundtrack to United Artists’ animated film Yellow Submarine.[1] Having recently completed their album Sgt. Pepper’s Lonely Hearts Club Band in April 1967,[2] the group showed minimal enthusiasm for the project.[3] Along with the music for their Magical Mystery Tour TV film, the Yellow Submarine soundtrack was part of a period that author Ian MacDonald later described as the band’s “regime of continuous low-intensity recording … it had a workaday quality about it – an intrinsic lack of tension which was bound to colour the resulting material.”

There was a commitment for The Beatles to do four songs for the film. Apparently, they would say, this is a lousy song, let’s give it to Brodax.

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Only one side of the album contains songs performed by the Beatles; of the six, four were previously unreleased. “Yellow Submarine” had been issued in August 1966 as a single, topping the UK chart for four weeks,[6] and had also been released on the album Revolver. Following the Beatles’ performance of the song on the Our World international television broadcast, “All You Need Is Love” had also been issued as a single, in July 1967.

Of the unreleased tracks, the first to be recorded was George Harrison’s “Only a Northern Song”, taped in February 1967 but rejected for inclusion on Sgt. Pepper. The group performed overdubs on this basic track in April, immediately after completing the stereo mixes for that album. Among the sounds added during what Beatles historian Mark Lewisohn describes as “a curious session”, were trumpet, glockenspiel and spoken voices. Harrison’s lyrics reflect his displeasure at being merely a contracted songwriter to the Beatles’ publishing company, Northern Songs.

“All Together Now” was recorded in a single session on 12 May 1967, specifically for the film project. The title came from a phrase Paul McCartney had heard as a child, to encourage everyone to sing music hall songs. He later described the song as “a throwaway”.

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The band recorded Harrison’s “It’s All Too Much” in late May 1967 at De Lane Lea Studios in central London.[18] Inspired by its author’s experimentation with the drug LSD, and originally running to over eight minutes in length, the song reflects the Summer of Love philosophy of 1967 and makes extensive use of guitar feedback.[20] As with the later recorded “All You Need Is Love”, the track includes musical and lyrical quotations from other works – in this case, a trumpet passage from Jeremiah Clarke’s “Prince of Denmark’s March” and a lyric from the Merseys’ 1966 hit “Sorrow”.

John Lennon’s “Hey Bulldog” was recorded on 11 February 1968 and evolved from an initial intent to shoot a promotional film for the single “Lady Madonna”. Like “All Together Now”, it was specifically recorded with the film soundtrack in mind. The track’s ending featured a jam session after the point where a fade-out was intended in the final mix, which was kept in the finished version. Lennon later described the song as “a good-sounding record that means nothing”.

Side two of the album contained George Martin’s orchestral score for the film, leading with “Pepperland”.

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Side two features a re-recording of the symphonic film score composed by the Beatles’ producer, George Martin, specifically for the album. The recording took place with a 41-piece orchestra over two three-hour sessions on 22 and 23 October 1968 in Abbey Road, and edited down to the length on the LP on 22 November.

In some of his arrangements, Martin referenced his past work with the Beatles; for example, “Sea of Time” includes what MacDonald terms “an affectionate quotation” from the Indian-styled “Within You Without You”, from Sgt. Pepper, and “Yellow Submarine in Pepperland” reprises the film’s title track. In “Sea of Monsters”, Martin adapted part of Bach’s Air on the G String, while in other selections he parodies works by Stravinsky. MacDonald also detects the influence of Mozart and Webern among the “classical allusions” in Martin’s score. (by wikipedia)

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The only Beatles album that could really be classified as inessential, mostly because it wasn’t really a proper album at all, but a soundtrack that only utilized four new Beatles songs. (The rest of the album was filled out with “Yellow Submarine,” “All You Need Is Love,” and a George Martin score.) What’s more, two of the four new tracks were little more than pleasant throwaways that had been recorded during 1967 and early 1968. These aren’t all that bad; “All Together Now” is a cute, kiddie-ish McCartney singalong, while “Hey Bulldog” has some mild Lennon nastiness and a great beat and central piano riff, with some fine playing all around — each is memorable in its way, and the inclusion of the Lennon song here was all the more important, as the sequence from the movie in which it was used was deleted from the original U.S. release of the movie (which had no success whatever in the U.K. and quickly disappeared, thus making the U.S. version the established cut of the film for decades. George Harrison’s two contributions were the more striking of the new entries — “Only a Northern Song” was a leftover from the Sgt. Pepper’s sessions, generated from a period in which the guitarist became increasingly fascinated with keyboards, especially the organ and the Mellotron (and, later, the synthesizer). It’s an odd piece of psychedelic ersatz, mixing trippiness and some personal comments. Its lyrics (and title) on the one hand express the guitarist/singer/composer’s displeasure at being tied in his publishing to Northern Songs, a company in which John Lennon and Paul McCartney were the majority shareholders; and, on the other, they present Harrison’s vision of how music and recording sounded, from the inside-out and the outside-in, during the psychedelic era — the song thus provided a rare glimpse inside the doors of perception of being a Beatle (or, at least, one aspect of being this particular Beatle) circa 1967. And then there was the jewel of the new songs, “It’s All Too Much.” Coming from the second half of 1967, the song — resplendent in swirling Mellotron, larger-than-life percussion, and tidal waves of feedback guitar — was a virtuoso excursion into otherwise hazy psychedelia, and was actually superior in some respects to “Blue Jay Way,” Harrison’s songwriting contribution to The Magical Mystery Tour; the song also later rated a dazzling cover by Steve Hillage in the middle of the following decade.

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The very fact that George Harrison was afforded two song slots and a relatively uncompetitive canvas for his music shows how little the project meant to Lennon and McCartney — as did the cutting of the “Hey Bulldog” sequence from the movie, apparently with no resistance from Lennon, who had other, more important artistic fish to fry in 1968. What is here, however, is a good enough reason for owning the record, though nothing rates it as anything near a high-priority purchase. The album would have been far better value if it had been released as a four-song EP (an idea the Beatles even considered at one point, with the addition of a bonus track in “Across the Universe” but ultimately discarded). (by Richie Unterberger)

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Personnel:
George Harrison (vocals, guitar, organ, percussion, handclaps, violin)
John Lennon (vocals, guitars, piano, handclaps
Paul McCartney (vocals, bass, guitars, trumpet, handclaps, percussion)
Ringo Starr (drums, percussion, handclaps, background vocals, vocals on 01.)

George Martin (piano on 06.)
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Unknown orchestra conducted by George Martin

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Tracklist:
01. Yellow Submarine (Lennon/McCartney) 2.35
02. Only A Northern Song (Harrison) 3.20
03. All Together Now (Lennon/McCartney) 2.08
04. Hey Bulldog (Lennon/McCartney) 3.09
05. It’s All Too Much (Harrison) 6.17
06. All You Need Is Love (Lennon/McCartney) 3.42
07. Pepperland (Martin) 2.18
08. Sea Of Time (Martin) 2.59
09. Sea Of Holes (Martin) 2.15
10. Sea Of Monsters (Martin) 3.34
11. March Of The Meanies (Martin) 2.16
12. Pepperland Laid Waste (Martin) 2.08
13. Yellow Submarine In Pepperland (Lennon/McCartney) 2.09

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The Beatles – Yellow Submarine (Comic) (1968)

FrontCoverThere had been a Yellow Submarine comic published by Gold Key Comics in 1968, produced in advance of the movie. It included passages not found in the film, and character designs made prior to the final designs were okayed for the film. (wogew.blogspot)

In 1968, a comic book based on the movie Yellow Submarine was made. It was published by Gold Key comics. It doesn’t quite follow the storyline of the whole movie, it has seas that are not in the movie such as:

The Sea of Consumer Products

The Sea of Cinema

The Sea of Time looked different

The Sea of Holes looked almost the same

It has songs that are not in the movie such as:

Lovely Rita (from the Sgt Pepper album)

Getting Better (from the Sgt Pepper album)

Mary Had a Little Lamb is not a Beatles song, but it was sung to distract the Blue Meanies (by yellowsubmarine.wikia.com)

So, here´s this comic … a really nice, crazy and funny trip in the golden days of pop art …

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The poster from this comic book

The Beatles – Live In Paris 1965 (1988)

FrontCover1This bootleg features the integrity of the 2 concerts performed during their second (and last) visit in Paris (they had performed during 3 weeks at the Olympia the previous year). This day, The Beatles played two shows (afternoon & evening) with the same songs, only shifting the order of the songs. It’s quite funny to hear Paul trying to speak french in between songs.As always with “Swingin Pig”, the packaging is excellent as well as the sound quality. (by rateyourmusic.com)

Some comments on bootlegzone.com:

This is an excellent live boot. The sound quality is great, and so are the Beatles’ performances. It is interesting to compare the crowd reactions during these performances with the crowd reactions that are heard on the tapes of their January, 1964 appearances. It looks as though the French caught up to the rest of the world, in terms of screaming, by this time.

Funny to hear Paul struggle with his then awful French. Great sound.

Of all the live boots available, I like this one best. As was stated by the previous post, Paul trying to speak french is priceless (he really sucks at it).

In other words: A real funny abum from the early days of British Beat … and, of course, The Beatles … long time ago …

Recorded live at Palais Des Sports, Paris, 20 June 1965
(and not 1 Aug 1965 as stated)

And … on the 20th June 1965, I celebrate my 10th birthday !

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Personnel:
George Harrison (guitar, vocals)
Paul McCartney (bass, vocals)
John Lennon (guitar, vocals, harmonica)
Ringo Starr (drums)

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Tracklist:

Palais Des Sports – 20th June 1965 – Afternoon Show:
01. Twist And Shout (Russell/Medley) 1.41
02. She’s A Woman (Lennon/McCartney) 2.43
03. Can’t Buy Me Love (Lennon/McCartney) 2.29
04. I’m A Loser (Lennon/McCartney) 3.25
05. I Wanna Be Your Man (Lennon/McCartney) 2.25
06. A Hard Day’s Night (Lennon/McCartney) 2.47
07. Baby’s In Black (Lennon/McCartney) 2.40
08. Rock And Roll Music (Berry) 2.15
09. Everybody’s Trying To Be My Baby (Perkins) 2.30
10. I Feel Fine (Lennon/McCartney) 2.29
11. Ticket To Ride (Lennon/McCartney) 3.56
12. Long Tall Sally (Johnson/Penniman/Blackwell) 2.38

Palais Des Sports – 20th June 1965 – Evening Show:
13. Twist And Shout (Russell/Medley) 1.29
14. She’s A Woman (Lennon/McCartney) 3.03
15. I’m A Loser (Lennon/McCartney) 3.10
16. Can’t Buy Me Love (Lennon/McCartney) 2.33
17. Baby’s In Black (Lennon/McCartney) 2.45
18. I Wanna Be Your Man (Lennon/McCartney) 2.26
19. A Hard Day’s Night (Lennon/McCartney) 2.53
20. Everybody’s Trying To Be My Baby (Perkins) 2.44
21. Rock And Roll Music (Berry) 2.17
22. I Feel Fine (Lennon/McCartney) 2.38
23. Ticket To Ride (Lennon/McCartney) 3.03
24. Long Tall Sally (Johnson/Penniman/Blackwell) 2.25

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The London Jazz Four – Take A New Look At The Beatles (1967)

FrontCover1This Brit quartet made the songs of the Fab Four their own, taking a lot of risk in reinterpreting many timeless classics but also approaching lesser-known Lennon-McCartney tunes (sadly, there are no Harrison compositions on the album). The result is a collection of songs on this disc (originally released in 1967) that sound almost if they were completely new. For instance, “I Feel Fine receives a Bach-like harpsichord riff that repeats itself throughout the track, the rest of the instruments basically improvising around the song’s original melody.

John Lennon’s Dylan-esque “Rain gives a lot of space for vibes player Ron Forbes and pianist Mike McNaught alternately to showcase their visions on each song. Gone is the song’s original dark feel, which is replaced by a slow, peaceful one. The early tune “Yes It Is is barely recognizable, featuring percussion, finger cymbals, and a triangle as backdrop for the piano, which sounds as if McNaught’s fingers had a hard time moving over the keys, giving an otherwise simple song an eerie, almost ghostly feel.

The quartet swings through “Please Please Me and “Things We Said Today, but the latter has more of a Latin jazz sound with some Afro undertones. “A Hard Day’s Night turns out to be one of the best tracks on the CD. The song morphs into a jazz waltz, which is an interesting development. Also pay close attention to the playfulness and simplicity of the musicians’ take on “Yellow Submarine. (by Ernest Barteldes)

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Personnel:
Len Clarke (drums)
Ron Forbes (vibraphone)
Mike McNaught (piano)
Brian Moore (bass)

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Tracklist:
01. I Feel Fine 3.10
02. Paperback Writer 3.02
03. Rain 3.34
04. Michelle 2.58
05. Yes It Is 3.56
06. Please Please Me 3.12
07. Things We Said Today 2.51
08. From Me To You 5.23
09. A Hard Day’s Night 3.02
10. Ticket To Ride 4.07
11. Yellow Submarine 2.36

All songs written by Pul McCartney & John Lennon

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Beatles

Steve Harnell (Editor) – Vintage Rock The Beatles – The Early Years

FrontCoverHere´s an illustrated 132-page bookazine pays tribute to the early years of The Beatles.

Liverpool’s finest were quite simply the most important pop-cultural phenomenon that the 20th century and beyond has ever seen – wildly ambitious, successful, influential and groundbreaking. And all this sprang from that most British of institutions – a parish church fête, where John Lennon met Paul McCartney, 60 years ago on 6 July 1957.

In this latest Collectors Edition of Vintage Rock, we trace the band’s roots as fledgling skifflers The Quarrymen playing local gigs in Liverpool through to their hothouse development as they became The Beatles at the Cavern and in Hamburg, before moving on to inventing the mega-gig at Shea Stadium.

Inbetween, we serve up some fascinating insights into the life of their manager Brian Epstein, the astonishing rise of Beatlemania in the UK, Europe and the United States, put the band’s first five studio albums under the microscope and also go behind the scenes on their two big-screen outings, A Hard Day’s Night and Help!

It all adds up to a must-read magazine for fans of the Fab Four. The greatest that ever was and the greatest that ever will be…
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The Beatles – Last Night In Hamburg(Live! At The Star-Club In Hamburg, Germany; 1962) (1977/1999)

LastNightFrontCover1Last Night In Hamburg (Live! at the Star-Club in Hamburg, Germany; 1962) waa a double album featuring live performances by the English rock group 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 Beatles 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.
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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.

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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, seventeen 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”.

50 Jahre Star-Club in Hamburg Der Star-Club
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 £5000, 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.

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Booklet from the original double album from 1977

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 Germany in April 1977 in association with Bellaphon Records, and was released in the UK the following month.[16] 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.[20] 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.
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Another alternate front+backcover

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 favour 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.”

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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!” (by wikipedia)
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Personnel:
George Harrison (guitar, vocals)
John Lennon (guitar, vocals, harmonica)
Paul McCartney (bass, vocals)
Ringo Starr (drums)
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Fred Fascher (Star-Club waiter) (vocals on 19.)
Horst Fascher (Star-Club Manager) (vocals on 20.)
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Trackist:
01. Introduction/I Saw Her Standing There (Lennon/McCartney)/I’m Gonna Sit Right Down And Cry (Over You) (Thomas/Biggs) 5.18
02, Roll Over Beethoven (Berry) 2.14
03. Hippy Hippy Shake (Romero) 1.43
04. Sweet Little Sixteen (Berry) 2.46
05. Lend Me Your Comb (Kay Twomey/Wise/Weisman) 1.49
06. Your Feet’s Too Big (Benson/Fisher) 2.20
07. Where Have You Been (All My Life) (Mann/Weil) 1.45
08. Twist And Shout (Medley/Russell) 2.09
09. Mr. Moonlight (Johnson) 2.09
10. A Taste Of Honey (Scott/Marlow) 1.41
11. Bésame Mucho (Velázquez/Skylar) 2.02
12. Everybody’s Trying To Be My Baby (Perkins) 2.22
13. Kansas City/Hey Hey Hey Hey (Leiber/Stpller/Penniman) 2.12
14. Nothin’ Shakin’ (But The Leaves On The Trees) (Fontaine/Colacrai/Lampert/Gluck) 1.21
15. To Know Her Is to Love Her (Spector) 3.03
16. Little Queenie (Berry) 3.55
17. Falling in Love Again (Can’t Help It) (Hollander/Lerner) 1.59
18. Sheila (Roe) 1.57
19. Be-Bop-A-Lula (Vincent/Davis) 2.29
20. Hallelujah I Love Her So (Charles) 2.09
21. Ask Me Why (Lennon/McCartney) 2.26
22. Red Sails In The Sunset (Kennedy/Williams) 2.02
23. Matchbox (Perkins) 2.34
24. I’m Talking About You (Berry) 1.50
25. I Wish I Could Shimmy Like My Sister Kate (Piron/Smith/Goldsmith) 2.19
26. Long Tall Sally (Johnson/Blackwell/Penniman) 1.45
27. I Remember You (Mercer/Schertzinger) 1.55´
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28. Complete show (uncut) 1.05.041

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John Pizzarelli – John Pizzarelli meets The Beatles (1998)

FrontCover1Beatles fans love to explain that the key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities — Lennon was the tongue in cheek sardonic wit, McCartney the earnest balladeer. On John Pizzarelli Meets the Beatles, a sharply conceived tribute which sets the duo’s classics in a jazz trio with big-band arrangements, the singer/guitarist hits the mark more often when he’s taking on the Lennon persona. He approaches “Cant’ Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy, and adding colorful touches like scatting and even ad libbing his own lyrical verses based on the originals. Likewise, he attacks the all-instrumental “Eleanor Rigby” with a jumpy, swinging aggression. Pizzarelli, however, becomes overly schmaltzy in presenting ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” too seriously, with maudlin, straightforward arrangements that grind the party to a halt. The one exception is the more percussive “Oh Darling,” where his intense vocal helps the tune rise above the hotel lounge mentality. (by Jonathan Widran)

John Pizarelli

This is probably the most talked about CD I have made. The idea was to place the songs into a different time as if someone else had performed them first. For instance, “Can’t Buy Me Love” was a Woody Herman tune (hence, the Woodchopper’s Ball references), “Things We Said Today” was in the Moondance groove, “Here Comes The Sun” was a Jobim/Getz tribute, and so on. It is really a CD I am proud of, from Don Sebesky’s great arrangements (once again) to the terrific performances from the string players, big band members, soloists and trio. This CD was also #1 on the Swing Journal jazz charts in Japan and was released with two different songs in Canada. The Canadian version features the songs “You Can’t Do That” and “Got To Get You Into My Life.” They were nixed from the American release in favor of “Eleanor Rigby” and “You’ve Got To Hide Your Love Away.” We also did a terrific concert for Canadian TV of the Beatle CD live entitled John Pizzarelli Chante Les Beatles. It has run on the BET on Jazz channel and features a Canadian big band and strings conducted by Don Sebesky. (John Pizzarelli)

Beatles fans love to explain that one key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities: Lennon was the tongue-in-cheek, sardonic wit, McCartney, the earnest balladeer. On john pizzarelli’s John Pizzarelli Meets the Beatles (RCA Victor), a well-conceived tribute that sets the duo’s classics in jazz-trio and big-band arrangements, the singer/guitarist hits the mark most often when taking on McCartney’s tunes. He approaches “Can’t Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy. Pizzarelli adds colorful touches like scatting and even ad-libs his own lyrical verses based on the originals. Likewise, he treats an instrumental version of “Eleanor Rigby” with an aggressive sense of swing. And his intense vocal on a percussive “Oh, Darling” helps the tune rise above mere cover-band fare. However, when Pizzarelli presents ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” with maudlin arrangements, he pretty well grinds the party to a halt. (by Jazziz Maganzine, 2000)
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Personnel:
Harry Allen (saxophone)
Sanford Allen (violin)
Wayne Andre (trombone)
Kenny Berger (saxophone)
Joseph Bongiorno (bass)
Alfred Brown (violin)
Avril Brown (violin)
Kenneth Burward-Hoy (viola)
Stephanie Cummins (cello)
Rick Dolan (violin)
Max Ellen (violin)
Sammy Figueroa (percussion)
Barry Finclair (violin)
Andy Fusco  (saxophone)
Peter Gordon (french horn)
Adam Grabois (cello)
Juliet Haffner (viola)
Evan Johnson (violin)
Karen Karlsrud (violin)
Tony Kadleck (trumpet)
Gary Keller (saxophone)
Chungsun Kim (cello)
Jeanne LeBlanc (cello)
Jesse Levy (cello)
Lisa Matricardi (violin)
Melissa Meel (cello)
John Miller (bass)
John Mosca (trombone)
Laura Oatts (violin)
Jim O’Connor (rrumpet)
Ken Peplowski (clarinet)
Joel Pitchon (violin)
John Pizzarelli (guitar, vocals)
Martin Pizzarelli (bass)
Jim Pugh (trombone)
Allen Ralph (trombone)
Barry Ries (trumpet)
Maxine Roach (viola)
Douglas Romoff (bass)
Laura Seaton (violin)
Don Sebesky  (accordion, flute)
Richard Sortomme (violin)
Mitsue Takayama (viola)
Tony Tedesco (drums)
Liuh-Wen Ting (viola)
Leslie Tomkins (viola)
Ron Tooley (trumpet)
Belinda Whitney-Barratt (violin)
Chuck Wilson (saxophone)
Xin Zhao (violin)

Orchestra conducted by Don Sebesky

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Tracklist:
01. Can’t Buy Me Love 3.37
02. I’ve Just Seen A Face 2.49
03. Here Comes The Sun 5.05
04. Things We Said Today 4.16
05. You’ve Got To Hide Your Love Away 3.26
06. Eleanor Rigby 5.03
07. And I Love Her 3.57
08. When I’m 64 2.46
09. Oh Darling 4.04
10. Get Back 4.03
11. Long And Winding Road 3.46
12. For No One 3.11

All songw written by John Lennon + Paul McCartney, except 03. which was written by George Harrison

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AlternateFront+BackCover

Alternate front + back cover