Meet the beatles vinyl 2047 value village

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meet the beatles vinyl 2047 value village

Many of those whom I met and interviewed also allowed me access to their private from the Beatles' feature A Hard Day's Night, his both silly and charming answer was that values not to the upper class, but to the middle class. vigorously in their album The Kinks are the Village Green. The show was at Knotty Ash Village Hall. . The German LP was available for sale as an import, but not in a way that got it .. US: Capitol ST Meet the Beatles CD: Apple The Capitol Albums, Vol [b2] mono made from [b] , by Capitol. Good quality and value when compared to PicClick similar items. More. × The Beatles - Meet The Beatles LP | Capitol T | Mono 1st Press | VG+ . The Kinks “The Village Green Preservation Society” **rare Psych Reprise** Lp.

Who has legal rights to release these? Since they won their court battle inonly the Beatles themselves have the authority to release the Star-Club recordings although the songs that have only appeared on bootlegs may now be in the public domain! The Films and Videos The mixes used in the Beatles' films and videos differ from the albums in some cases.

I don't have the material to do a variations analysis of them but do report in the notes under certain songs some things I could verify or have read.

The home videos, except for very early releases I hear about and can't get information on, are in stereo. These should replace the stereo versions on home video in perhaps "A Hard Day's Night" on MPI stereo video sounds like the usual records, except for a version of "I should have known better", used in one of its two appearances, that has the harmonica intro problem "fixed"; this does appear on record, the "Reel Music" LP.

Ron Furmanek supervised new stereo mixes inbut they were not used for the MPI home video reissue, and so far they have turned up only for song segments in the broadcast special and home video "The Making of a Hard Day's Night", The AFI-restored mono soundtrack had to be recreated because an original magnetic soundtrack could not be found.

It is said that they used the track from a print, which had the mono sound slightly processed to simulate stereo, and possibly also a "music and sound effects" track as used for dubbing to other languages. The song A Hard Day's Night has screams over it not in the original, for one thing, so the restoration should not be relied on as being exactly the original.

Nonetheless it is a great job and the film looks and sounds better than any version in memory. Richard Lester is on record someplace! If so, playing it back at 24 fps would slow down everything by 4 per cent. But in a interview, Ron Furmanek, who was making the restored soundtrack, claims that the film uses the recordings at the right speed, and that all the mixes for records were sped up to sound more lively-- something no one else has commented on, and about which I am therefore pretty skeptical.

Steve Shorten in "The " says it has new mixes although he offers no differences. The AFI-restored mono version is believed to be faithful to the original musical sound, and the color improvement is astonishing. New stereo mixes were definitely made for "Magical Mystery Tour" MPI home video in and it says so in a credit screen on the tape. Comments appear here under each song. The new mixes have not appeared on disk or cassette.

It was withdrawn from the market in and when it reappears the soundtrack should be checked. Let It Be uses relatively little musical material in common with the album and has never appeared with a stereo mix.

This is due to the fact that the recordings intended for record were all made in the studio; none of the rehearsals made at Twichenham were ever intended for release as records. The Twickenham and Apple rehearsal sessions exist only on the mono filmmakers tapes, but the main performances exist on 8-track tape.

There was once a home video release with the original soundtrack. An improved version made from the original film negatives, and with stereo sound for those songs recorded on 8-track equipment, was made around but is being held from release by Apple.

In lateit was said to be due inalthough by MayMPI announced there is no plan to release it. Clips showing vast improvement appeared in the Anthology video shown on television in November In anddiscussions were ongoing for the movie s re-release. The soundtracks to the clips vary in interest. Some are just the records, and some have new vocal tracks or other material accompanying instrumental tracks from the records.

So far the clips have not been made available for sale legally! Many appeared in part in the Anthology shown on television, in improved picture quality, but often with a stereo soundtrack dubbed in, and with changes including insertion of outtake footage and colorization. These variations are not listed here. The first two of these are generally regarded positively, while the work on MMT was criticized by fans.

The Anthology DVD was also released in 5. It is hard to find a negative review of most of these, and having the music broken down by channel is a new experience for most fans.

While one might take an interest in the songs that are bundled with The Beatles: Rock Band, a strong-selling video game experience, the mixes found there are not intended for record releases and as such will not be documented here. Format of Entries Each listing contains the following information, intended to identify variations or point to where they might occur: TITLE basic recording- date and location of the basic track additional recording- date and location of all other recording master tape- tape tracks and generations of master tape [a] mono or stereo, etcdate and location of the mix Country: Notes on variations, or things that might lead to variations.

All the information given is related to variations.

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I deliberately omit otherwise important and useful information like songwriters, lead singers, and exact dates of release. All other locations are in London unless specified. Information about the recording and mixing dates and the tape tracks is almost all from Mark Lewisohn's two books. See those books for far more detail than this.

meet the beatles vinyl 2047 value village

Mixes are identified by arbitrary letters [a], [b], and so on, in the order they were created. Numbers [a1], [a2] and so on refer to variants of mixes, such as mono made by combining signal from a stereo mix, or mock stereo electronically created from a mono mix see below. Therefore for example [a] and [b] are distinct mixes made from the original master tape, while 16 [a1] is just a variant of [a]. This is significant because a variant cannot contain any authentic sound not on the mix from which it was made.

A mix referred to as "mock stereo" is mono electronically rechanneled to simulate stereo as it was often called or Duophonic Capitol s processa process of distorting mono sound by feeding different frequencies to right and left channel and Duophonic delaying some of the sound as well. This processing was popular when it was believed that a people wanted any kind of stereo on a record labeled stereo. Some songs on the Anthology sets that I call mono are not perfectly mono. They have a very slight difference in left and right channel, almost unnoticeable.

meet the beatles vinyl 2047 value village

Whether this is a processed mono mix or an extremely narrow stereo mix is hard to say, and if it is this hard to tell that it isn't straight mono, I'm calling it mono. I'm still not totally sure the effect is even intentional although it probably is. However, sometimes a mix first appeared afteror in another country, and this is why I do list selected post and foreign releases.

Records are shown by country, label, number, short title, and year. The CD issues are the same worldwide so far! CD singles and EPs are not listed unless there is something unusual on them. All the songs on the red and blue albums "The Beatles " and "The Beatles " sound a little better than they do on the original album CDs, which reflects better CD mastering in than inand only differences beyond that are mentioned.

Vinyl releases continue in the CD era. All albums are released also on LP, and there have been some vinyl singles not corresponding to CDs. The collector of variations rarely needs the vinyl in addition to the CD. However, even though I do not list the new vinyl, it cannot be ignored. For example, on the Live at the BBC, the vinyl has a clean end and start of two tracks that are cross-faded together on CD. Any known differences on vinyl are mentioned in the notes.

Some of the recording and mixing detail suggests there may be differences where none have been reported. There are numerous songs with mono and stereo mixes for which no significant difference is mentioned, for example. Readers may wish to check these.

There is often some difference in "feel" in pairs of mono and stereo mixes that is difficult to describe.

meet the beatles vinyl 2047 value village

Listings in this guide usually refer only to specific sounds present in one mix and not another. There are often subtle differences in tone and presence. The "master tape" line, listing the tape tracks and generations, is there to give an idea how much is already mixed on the master, and therefore how much variation there could be on final mixes. Nearly all the songs were partly mixed during recording, quite unlike what happens today in recording to 48 or more tracks.

Very often, input from more than one microphone, such as multiple instruments or voices, was mixed into one tape track during recording, and 17 therefore cannot ever be remixed well, not without real trickery anyway.

Sound-on-sound overdubbing mixing live sound with playback of earlier recording into one track of a new tape was used particularly in the twin-track days, and is another form of mixing during recording. Done once, this makes the master what is called here a "2d generation" tape i. Up toonly the very last generation of recording had been used to create mixes for release, so the "generations" remark is relevant.

See Mark Lewisohn's Recording Sessions book for varyingly detailed descriptions of what is on each generation of tape. InI wrote here: On Anthology 2 is a mix of Penny Lane made from a master that has all the tape tracks from 4 original reels synchronized on one digital tape. I asked inIs this a sign of things to come? It allows many new variations that had not been possible, including notably the mash-ups and remixes found on the Love album from V e r s ion 3.

I don't think it's clear to many people that the new remixes begin a new era in Beatles mixes. Many Beatles recordings were made by bouncing down, that is, by filling a multi-track tape, typically 2 or 4 tracks, and mixing it down to 1 or 2 tracks of another multi-track, and adding more to the available tracks.

This was sometimes repeated one or two times more, and is labeled in the Variations list as "2d generation" and so on. These bounce-down mixes were allimportant to variations, because all mono and stereo mixes were made from the last multitrack. The bounce-down mixing was set in stone and could not differ.

The method now being used as on the Yellow Submarine Songtrack and Love, etc. The only limits now are sound mixed during recording, like the common combining of rhythm guitar, bass guitar, and drums into one track of the multi-track during recording, and the relatively rare sound on sound mixes, where new sound is added to a track during tape copying.

Even those limits are being challenged by new 'mock stereo' technology. Pianist John Duff Lowe found it, forgotten, in a box of his old things inand it was purchased by Paul McCartney in July of that year. The beginning of this song was played on the BBC TV program "Buddy Holly", 12 Septbut was faded out under some narration by Paul; the portion was bootlegged many times.

Mix [a] is believed to be the entire song, processed to remove noise. For mix [a], about 40 seconds was edited out, removing a repeat of the second verse and middle eight, and it was processed to remove noise.

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No other version has been leaked, although some fake extended versions are now known to exist. Apple Anthology Faded early, about half the length found on the known source. Apple Anthology This is complete, just seconds shorter than the known source. Apple Anthology Edited and faded early, about half the length found on the known source.

These recordings come from a series of tapes made probably in April and known as the Quarrymen tapes. Surviving are a few copies of two source tapes, and of a compilation tape selected from those three and at least one more lost source tape. One song was played on German TV inand Philip Norman describes listening at least one of the tapes in his book "Shout! Paul purchased the compilation tape inwhich includes all three songs above and three more heard in part on the video Anthology.

However, a source reported to The that the Anthology versions and the bootlegs share reverb that was not on the originals, as if the bootleg, which also has all six songs, was used as the source. The Anthology versions sound clearer than the bootleg, however. Decca single [a2] no intro stereo made from [a]Germany. Polydor Beatles First UK: Polydor In the Beginning Circa[a3] no intro mono made from [a2]Germany. Apple Anthology [b] German intro stereo 22 JunGermany. Polydor single CD: Polydor Germany Tony Sheridan vol.

Polydor EP This song comes with a slow introduction in English 32 seconds or German 35 seconds or with no introduction. The two intros are similar musically but slight differences show them to be different takes and not vocals dubbed on the same backing track. This means the mono mixes are all reductions of the stereo mixes, and not separate mixes as they are in the case of nearly all the EMI recordings. The mono and stereo versions therefore should not contain variations, and none has been found.

The order of recording of the eight songs is not known. The master tapes and documentation kept by Bert Kaempfert Produktion were lost in a fire, but the recording dates given to Polydor in were copied from the now-lost Kaempfert files and should be correct.

The first two days' work is shown only as 22 June. From Cavern to Star-Club details the recording and releases. Hinze refers to the loss of the slow intro to My Bonnie as an edit, which would mean the English intro is part of the recording and the German intro uses an edit piece.

We know that the test pressing record the Beatles brought to England on July 2 had the English intro. But it still may be that both intros are edit pieces added to a recording of the song only. Single NH was issued in two versions but with the same number, the German intro in Oct and the English intro in Jan They have the same sleeve, except that the English intro version has the word "Twist" in a large box on the front, and the German intro version has the subtitle " Mein Herz ist bei dir nur " shown on the back and on the label.

The "Twist" English intro was used for the UK and US singles infor Tony Sheridan's first album in in mono and stereoand again on an EP in The German intro is much the rarer of the two, and was used again after only on a French EP and again on a French LP, after which it has been used only on special releases.

It finally appeared in stereo on a German single, a limited pressing but at least for sale to the general public. The German lyric is by Bernd Bertie, whose name sometimes appears on labels for versions with the English intro or no intro-- a "variation" of sorts. Starting with reissue singles ofthe no-intro version became standard on all releases.

Fromthe stereo English intro again became standard and is for example on the CD. The modified mix [a5] for Anthology has the English intro cross-faded with unrelated spoken word, obscuring the first line of the vocal, and an edit occurs at the end of the intro, after which the stereo image is reversed.

The sound balance has also been altered, possibly to emphasize the Beatles' role, but the bass is less convincing. This was probably done at EMI, London. The reversal adds weight to the idea the intro is a separate edit piece, but EMI may have separated it from the body as they worked on the cross-fade for Anthology. Polydor In the Beginning CD: Polydor Early Tapes [a1] mono made from [a]Germany.

Polydor Beatles First US: Polydor Early Tapes Polydor Early TapesApple Anthology [a1] mono made from [a] ? As with Why, the little-known French EP Mister Twist was the first release, strange in this case since it was credited only to Tony Sheridan when he does not even play on it. Polydor Early Tapes [a1] mono made from [a] ? The CD set puts it as 22 Jun. Atlantic edited 58 seconds to bring [a2] to a still long for 2: Polydora German Tony Sheridan single of Sweet George Brown, has a different recording of this song with just Tony solo, no bass and drums.

Polydor In the Beginning Polydor single [b] mono based on [a1]by Atlantic, USA. For reasons unknown, this [b] version went back to Polydor in Germany, and appeared years later on the standard CD release from Polydor Germany and then on Anthology 1 in Only a Japanese CD single P1OP and album have it in stereo, and maybe they are using a tape sent there years ago. The stereo mix is easily identified, with John vocal left, rhythm guitar center, and lead guitar, bass and drums right.

EPLes Beatles Germany: Atco singleAtco Ain't She Sweet The edit removes "some goddamn" from the line near the end where Tony sings "ooh some goddamn insurance on me baby". The title shown above is based on the earliest recording of the song by Jimmy Reed. In its first release it was credited to J. Stone, but Charles Singleton and Waldenese Hall were later identified as the authors.

It was called "If You Love me, Baby" on Polydor pressings before June, apparently because no one recognized the song.

meet the beatles vinyl 2047 value village

Apparently Tony Sheridan deserves an author credit for his complete rewrite of the lyrics. According to John, he had been playing the harmonica on Love Me Do, but he usually didn t play it across the solo line Love me do at the end of each verse.

Instead, John stopped in the middle of the line, singing it as Love me. Since John is playing harmonica across his vocal in their rehearsal of June 6, when Pete Best was still the Beatles drummer, it must have been the case that they were allowed to overdub the harmonica.

For the single, George Martin wanted to play the song completely live. Therefore, he asked Paul to sing that line solo. Paul McCartney remembers it that way, too: The lyrics crossed over the harmonica solo so I suddenly got thrown the big open line, Love me do, where everything stopped.

Until that session John had always done it; I didn t even know how to sing it. I d never done it before. A direct-to-tape recording would not allow for many mix differences, but of course, the Beatles famously recorded the A-side twice. It is clear, then, that Martin preferred not to create a second-generation tape, due to a potential loss of sound quality.

By the time the band recorded Please, Please Me later in the year, it was equally clear that overdubs would often be necessary. The Beatles second attempt at the song on September 11 th featured guitar fills, but by the time the final version was made on November 26 th, harmonica fills had taken the place of the guitar riffs.

Rather than pull John away from his lead vocal, George Martin decided to create a second tape of edit pieces and to perform a tape-to-tape overdub after the tracks were complete. For a time being, this became the usual method of escaping the need for a third track: Apparently the November 26,session was housed on two tapes. Had they anticipated the release of an album, the final twin-track stereo mix would have been made to sound like the single.

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Instead, the second session tape, containing the last few of the eighteen takes of Please, Please Me, and the six takes of Ask Me Why survived the purge perhaps by accident; the whole session was not extant when the time came to prepare the stereo album.

Therefore, an edit of three of those later takes was prepared for release on the stereo LP. Apple Anthology Cross-faded at the start with unrelated spoken word, and in that portion a tape loop of the instrumental introduction has been edited in. This and the next four are from a tape believed to be the Decca audition of 1 January The only known source of this material is a mono tape compilation that was first used to create a series of seven bootleg singles on the Deccagone label in The canonical set of all 15 songs was the bootleg LP The Decca Tapes inand this was followed in the 's by questionably legal releases, usually omitting the three Lennon-McCartney songs, and all directly or indirectly from that same source tape.

In The vol 2 no 3Doug Sulpy and Greg Panfiles reported the tape appeared to be off-speed, enough to raise the songs a full half-step in pitch. The speed correction was done for subsequent bootleg CDs, and also has been done, at a slightly different ratio, for the Anthology, which presumably continues to rely on the same source used since But where does that come from?

Probably Brian Epstein took a copy of the session tape, and although he is supposed to have had a sample reel before the Decca date, this was probably better recorded, and it may have been songs from this set that he brought to George Martin at Parlophone. The Beatles had a tape with some of these songs with them in their Spring Hamburg trip. The identification of this tape with the Decca audition is less than perfect, and the best argument may be that they had no other opportunity to record 15 songs this cleanly.

The tape's legal status also remains murky: On the Anthology, Apple claims ownership. Apple Anthology The interjected "Not half! On six songs they were the backup band for Tony Sheridan, lead vocal and guitar. On two, "Cry for a shadow" and "Ain't she sweet", the Beatles performed alone.

These recordings originally appeared on the Polydor label in Germany and the United Kingdom, and on various labels in the United States. Their discography has not been well documented, unlike that of the later EMI recordings, and this paper attempts to straighten out some problems.

Since I wrote this piece, an excellent book appeared called The Beatles: If you are interested in the pre-emi recordings this book is essential. He has reproduced much of the surviving documentation, and has interviews with important figures like Karl Hinze, the engineer at the sessions. The artist is listed as Tony Sheridan and the Beat Brothers. The picture sleeve has the title as "My Bonnie" in large letters, front, and as "My Bonnie Mein Herz ist Bei dir Nur " on the back and on the record label.

This is of course the mono mix with German introduction. The other version has the same sleeve except that near the lower left is a large box with the legend "TWIST", and the back and record label do not have the German parenthetical subtitle. This has the English language introduction. Just as the recording date has varied from the traditional Maybased on Tony Sheridan's recollection of Whit Monday, to the more recent report of Junebased on a session document Mark Lewisohn has seen, the release date of the single has now been established as October,after a recording date of 04 October possibly to record the slow introductions.

The mastering codes indicate that the German-intro single was mastered in October,and the English-intro single was mastered in December, This article was inspired in part by the Beatles providing a copy of the record that they brought back with them from Germany.

This must have been a test pressing, an idea supported by there being only two copies for four Beatles. Following Brian Epstein's later story, Stu Sutcliffe, who stayed in Hamburg, sent copies of the single over to the Beatles, and perhaps it was only at this point, whenever it was, that they knew the record was available for sale. An undated letter from Paul to Peter Eckhorn also mentions Stu having sent the record.

The legendary request for the record by Raymond Jones at NEMS was dated at October 28 five days after the single s release in Germany, and perhaps that does at least suggest roughly the date Brian Epstein ordered it.

Raymond Jones, the man who piqued Epstein s interest in the Beatles, described the story this way: The first time I saw The Beatles I was totally blown away. I couldn t believe what I was hearing and watching. It was a sound I had never heard before. Pete Best was the drummer then; he used to sing Matchbox, a Carl Perkins song, and being a keen Perkins fan I was intrigued to see how they played the chord sequences. One particular day Bob Wooler, the DJ from the Cavern, came into my place of work to have some tickets printed so I asked him where they were playing next.

He said he d let me know when he picked up the tickets, which I took to mean he d find out the time and venue and tell me.

When he came in to pick the tickets up he opened the package and gave me two, which he signed so I could get free entry to the venue. The show was at Knotty Ash Village Hall. After that I started to follow The Beatles to most of the venues they played in the evenings.

You could say I was totally hooked. My ex brother-in-law Kenny Johnson was the lead guitarist with a group called Mark Peters and the Cyclones. It was him that told me The Beatles had made a record in Germany. He started asking me questions: Where did they play? What type of music did they perform?

After I had answered his questions I told him they were the best group I had ever seen. Shortly after that it was common knowledge that Epstein had become their manager. While this date is correct for the German-intro version, the Twist version was not mastered until December. As to why they would use the same catalog number would be to combine sales reports, it looks as if Polydor wished to fulfill later orders for the single with an alternate version.

The earliest report of its existence is in All Together Now, where it is listed as September,without catalog number, the only record in the whole book without one. The White Album which came out in is the most popular and most sought after album.

An unopened mint condition copy of the album will bring twelve hundred dollars or more. Abbey Road which was the Beatles last studio released album is one of the most sought after albums and in mint condition it sells for as high as four hundred dollars. There are still a lot of great Beatles records and albums still out there to be found.

You can pretty much go by the better condition they are in the higher price they will bring. If you plan to sell the record or album and it has never been opened then leave it that way. In mint condition they will bring the higher price. Be sure to do careful research and keep a journal with carefully detailed notes. If you have a collection of Beatles Albums or Beatles records then first of all you need to sort your albums and records into fair, goodand mint condition. Then you need a real good guide like Perry Cox's "The Official Price Guide to The Beatles Records and Memorabilia," This guide provides the best guide to the condition of the records and albums and the price they should sell for.

The Beatles were around for only 10 years but during that time they recorded records and albums under various labels. Keep in mind that promotional copies of 45's are rarer still. You need to learn the labels You may know what the Capital and Apple labels may look like but the Beatles appeared on a variety of labels under many different colors.

Some are of course more rare than others. Now its time for a reality check. Records were made to be played and if a record was played a lot its price is going to be low.

The record may not have any sale value at all if it has been played heavily. If its been played heavily it may have a place in your collection but no one else is going to want to pay a lot of money for it.

You need to be honest with yourself when your going through your records and albums and deciding what condition they are in. But if you have a Beatles record or album in mint or nearly perfect condition you just may be able to get a few hundred to a few thousand dollars for it. Do good research and make sure what you have is really what you think it is.

If your going to sell it on E Bay your going to have to be real sure. If you have questions, comments, or suggestions about Beatles records or albums please post them below. What Are They Worth? I remember the night they performed on the Ed Sullivan show. It was the 9th of February and I thought it was one of the wildest and best things I ever saw.

Even way back then 73 million viewers in 23 million households watched the Beatles. It was for many years the most watched TV show in history. The next morning the Beatles woke up to negative criticism on the TV and Radio. Most people were claiming that the Beatles would ruin the youth of America.

A day later though Beatlemania would erupt. Their first American concert was held at Washington Colosseum and it was a huge success. Below is a video of that song. This time in front of an audience of 70 million. They then flew back to England on the 22 of February.

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I have a lot of their early albums from the early days and they really will bring what you can get people to pay. If you have a Beatles Album or even a collection of them you should first of all check out the condition of the album and the LP or record inside. The better the condition the more it will bring.

Everything needs to be perfect if it is going to bring the higher price. There are unfortunately a lot of fake Beatles signatures out there. I have seen many albums the owners claim were signed by the Beatles when they were not. Do not buy a signed album until it has been verified authentic by an expert. Be sure to check out everything offered as proof with the album. And this included the top 5 positions.

In August of the Beetles returned to America and did thirty concerts in 23 cities. It created intense interest in the Beatles. Their concerts were only thirty minutes long and between 10 and 20 thousand fans attended each concert. It was in August of that year that the Beatles meet Bod Dylan and he introduced them to marijuana.

Dylan made a strong impression on Lennon and before the year was out Lennon was imitating some of Dylan's style and Dylan's nasal drone. And then in earlywhile they were his guests for dinner Harrison and Lennon's dentist slipped LSD into their coffee. Lennon later described the experience as terrifying but fantastic. He said he was stunned for a month or two. It is guaranteed original and perfect in every way. There are some of these albums that sell for into the low thousands. Especially ones with ads on back.

Pepper's Lonely Hearts Club Band. The most famous cover of any album ever in history.