November, Rubber-stamped cover with round "pig" sticker, white label with rings, colored vinyl, same insert as the previous release. Same matrix and label as 3 , insert renumbered , black vinyl. Early, This LP had catalogue number Middle, Records with the pig logo replaced by the Smokin' Pig surely exist as well. New insert, printed in various colors, colored smokin' pig label, original matrix, black vinyl. The repressings of the original masters by TMOQ in colored vinyl have the usual collectors' value, the later releases have a scarce interest.
November 6, A useless repressing. WCF pressed their copy in mono, in decreased sound quality, counterfeiting the original Renaissance Records release. We saw the following pressings:. This is a requirement of our licensing agreement with music Gracenote. Don't let me down Don't let me down Don't let me down Don't let me down Nobody ever loved me like she does Ooh, she does Yeah, she does And if somebody loved me like she do me Ooh, she do me Yes, she does Don't let me down Don't let me down Don't let me down Don't let me down I'm in love for the first time Don't you know it's gonna last?
It's a love that lasts forever It's a love that had no past It's in E, baby Don't let me down Don't let me down ooh Don't let me down Don't let me down And from the first time that she really done me Ooh, she done me She done me good I guess nobody ever really done me Ooh, she done me She done me good Don't let me down hey Don't let me down Whoo-hoo don't let me down Don't let me down Eee-hee Yeah ow Ow Eee-hee Don't let me down Oww Don't let me down Don't let me down Can you dig it?
Don't let me down. McCartney's reaction was equally joyful: "It's the Dalai Lennon! Ironically, all the way to the last overdub on April 22nd, the song was listed on Abbey Road recording sheets with another working title, "Mark 1. The line does not appear in Lennon's lyrics. What Starr meant, of course, was "tomorrow never comes.
Lennon once claimed that "Ticket to Ride" — the first track the Beatles recorded for the soundtrack to their second feature film, Help! It's all happening, it's a heavy record.
And the drums are heavy, too. That's why I like it. The sound was probably inspired by bands such as the Rolling Stones, the Who and the Kinks, who were all exploding out of Great Britain at the time.
But the Beatles were still ahead of the competition. His singing and lyrics teeter between ambivalence and despair in the verses. Another surprise came in the fade, an entirely different melody and rhythm with the repeated line "My baby don't care," sung by Lennon at the upper, stressed top of his range. The Beatles now saw making records as a goal in itself — rather than just a document of a song — and were changing their approach to recording as they got more comfortable with the possibilities of the studio.
Instead of taping songs as they would play them live, picking the best take and then overdubbing harmonies or solos, the band now usually began with a rhythm track and slowly built an arrangement around it. Considering that, "Ticket to Ride" took almost no time to record: The entire track, including the overdubs, was finished in just over three hours.
Lennon always maintained that McCartney's role in writing the song was minimal — "Paul's contribution was the way Ringo played the drums" — while McCartney contended that "we sat down and wrote it together" in a three-hour session at Lennon's Weybridge home. That might account for the different stories on where the title came from: An obvious explanation is that it refers to a train ticket.
When the Beatles belatedly filmed a promotional clip for the song in November , they lip-synced the song against a backdrop of gigantic transportation passes. But Don Short, a British newspaper journalist who traveled with the Beatles, claimed that it dated back to the band's days in the red-light district of Hamburg, Germany. One other possibility: On the day the Beatles recorded "Ticket to Ride," Lennon passed his driver's test.
Though Lennon's exact contribution is unclear "I helped with a couple of the lyrics," he said , "I Saw Her Standing There" is one of the songs that further cemented the Lennon-McCartney songwriting partnership. A September photo by McCartney's brother Mike shows the pair in the front room of Paul's house, working face to face with acoustic guitars, Lennon wearing the glasses he hated, scratching out lyrics in a Liverpool Institute notebook.
McCartney wrote the song on his Zenith acoustic guitar, the first guitar he ever owned. The original inspiration for the song was a girlfriend of McCartney's at the time, dancer Iris Caldwell, who was in fact 17 when he first saw her doing the Twist — in fishnet stockings — at the Tower Ballroom in New Brighton in December We never pretended to be true to each other. I went out with lots of people. I was working away in different theaters at the time, but if I was back home we would go out.
There were never any promises made or love declared. Under the title "Seventeen," the song became part of the Beatles' live act in Onstage, the tune would sometimes run for 10 minutes, with multiple guitar solos.
McCartney borrowed the hard-charging bass line from Chuck Berry's single "I'm Talking About You," a staple of the band's concerts. When it came time for the Beatles to record their first album, Please Please Me , George Martin considered taping them live, possibly in front of the group's home audience at the Cavern Club.
Though he decided instead to set them up at EMI's studios on Abbey Road, they chose a song list representative of the band's live show. To set the mood, the album begins with McCartney's blazing "one-two-three- faw! It would also be one of the five songs that the Beatles performed on February 9th, , on The Ed Sullivan Show before a television audience of 73 million people.
Lennon described "I Saw Her Standing There" as "Paul doing his usual good job of producing what George Martin would call a 'potboiler,'" but the song would assume a greater meaning in his later life. When the song became Lennon's first solo song to top the charts, he made good and appeared with John at his November 28th show at Madison Square Garden in New York.
Before the final song, Lennon said, "We thought we'd do a number of an old estranged fiance of mine called Paul," and they closed the night with a rollicking version of "I Saw Her Standing There.
It would be the last song John Lennon ever performed in concert. But the note of desperation in the song was real.
By , Lennon was exhausted from the Beatles' nonstop touring, recording and filming schedule. Off the road, Lennon felt trapped at his estate outside London with his wife, Cynthia, and young son, Julian. I was depressed, and I was crying out for help. McCartney, in contrast, was taking full advantage of Swinging London, dating Jane Asher — a beautiful young actress from a prominent family who introduced him to high society — and seeing other girls on the side.
John "was well jealous of [me] because he couldn't do that," said McCartney years later. Lennon wrote most of "Help! Lennon originally wrote "Help! Making movies wasn't as fun as it used to be either. But with Help! The Beatles all admitted that it probably wasn't the director's fault that the band had so little input. It was all glazed eyes and giggling all the time.
In our own world. As Geoff Emerick — then an assistant at Abbey Road, later the Beatles' engineer — recalled, "The huge crowd of girls that had gathered outside broke through the front door. Scores of hysterical, screaming girls [were] racing down the corridors, being chased by a handful of out-of-breath, beleaguered London bobbies.
Lennon and McCartney began writing "She Loves You" in a tour van, then did the bulk of the work in the Turk's Hotel in Newcastle, sitting on twin beds with acoustic guitars.
The breakthrough in the lyrics was the introduction of a third person, shaking up the typical I-love-you formula. There's a little distance we managed to put in it, which was quite interesting. Still, something was missing. I don't exactly know where we got it — Lonnie Donegan always did it. Elvis did that in 'All Shook Up. When his father heard the song, he said, "Son, there's enough Americanisms around.
Couldn't you sing, 'Yes, yes, yes,' just for once? It wouldn't work. For all the raw immediacy of its sound, the song also signaled a new level of sophistication for the band as songwriters and arrangers. The final touch was the distinctive chord that ends the chorus — Harrison's idea — which sounded "corny" to Martin. The Beatles would go on to triumph after triumph as the s went on, but in Great Britain, "She Loves You" remained the bestselling single of the decade.
When the Beatles — who had long been outspoken critics of the Vietnam War — hit Abbey Road Studios to make the White Album at the end of May, the first thing they recorded was "Revolution," which was also the first explicitly political song the band ever released.
The same as we stopped not answering about the Vietnamese War [when we were] on tour with Brian [Epstein]. We had to tell him, 'We're going to talk about the war this time, and we're not going to just waffle. The first version of "Revolution" the Beatles recorded was a slow, bluesy shuffle that eventually became "Revolution 1. It completely overloaded the channel. Fortunately the technical people didn't find out. They didn't approve of 'abuse of equipment. The crucial lyric difference between the two versions was a single word.
Ramparts magazine called its ambivalence a "betrayal. I want to know what you're going to do after you've knocked it all down. I mean, can't we use some of it? What's the point of bombing Wall Street?
If you want to change the system, change the system. It's no good shooting people. As Lennon put it bluntly, "I was trying to write about an affair without letting me wife know I was writing about an affair.
I was writing from my experiences, girls' flats, things like that. She is very different from the love interests in early Beatles' songs. As McCartney later explained, it was popular for Swinging London girls to decorate their homes with Norwegian pine. But it's not as good a title, 'Cheap Pine,' baby. Even if it's a tale of a fling with a mod groupie, it's a strikingly adult one, from the London milieu to the way Lennon spends the night at her place and wakes up in the bathtub.
Lennon is the one who gets pursued and seduced, sitting nervously on her rug until she announces, "It's time for bed. When he wakes up alone the next morning, he lights a fire — does that mean he burns the girl's house down? Lennon never revealed the solution to this mystery; McCartney has endorsed the arson theory. Although Lennon claimed in that "Norwegian Wood" was "my song completely," he told Rolling Stone a decade earlier that "Paul helped with the middle eight, to give credit where it's due.
Harrison's sitar debut was the song's most distinctive feature — yet it came from a moment of spontaneous studio experimentation. He was not sure whether he could play it yet, because he hadn't done much on the sitar, but he was willing to have a go. Harrison first spotted the sitar on the set of the band's second movie, Help! Intrigued, he bought a sitar and "messed around" with it, eventually studying with sitar master Ravi Shankar. Harrison also became interested in Eastern religion and philosophy, which would become a lifelong pursuit.
Looking back in the s, Harrison described the sitar on "Norwegian Wood" as "very rudimentary. I didn't know how to tune it properly, and it was a very cheap sitar to begin with.
We were listening to all sorts of things — Stockhausen, avant-garde — and most of it made its way onto our records. He was already sensitive because the other Beatles were "taking the mickey out of him" for copying Dylan, and he was afraid Dylan was ridiculing him with "4th Time Around.
The sunlight in that chord, the exhilaration of the Beatles' performance and the title's sigh of exhaustion make "A Hard Day's Night" a movie in itself, a compact documentary of the Beatles' meteoric rise. The title came from a throwaway crack from Starr. All they had to do was write a song to go with it. With 'A Hard Day's Night,' you've almost captured them.
Lennon wrote the song the night before the session — he scrawled the lyrics on the back of a birthday card for his son, Julian, who had just turned one — and the group cut it in a breakneck three hours. The biggest issue was Harrison's solo: A take that surfaced on a bootleg in the s features him fumbling over his strings, losing his timing and missing notes.
But by the time the session wrapped at 10 that night, he had sculpted one of his most memorable solos — a sterling upward run played twice and capped with a circular flourish, with the church-bell chime of his guitar echoed on piano by Martin. Harrison also played the striking fade-out, a ringing guitar arpeggio that was also a Martin inspiration. Harrison composed most of the music during the Beatles' February-April trip to Rishikesh, India, but wrote its words after the band returned to England.
Inspired by the relativism principle of the I Ching , Harrison pulled a book off a shelf in his parents' house, opened it to an arbitrary page and wrote a lyric around the first words he saw, which turned out to be the phrase "gently weeps.
Even though the band had recorded Harrison songs on six previous albums, the guitarist still had trouble getting John Lennon and Paul McCartney to take his contributions seriously. Lennon, for his part, later noted that "there was an embarrassing period where [George's] songs weren't that good and nobody wanted to say anything, but we all worked on them.
The initial studio recording of "While My Guitar Gently Weeps," from July 25th, later included on Anthology 3 , was a subdued, nearly solo acoustic piece with an extra verse at the end, very much along the lines of Harrison's original demo. A second version, with the full band Lennon playing organ , was recorded on August 16th and September 3rd and 5th; it eventually incorporated tape-speed trickery, maracas and a backward guitar solo that never quite yielded the "weeping" sound Harrison was looking for.
Producer George Martin had left for a monthlong vacation before the band began working on a third, electric version on September 5th, with Lennon on lead guitar and Ringo Starr contributing a heavy, lurching rhythm. That arrangement didn't quite come together, either.
Clapton initially declined. But Harrison replied, "Look, it's my song. I want you to play on it. With the famous guest in the studio, the other Beatles got down to business — McCartney's harmonies sound particularly inspired. As Harrison put it, "It's interesting to see how nicely people behave when you bring a guest in, because they don't really want everybody to know that they're so bitchy.
I love that song. Clapton became one of Harrison's closest friends — as well as his potential replacement. Lennon asked Leary if there was anything he could do to help his candidacy. But Lennon decided that he wanted to do something else with the lyric he had started, rather than finish the Leary campaign song. When he brought his new song in for the Abbey Road sessions, it was much faster than the final version and more obviously modeled on Chuck Berry's "You Can't Catch Me" — the opening line, "Here come old flat-top," is a direct lift from Berry's recording.
Shortly after the release of Abbey Road , Berry's publisher charged the Beatles with copyright infringement; the case was settled in , with Lennon agreeing to record three songs owned by the company — two Berry songs on the Rock 'n' Roll album and Lee Dorsey's "Ya Ya" on Walls and Bridges. Paul McCartney had a few suggestions for how to improve the song, as he recalled in The Beatles Anthology: "I said, 'Let's slow it down with a swampy bass-and-drums vibe.
The lyrics are a rapid-fire pileup of puns, in-jokes and what he called "gobbledygook" that he made up in the studio. The message was clear when he cried out at the end of the second verse, "One thing I can tell you is you got to be free.
It's funky, it's bluesy, and I'm singing it pretty well. After the antagonism of Let It Be , it was almost impossible to imagine the band returning to this sort of creative collaboration. Then Paul has this idea for this great little riff. And Ringo hears that and does a drum thing that fits in, and that establishes a pattern that John leapt upon and did the ["shoot me"] part. And then there's George's guitar at the end. The four of them became much, much better than the individual components.
At that point, the Beatles were in their own time of trouble. A month of on-camera rehearsal and live recording had been intended to energize the bandmates and return them to their beat-combo roots. After wrapping up the filmed sessions that day, the Beatles turned a mountain of tapes over to engineer Glyn Johns to assemble into an album, tentatively titled Get Back.
That solo, with its distinctive warbling tone, ended up on the single. A month later, on April 10th, McCartney took the occasion of the release of his first solo album to announce that the Beatles had broken up. McCartney was visiting Cynthia after she and Lennon had broken up, and he was thinking of Julian on the drive over there.
I know you're not happy, but you'll be OK. The song was recorded in the middle of the White Album sessions, which were plagued by fighting within the band and increasing alienation as the individual songwriters started treating the other Beatles as sidemen on their songs — if they used them at all. Engineer Geoff Emerick found the squabbling so unpleasant that he quit. George Martin, also exhausted from the bickering and from running between the individual Beatles recording simultaneously in separate studios, abandoned the sessions to take a vacation, leaving production of the album for several weeks to his assistant Chris Thomas.
Fed up himself, Starr left the band for two weeks the first band member to quit the Beatles. When Lennon first heard "Hey Jude," he loved it — he thought McCartney was singing to him, about his relationship with Ono and the strains on the Lennon-McCartney partnership. Archived from the original on 21 September Retrieved 30 July Unterberger, Richie Retrieved 25 February Retrieved 2 February The Beatles on Record. The Beatles singles discography.
I Love You ". The Beatles portal. Authority control MusicBrainz work: fdec-caa-bcddb08c20a3d2. Namespaces Article Talk. Views Read Edit View history. Across The Universe. This is for the album sleeve only., Album, Unofficial Release, LP. Genre: Rock. Instant Karma. Inner Light. Dig A Pony. Across The Universe. This is for the album sleeve only., Album, Unofficial Release, LP. Details about The Beatles/ Renaissance Minstrels Volume II/ Rare "Album Cover Only" Don't Let Me Down. B5 Seller Rating: % positive.