Category Archives: Music

Queen

Queen . Biography


Dari Wikipedia bahasa Indonesia, ensiklopedia bebas

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Queen adalah grup band rock dari Britania Raya yang dibentuk tahun 1970 di London. Semula terdiri dari

  • Freddie Mercury (vokal, piano),
  • Brian May (gitar, vokal).

Karya awal Queen dipengaruhi oleh rock progresif, hard rock dan heavy metal, namun perlahan-lahan berubah menuju musik yang lebih konvensional dan bersahabat dengan pendengar radio, mencakup gaya musik yang lebih beragam ke dalam musik mereka.

queen

Queen sempat Vakum pada 1990-an dikarenakan Kematian Freddie Mercury pada 24 November 1991 akibat Penyakit AIDS, Meskipun begitu Queen sempat merilis album Studio berjudul Made In Heaven pada 1995.

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Sejarah


Awal Berdiri (1968 – 1974)

Berawal dari dua mahasiswa yang ingin membuat band, Tim Staffell (vokalis dan basis) dan Brian May (gitaris). Mereka mengaudisi mahasiswa yang akan menjadi drumer dan mendapatkan Roger Taylor dan membentuk band Smile, namun band tersebut hanya bertahan 2 tahun. Tim Staffell keluar dan membentuk band baru bernama Humpy Bong. Freddie Mercury masuk dan kemudian menguubah nama “Smile” menjadi “Queen”.[3] Queen mengaudisi pemain bass dan mendapatkan John Deacon (1971).

Pada tahun 1973, Queen merilis album “Queen” dengan pengaruh dari Led Zeppelin dan The Who. Di album ini, Queen merilis dua single, yaitu Keep Yourself Alive dan Liar. Tahun berikutnya pun Queen merilis album Queen II dengan single Seven Seas of Rhye. Roger Taylor tidak menyukai nama album ini karena tidak kreatif. Pada kedua album ini, musik Queen menjadi lebih heavy metal dan hard rock, namun ada beberapa lagu yang ballad dan rock opera.

Sukses Pertama kali

Pada 8 September 1974 Queen merilis albumnya yg Ke-3 yaitu Sheer Heart Attack. Saat itu Queen meraih kesuksesan untuk pertama kalinya dan terkenal di tingkat Internasional lewat singel “Killer Queen”. Dalam lagu ini terdapat lagu pertama ciptaan John Deacon, Misfire.

Pada 1975 Queen meminta bantuan pada John Reid (Manager Elton John) untuk mengatur ekonomi band yg kacau akibat perselisihan band dengan Trident Studio. Queen kemudian merilis album keempat yaitu A Night at the Opera. Pada saat itu A Night at the Opera adalah album termahal yang pernah dibuat.[4] Pada tahun 2004, rakyat Inggris memilih album ini sebagai album terbaik ke -13 sepanjang masa.[5]

Anggota Band


Anggota saat ini

  • Brian May – guitar, keyboards, vocals (1970–sekarang)
  • Roger Taylor – drums, guitar, keyboards, vocals (1970–sekarang)

Mantan Anggota

  • Freddie Mercury – lead vocals, keyboards (1970–1991; kematiannya)
  • John Deacon – bass, guitar, keyboards (1971–1997)

Queen + vokalis jangka panjang

  • Paul Rodgers (2004–2009)
  • Adam Lambert (2011–sekarang)

Vokalis tamu lainnya

  • David Bowie (1981, 1992)
  • Annie Lennox (1992)
  • Lisa Stansfield (1992–1993)
  • George Michael (1992–1993)
  • Elton John (1992, 1997)
  • Zucchero (1992, 1998)
  • Robbie Williams (2001)
  • Kris Allen (2009)
  • Jessie J (2012)
  • Nate Ruess (2013)
  • Lady Gaga (2014) [6]

Anggota tur

  • Morgan Fisher – kibor, piano (1982)
  • Fred Mandel – kibor, piano (1982)
  • Spike Edney – kibor, piano, gitar ritme, vokal latar (1984–sekarang)
  • David Grosman – gitar bass (1998–2004)
  • Jamie Moses – gitar ritme, vokal latar (1998–2009)
  • Danny Miranda – gitar bass, vokal latar (2005–2009)
  • Rufus Tiger Taylor – perkusi, drum,vokal latar (2011–sekarang)
  • Neil Fairclough – gitar bass, vokal latar (2011–sekarang)

Anggota awal

  • Mike Grose – bass (1970)
  • Barry Mitchell – bass (1970–1971)
  • Doug Ewood Bogie – bass (1971)

Garis Waktu


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Diskografi


Album

  • Queen (1973)
  • Queen II (1974)
  • Sheer Heart Attack (1974)
  • A Night at the Opera (1975)
  • A Day at the Races (1976)
  • News Of The World (1977)
  • Jazz (1978)
  • Live Killers (1979)
  • The Game (1980)
  • Flash Gordon (1980)
  • Hot Space (1982)
  • The Works (1984)
  • A Kind Of Magic (1986)
  • Live Magic (1986)
  • The Miracle (1989)
  • Innuendo (1991)
  • Live at Wembley ’86 (1992)
  • Made In Heaven (1995)
  • Queen on fire – Live at the Bowl (2004)
  • Cosmos Rocks (2008)

Kompilasi

  • Greatest Hits [Elektra] (1981)
  • The Complete Works (1985) – all albums from 1973-1985 plus bonus material
  • Queen at the Beeb (1989)
  • Greatest Hits, Vol. II (1991)
  • Classic Queen (1992)
  • Greatest Hits [Hollywood] (1992)
  • Greatest Hits [Parlophone] (1994
  • At the BBC (1995)
  • Greatest Hits, Vols. 1-2 (1995)
  • Queen Rocks (1997)
  • Dragon Attack – A Tribute to Queen (1997) – tribute album
  • The Crown Jewels (1998)
  • Greatest Hits III (1999)
  • Platinum Collection, Vols. 1-3 (2000)
  • Greatest Hits: We Will Rock You Edition (2004)
  • Killer Queen: A Tribute to Queen (2005) – tribute album
  • Queen Forever (2014)

Referensi

  1. ^ “Heritage award to mark Queen’s first gig”. Bbc.co.uk. 5 March 2013.
  2. ^ “QOL F.A.Q.” Queen Online. Are Queen still active as a band? Very much so.
  3. ^ Hodkinson, Mark (2009). “Queen: The Early Years”. p.118
  4. ^ “A Night at the Opera”. Acoustic Sounds.
  5. ^ “100 Greatest Albums”. Channel 4. Diarsipkan dari versi asli tanggal 29 April 2009. Diakses tanggal 21 November 2006.
  6. ^ Angermiller, Michele Amabile (27 August 2014). “Watch Lady Gaga Join Adam Lambert Onstage in Homage to the Queen “Mothership””. The Hollywood Reporter. Diakses tanggal 26 September 2014.

Band Terkaya di Indonesia

Daftar Band Terkaya di Indonesia Sepanjang Masa


Sabtu, 10 Maret 2018 . Source: PortalBatang

Meskipun banyak band-band pendatang baru yang di Indonesia, ternyata tidak membuat grup band ini membanting harga agar tetap mendapatkan job manggung. Kepopulerannya serta lagu-lagu yang memiliki kualitas baik membuat band-band ini menjadi band terkaya di Indonesia. tak hanya itu saja, bahkan setiap mereka manggung, konser mereka tidak pernah sepi penontotn. Penasaran kan? Berikut adalah daftar band terkaya di Indonesia.

Grup band terkaya di Indonesia

Slank


Band-Slank

Band terkaya di Indonesia yang pertama adalah Slank. Meskipun seringkali dibatalkan oleh pihak kepolisian karena tidak ingin konser berakhir ricuh, grup band ini tidak membuat harga penampilannya menurun. Dipatok Rp 500 juta dalam setiap shownya membuat Kaka dan kawan-kawan selalu totalitas dalam membawakan lagu-lagu mereka. Tak hanya itu saja, Slank juga merupakan salah satu grub band yang memiliki banyak penggemar, maka jangan heran saat Slank manggung, akan ada slankers-slankers yang datang untuk menyaksikan.

Noah


Band-Noah

Yang kedua adalah Noah. Grup band yang mengubah nama Peterpan menjadi nama Noah ini mematok bayaran yaitu Rp 400 juta dalam setiap shownya. Meskipun sang vokalis pernah mengalami masalah dengan hukum, tak menyurutkan minat masyarakat untuk menyukai band yang digawangi oleh Ariel ini.

Ungu


Band-Ungu

Ungu merupakan band Indonesia dengan bayaran termahal selanjutnya. Grup band yang satu ini dapat dikatakan sebagai grup band terlaris sepanjang masa. Hal ini dikarenakan setiap ada acara-acara televisi ataupun event lainnya, pasti salah satu bintang tamu mereka adalah Ungu. Untuk mengundang grup band ini, Anda harus mengeluarkan budget hingga Rp 350 juta setiap shownya.

Nidji


Band-Nidji-768x511

Siapa yang tidak mengetahui grup band yang satu ini? Gaya bernyanyi dari band ini memiliki ciri khas yang berbeda dari band lainnya. Berkat ketenarannya, Nidji mematok harga Rp 270 juta hingga Rp 280 juta dalam setiap shownya. 

Yovie and Nuno 


Band-Yovie-and-Nuno

Anak-anak muda pasti mengetahui lagu milik Yovie and Nuno ini. Lagu mereka yang sangat mudah diingat dan menggambarkan kehidupan remaja masa kini, membuat lagu dari grup band ini disukai oleh semua kalangan. Dalam sekali tampil, grup band ini mematok harga yaitu Rp. 250 jutahingga Rp. 275 juta.

Gigi


band-Gigi

Grup band terkaya di Indonesia selanjutnya adalah Gigi. Meskipun memiliki umur band yang sudah tidak muda lagi, tidak menyurutkan Gigi untuk berhenti berkarya. Bahkan hampir setiap bulan Ramadhan, band ini selalu merilis lagu-lagu religi. Tak hanya itu saja, jadwal show mereka yang tidak pernah sepi membuat band ini memiliki bayaran Rp 200 juta dalam setiap shownya.

Nah sekarang sudah tahukan apa saja grup band terkaya di Indonesia? Selain itu Setia Band juga merupakan salah satu band terkaya di Indonesia dengan bayaran Rp. 170 juta hingga Rp. 180 juta per show nya.

Rani Ramadhany Faishal – Drummer Indonesia

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Profile

  • Nama: Rani Ramadhany Faishal
  • TTL : Jakarta, 2 Maret 1994
  • Sekolah:
    • TK Muhammadiyah, Kebayoran Lama
    • SD gunung 01 pagi, Jakarta Selatan
    • SMP 13 Jakarta Selatan pindah ke SMP 30 Jakarta Utara
    • SMA 13 International School, kelas XI-IC (International Class)
  • Kuliah: Jurusan Performing Arts Communications London School of Public Relations (LSPR)
  • Warna Fav: Hitam, Putih, Ungu & Silver
  • Hobby: Musik, Photography, Sport (Bowling, Badmintoon, Basket Ball, Street Dance)
  • Jenis musik: Pop dan sedikit Rock
  • Singer: Katy Perry, Bruno Mars,Taylor Swift, Justin Bieber,Anggun dan Calvin Jeremy
  • Band: Maroon5, OneRepublic, Parachute, Secondhand Serenade
  • Makanan fav: Dimsum dan Balado
  • Minuman fav: Susu dan Aqua
  • Pengalaman:
    • Juara 2 band
    • Manggung di pensi2 sekolah

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Karir

DI balik wajah cantik yang lembut, Rani Ramadhany handal menggebuk drum. Dia merupakan salah seorang drummer perempuan di Indonesia yang cukup eksis di media sosial, terutama di situs berbagi video YouTube.

Ada sekitar 80 video perempuan 21 tahun itu sedang bermain drum secara solo yang bisa ditemukan di kanal miliknya (raaneey). Kemampuannya bermain drum tidak kalah jago oleh drummer band-band terkenal lokal maupun internasional. Rambut panjangnya yang berkibar ke segala arah ketika bermain alat musik tersebut menambah pesona ayunya yang biasanya terlihat di atas catwalk.

Rani saat dijumpai di Kafe DOTD, dekat dengan apartemennya di Sudirman Park, Jakarta Selatan, Kamis lalu (14/5) menceritakan awal mula dirinya tertarik dengan alat musik drum. Mahasiswi semester VI Jurusan Performing Arts Communications London School of Public Relations (LSPR) tersebut mengatakan, sebelum berusia sebelas tahun, dirinya dibuat kagum oleh alat musik pengiring tempo tersebut.

”Saya waktu kecil suka menonton musik dari band-band gitu di televisi. Yang saya lihat bukan vokalisnya, tapi drummernya, yang biasanya ada di belakang,” kata pemilik lesung pipit di pipi kanan – yang tampak ketika tersenyum– itu.

”Saya suka sebal kalau kamera di televisi jarang menyorot drummernya,” imbuhnya sambil mengerutkan kening.

Karena terlanjur jatuh cinta dengan alat musik drum, Rani meminta kepada kedua orang tuanya untuk dibelikan drum sebagai kado ulang tahun kesebelas. ”Ibu saya kaget, kok mintanya drum sih. Cewek kok main drum sih,” kenangnya.

Permintaan itu tidak langsung dituruti. Rani lalu mencari cara agar bisa menyalurkan hasrat bermain drum. ”Saya ingat banget, waktu makan di meja makan, saya selalu taruh piring atau panci di depan. Lalu, saya pukul-pukulin, membayangkan itu drum” ujarnya.

Keinginan yang besar untuk memiliki drum itu akhirnya membuat orang tua Rani luluh. Di usia sebelas tahun itu, Rani memiliki drum pertamanya. ”Mungkin mereka kasihan juga lihat saya. Lagi pula, yang saya minta ini untuk hal-hal yang positif, nggak yang macam-macam,” ucap Rani, bernada puas dengan kemenangannya waktu itu.

Bermain drum bukan sekadar hobi. Rani terus mengasah kemampuannya. Dia pun semakin mahir. Rani tidak perlu guru. Dia belajar sendiri. ”Dulu, belum ada yang namanya YouTube. Jadi, nggak bisa lihat seperti apa caranya main drum. Saya beli kaset dan lihat di televisi. Terus, dengarkan dan mencoba main hingga suaranya sama persis dengan lagunya,” terangnya.

Permainan drumnya dipuji Mother Monster Lady Gaga serta penyanyi sekaligus pencipta lagu AS Juliet Simms melalui Twitter. Gara-gara itu, Rani dianggap sebagai hero oleh jutaan pengagum berat Lady Gaga di Indonesia. ”Saya dianggap telah kembali membuat Lady Gaga menengok Indonesia setelah konsernya di Indonesia dulu sempat gagal karena diprotes,” tuturnya.

Selain itu, dia telah diakui oleh komunitas drummer perempuan dunia, yaitu Hit Like a Girl. Pada kompetisi yang diselenggarakan komunitas itu tahun lalu, Rani juga terpilih untuk masuk sepuluh besar best female drummer dunia yang mewakili Indonesia sekaligus kawasan Asia. ”Padahal, yang ikutan dari Indonesia dan Asia banyak,” ucapnya.

Fokus menekuni dunia musik tersebut sempat terbelah lantaran Rani juga ingin menjajal dunia modeling. ”Saya suka terlihat cantik dan ingin tahu rasanya berjalan di atas catwalk. Saya pernah show ke Turki dan negara lain untuk mengikuti dunia ini,” tutur pemilik tinggi badan 173 cm itu.

Rani mengakui bahwa kenyataan yang dihadapinya di dunia modeling agak meleset dari bayangan. ”Ternyata saya bukan perempuan yang betah pakai high heels. Saya kira dulu, modeling kan bisa memilih penampilannya seperti apa, karena saya inginnya ya nggak pakai high heels. Tapi, ternyata kami nggak bisa memilih tugas,” ujarnya.

Apalagi, menurut dia, dunia modeling tidak seseru hobinya bermain drum yang kini sudah menjadi profesinya. ”Kalau jadi model, banyak nunggu dan berdirinya. Penghasilannya juga jauh lebih banyak jadi drummer,” kata wakil Indonesia di ajang Asia’s Next Top Model musim ketiga itu. (source: dod/c11/ayi jawapos)

INTERVIEW WITH RANI RAMADHANY : ANTARA DRUM, MODEL DAN OLAHRAGA

Source: 20Fit

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10 menit setelah Rani Ramadhany menelepon saya untuk memastikan alamat studio 20FIT di Kelapa Gading, saya melihat Rani dan ibunya duduk di ruang tunggu. Hari itu tidak begitu cerah, tapi awan gelap juga tidak menutupi daerah Jakarta Utara. Mereka tiba pukul 10.55, lima menit lebih awal dari waktu yang telah kami sepakati sebelumnya. “Rumah kami tidak jauh dari sini,” ujar ibunya.

Tak banyak yang berubah dari Rani Ramadhany, seperti yang saya temui beberapa waktu lalu; ia tetap ramah, yang saya yakini diwarisi dari sang ibu, dicampur dengan gaya menarik dan santai khas wanita seumurannya. Namun satu hal yang langsung saya sadari kemudian, Rani terlihat lebih kurus ketimbang terakhir saya bertemu. Sedangkan ibunya yang sekaligus merangkap menjadi manager untuk karir Rani, juga banyak berbincang dengan saya. “Rani anak bungsu, ia punya2  kakak yang beda umurnya cukup terlalu jauh dan sudah menikah”. Hubungan mereka jelas terlihat sangat erat.

Kami bertiga duduk di meja kayu di sebelah ruang latihan, Rani banyak bercerita tentang kesibukannya setelah program Asia’s Next Top Model selesai dan aktifitas olahraga yang sering dijalaninya dalam 2 bulan terakhir ini.

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Rani terlihat sibuk akhir-akhir ini, ada kegiatan apa saja?

“Sekarang sebenarnya lagi sibuk nyusun non-skripsi, rencananya pengen direalisasikan juga.  Jadi 50% konsentrasi kesitu. Kebetulan di tahun 2016 ini juga ada kesibukan baru ngehost. Kalo selama ini jadi drummer, model dan film. Dunia host ini bener-bener baru banget, karena enggak ada background apa-apa. Alhamdulilah, sekalinya dapet langsung 3 acara. Karena itu, sekarang malah lagi jarang bikin cover Drum di Youtube”

Kenapa kamu memutuskan untuk mengambil job host tersebut?

“Aku orangnya memang senang explore saja. Diantara banyaknya orang yang ingin, aku enggak ingin sia-siain kesempatan itu. Selagi masih bisa waktu kuliah dan kerjaan lainnya kenapa enggak diambil sekalian. Itung-itung belajar gratis. Learning by doing.”

Kamu terlihat lebih kurus ketimbang terakhir kali kita bertemu.

“2 bulan terakhir ini, aku lagi giat-giatnya olahraga, selain karena pengen ngurusin badan juga, pengen ganti lifestyle ke lebih sehat. Aku orangnya gampang sakit sebenarnya, gampang kena flu, masuk angin. Daripada keseringan minum obat kan enggak bagus. Jadi kenapa enggak olahraga aja. Aku sekarang olahraganya nge-gym, juga seneng juga kick boxing. Tahu-tahu sudah sejam, dibandingkan kalo treadmill gitu kan setengah jam sudah lama banget, karena aku enggak terlalu enjoy lari, tapi kalo kick boxing ini enggak berasa udah 1000 kalori. Terus akhir-akhir ini juga lagi sering kombinasiin dengan latihan EMS di 20FIT”

Apa pendapat kamu tentang EMS Training di 20FIT?

“Aku sering liat di instagram, banyak yang ngepost, dari dulu pengen nyobain tapi belum ada kesempatannya. Karena jika diliat dari foto kayaknya seru dan mudah gitu, gerakannya gerakan biasa yang aku suka ngelakuin gerakan ini di gym. Jadi aku ngerasa ini gampang karena enggak pake beban, repetisi doang. Tapi pas lakuin, ternyata berat juga. Gerakannya simple tapi bener-bener berat , mungkin muscle-nya bekerja semua dan kena. Kaget sih tadi pas diestrum , tapi ditengah-tengah enjoy sih.”

Apa yang akhirnya memutuskan Rani untuk intens olahraga dari fitness, muay-thai, hingga EMS Training?

“Yang paling aku rasain berat badan ya, 2 bulan yang lalu berat badanku itu hampir 60 kg, terberat seumur hidup aku. Karena waktu itu lagi magang dan skripsi, kalo lagi skripsi sampai malem kan lapar makan, jadi pola makan dan tidur juga berantakan. Jadi ketika aku syuting ada acara, pas nonton tayangannya itu, aku ngerasa gendut banget. Wah ini udah enggak bisa lagi nih kayak gini. Dan akhirnya mulai nge-gym lagi. Hampir 2 bulan aku turun 7 kilo. Goal mau ke 49 kg, sekarang 53.”

Apa pesan Rani untuk anak-anak muda lainnya yang belum sadar pentingnya hidup sehat?

“Sebenarnya aku juga baru menyadari hal ini juga setelah 2 bulan intens olahraga. Moto aku adalah ‘To be fit, not to be skinny’. Maksudnya adalah skinny itu adalah nilai plusnya dari fit itu, Cuma konsennya lebih ke fit dulu untuk jangka panjangnya.”

GALLERY

rani-600

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Tips Membuat Posisi Sex Lebih Fit di Ranjang

PASUTRI 150

Seks bisa menjadi salah satu cara untuk berolahraga. Namun, aktivitas seks ini memang dibarengi dengan adanya intimasi dengan suami. Ada kalanya, Anda tidak terlalu mood dengan posisi tertentu, Anda bisa mencoba beberapa posisi seks yang sama khasiatnya dengan olahraga.

Posisi seks ini bisa membantu Anda untuk lebih fit di atas ranjang dan membakar kalori. Jadi Anda bisa mendapatkan dua manfaat dalam satu akitivitas seksual. Beberapa posisi itu adalah yang berikut ini:

Glutes

Bagi yang masih pemula dan tidak ingin gerakan yang terlalu akrobatik, Anda bisa mencoba gaya misionaris yang sedikit dimodifikasi ini. Cara ini bisa melatih pinggul dan paha Anda. Rebahkan tubuh di atas kasur, pelan-pelan sedikit angkat panggul Anda dan biarkan hubby menyangga Anda sambil melakukan gerakan penetrasi. Anda akan merasakan sensasi kontak tubuh yang hot dan menggairahkan.

se3

Lower Abs

Posisi yang satu ini cocok bagi penggemar gaya lotus. Dengan duduk di atas hubby dan memberikan tatapan hangat serta kecupan yang merambat, gerakkan sedikit perut Anda naik dan turun. Perlahan saja hingga Anda cukup percaya diri untuk meningkatkan intensitas dan nikmati ritmenya sembari memeluk suami dengan erat. Biarkan suami memeluk punggung Anda dengan kedua kaki dan tangannya.

images (1)

Quads

Modifikasi gaya cowgirl yang bisa melatih otot-otot panggul dan paha. Biarkan suami terlentang di ranjang dan duduklah di atasnya. Biarkan Anda memanjakannya dalam penetrasi sambil gerakkan tubuh Anda ke atas dan ke bawah seperti squat ringan. Berikutnya berikan sedikit selingan dengan gerakan maju dan mundur.

Setiap gerakan dilakukan dengan ritme lambat lebih dahulu untuk memastikan Anda dan hubby tak merasa sakit saat transisi dari satu gerakan ke gerakan lainnya. Setelah beberapa waktu, Anda bisa mulai menikmati iramanya dan menambah intensitas. Selamat bercinta

 

Help! (1965, the Fifth Beatles Album)

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Help

Studio Album / Soundtrack by The Beatles
Released 6 August 1965
Recorded 15–19 February, 13 April, 10 May & 14–17 June 1965,
EMI Studios, London
Genre Rock, pop rock, folk rock
Length 34:20
Label Parlophone
Producer George Martin
The Beatles Chronology
Beatles for Sale
(1964)
Help!
(1965)
Rubber Soul
(1965)
Singles from
Help!
  1. “Ticket to Ride”
    Released: 9 April 1965
  2. “Help!”
    Released: 19 July 1965
Professional Ratings
Review Scores
Source Rating
Allmusic 5/5 stars
The A.V. Club A
Blender 4/5 stars
The Daily Telegraph 4/5 stars
Encyclopedia of Popular Music 5/5 stars
Paste 100/100
Pitchfork Media 9.2/10
The Rolling Stone Album Guide (2004) 5/5 stars
The Rolling Stone Record Guide (1979) 5/5 stars[

Help! is the fifth British and tenth North American album by English rock group the Beatles, and the soundtrack from their film Help!. Produced by George Martin for EMI’s Parlophone Records, it contains fourteen songs in its original British form, of which seven appeared in the film. These songs took up the first side of the vinyl album and included the singles “Help!” and “Ticket to Ride”. The second side contained seven other releases including the most-covered song ever written, “Yesterday”.[13]

The American release was a true soundtrack album, mixing the first seven songs with orchestral material from the film. Of the other seven songs that were on the British release, two were released on the US version of the next Beatles album, Rubber Soul, two were back-to-back on the next US single and then appeared on Yesterday and Today, and three had already been on Beatles VI.

In 2012, Help! was voted 331st on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”.[14] In September 2013, after the British Phonographic Industry changed their sales award rules, the album was declared as having gone platinum.

Music

The album features Paul McCartney’s “Yesterday”, arranged for guitar and string quartet and recorded without the other group members. John Lennon’s “You’ve Got to Hide Your Love Away” indicates the influence of Bob Dylan and includes classical flutes. While several compositions on 1964’s Beatles for Sale, as well as “I’ll Cry Instead” from A Hard Day’s Night, had leaned in a country and western direction, McCartney’s “I’ve Just Seen a Face” was almost pure country, taken at such a fast tempo that it might have been bluegrass if not for the absence of banjo and fiddle.

“Ticket to Ride”, also released as a single, was felt by Lennon to be “heavy” in its sound compared to the group’s previous output and daring in its reference to a boy and girl living together. McCartney called the arrangement “quite radical”.

George Harrison contributed “I Need You” and “You Like Me Too Much”, his first compositions to be included on a Beatles album since “Don’t Bother Me” on 1963’s With the Beatles.

The record contained two cover versions and a few tracks more closely related to the group’s previous pop output, yet still marked a decisive step forward. The record sleeve-note shows that Lennon and McCartney made more extensive and prominent use of keyboards, previously played unobtrusively by Martin. Four-track overdubbing technology encouraged this. Lennon, for his part, made much greater use of acoustic guitar, forsaking his famous Rickenbacker. All these developments can be traced to the previous Beatles for Sale, where they were less obvious because that album had been recorded more hastily, lacked chart hits and contained many cover versions.

The original LP’s format of featuring songs from the soundtrack on side one and non-soundtrack songs on side two follows the format of A Hard Day’s Night.

In later years, Lennon stated that the album’s title track was a sincere cry for help; he regretted changing it from a downbeat, piano-driven ballad to an uptempo pop song, which was done only as a result of commercial pressures.

Help! was the band’s final British album (except for the late 1966 “oldies” album) to feature any cover songs until 1970’s Let It Be (which included a performance of the traditional folk song “Maggie Mae”). (In 1966, Capitol would release “Act Naturally”, already on the British Help! album, on Yesterday and Today, and later in 1966 Parlophone would release that “oldies” album, which included “Bad Boy”; both songs had been recorded before Help! was released.)

Rejected Songs

A few songs that were intended for the film were not used because of the Beatles’ suggestions. Lennon and McCartney wrote “If You’ve Got Trouble” for Ringo Starr to sing, but the song was rejected and Starr sang “Act Naturally” (which is not in the film but is about being in the movies) instead. “That Means a Lot” was written for the film, but the Beatles were not satisfied with their performance of the song and they gave it to P.J. Proby, who released it as a single. Lennon said “Yes It Is” was “me trying a rewrite of ‘This Boy’, but it didn’t work”; it was released as the B-side of “Ticket to Ride” and was also on Beatles VI. “You Like Me Too Much” and “Tell Me What You See” were rejected for use in the film by its director, Richard Lester, though they did appear on the album (and also on Beatles VI).

Much later, in June 1965, the song “Wait” was recorded for the album. However, “Wait” (with some newly added overdubs) ended up on Rubber Soul when another song was needed to complete that album.

When “Help!” came out in ’65, I was actually crying out for help. Most people think it’s just a fast rock-‘n’-roll song. I didn’t realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help. It was my fat Elvis period. You see the movie: He — I — is very fat, very insecure, and he’s completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was. Now I may be very positive — yes, yes — but I also go through deep depressions where I would like to jump out the window, you know. It becomes easier to deal with as I get older; I don’t know whether you learn control or, when you grow up, you calm down a little. Anyway, I was fat and depressed and I was crying out for help.

John Lennon

Album Cover

The album cover features the Beatles with their arms positioned to spell out a word in flag semaphore. According to cover photographer Robert Freeman, “I had the idea of semaphore spelling out the letters “HELP”. But when we came to do the shot, the arrangement of the arms with those letters didn’t look good. So we decided to improvise and ended up with the best graphic positioning of the arms.”

HelpSPELLINGOn the UK Parlophone release, the letters formed by the Beatles appear to be “NUJV”, whilst the slightly re-arranged US release on Capitol Records appeared to feature the letters “NVUJ”, with McCartney’s left hand pointing to the Capitol logo. The Capitol LP was issued in a “deluxe” gatefold sleeve with several photos from the film and was priced $1 more than standard Capitol releases at the time.

Compact Disc Release

There have been three Compact Disc releases of Help!. The first was on 30 April 1987, using the 14-song UK track line-up. Having been available only as an import in the US in the past, the original 14-track UK version replaced the original US version with its release on LP and cassette as well on 21 July 1987. As with the CD release of the 1965 Rubber Soul album, the Help! CD featured a contemporary stereo digital remix of the album prepared by Martin in 1986. Martin had expressed concern to EMI over the original 1965 stereo remix, claiming it sounded “very woolly, and not at all what I thought should be a good issue”. Martin went back to the original four-tracks tapes and remixed them for stereo. One of the most notable changes is the echo added to “Dizzy Miss Lizzy”, something that was not evident on the original mix of the LP.

When the album was originally released on CD in Canada, pressings were imported from other countries, and used the 1987 remix. However, when the Disque Améric and Cinram plants in Canada started pressing the album, the original 1965 stereo mix was used by mistake. This was the only source for the 1965 stereo mix in its entirety until the release of the mono box set in 2009.

The 2009 remastered stereo CD was released on 9 September. It was “created from the original stereo digital master tapes from Martin’s CD mixes made in 1986”. The disc in the mono box set contains the 1965 mono mix as well as the 1965 stereo mix.

Track Listing

All songs written and composed by Lennon–McCartney, except where noted.

Side one
No. Title Lead Vocals Length
1. “Help!” Lennon 2:18
2. “The Night Before” McCartney 2:33
3. “You’ve Got to Hide Your Love Away” Lennon 2:08
4. “I Need You” (George Harrison) Harrison 2:28
5. “Another Girl” McCartney 2:05
6. “You’re Going to Lose That Girl” Lennon 2:17
7. “Ticket to Ride” Lennon with McCartney 3:10
Side two
No. Title Lead Vocals Length
1. “Act Naturally” (Johnny Russell, Voni Morrison) Starr 2:29
2. “It’s Only Love” Lennon 1:54
3. “You Like Me Too Much” (George Harrison) Harrison 2:35
4. “Tell Me What You See” McCartney and Lennon 2:36
5. “I’ve Just Seen a Face” McCartney 2:04
6. “Yesterday” McCartney 2:03
7. “Dizzy Miss Lizzy” (Larry Williams) Lennon 2:53

North American Capitol Release

HelpUSalbumcover

Soundtrack album by The Beatles and Ken Thorne
Released 13 August 1965
Recorded 15–19 February, 13 April, 10 May & 14–17 June 1965,
EMI Studios, London
Genre Rock
Length 28:43
Label Capitol
Producer George Martin, Dave Dexter, Jr.
The Beatles North American chronology
Beatles VI
(1965)
Help!
(1965)
Rubber Soul
(1965)
Singles from Help!
  1. “Ticket to Ride”
    Released: 19 April 1965
  2. “Help!”
    Released: 19 July 1965

The North American version, the band’s eighth Capitol Records album and tenth overall, includes the songs in the film plus selections from the orchestral score composed and conducted by Ken Thorne, which contains one of the first uses of the Indian sitar on a rock/pop album. “Ticket to Ride” is the only song on the American release in duophonic stereo (also known as “fake stereo”) reprocessed from the mono mix. This album is available on CD as part of The Capitol Albums, Volume 2 box set. This set also includes the mono version of the American release, which is purely a stereo-to-mono fold-down mix, including the “fake stereo” duophonic “Ticket To Ride” folded down to mono, despite Capitol already having the mono mixes for the single releases of both that song and “Help!”. A second CD release of this album, which contained the seven songs in true mono was issued in 2014 individually and part of the Beatles The U.S. Albums boxed set.

The American version of “Help!” reached the number one spot on the Billboard album charts for nine weeks starting on 11 September 1965.

Track Listing

All songs written and composed by Lennon–McCartney, except where noted.

Side one
No. Title Lead Vocals Length
1. “Help!” (preceded by an uncredited instrumental intro based on “The James Bond Theme”) Lennon 2:39
2. “The Night Before” McCartney 2:36
3. “From Me to You Fantasy” (Lennon–McCartney; arranged by Thorne) instrumental 2:08
4. “You’ve Got to Hide Your Love Away” Lennon 2:12
5. “I Need You” (Harrison) Harrison 2:31
6. “In the Tyrol” (Ken Thorne) instrumental 2:26
Side two
No. Title Lead Vocals Length
1. “Another Girl” McCartney 2:08
2. “Another Hard Day’s Night” (Lennon–McCartney; arranged by Thorne) instrumental 2:31
3. “Ticket to Ride” Lennon with McCartney 3:07
4. “Medley: The Bitter End (Ken Thorne)/You Can’t Do That” (Lennon–McCartney; arranged by Thorne) instrumental 2:26
5. “You’re Going to Lose That Girl” Lennon 2:19
6. “The Chase” (Ken Thorne) instrumental 2:31

Chart Positions

Chart Year Peak
position
UK Albums Chart 1965 1
Billboard 200 Pop Albums
Australian Albums Chart
Australian Albums Chart 1966

Certifications

Original Release
Region Certification Sales/shipments
Australia (ARIA) Gold 35,000^
United Kingdom (BPI) Platinum 300,000^
^shipments figures based on certification alone

dagger BPI certification awarded only for sales since 1994.

North American Release
Region Certification Sales/shipments
Canada (Music Canada) 2× Platinum 200,000^
United States (RIAA) 3× Platinum 3,000,000^
^shipments figures based on certification alone

Personnel

According to Mark Lewisohn and Alan W. Pollack.

  • John Lennon – lead, harmony and background vocals; acoustic (six and twelve-string) and rhythm guitars; electric piano
  • Paul McCartney – lead, harmony and background vocals; lead, acoustic and bass guitars; keyboards (acoustic and electric pianos); güiro
  • George Harrison – lead, harmony and background vocals; acoustic, rhythm and lead guitars
  • Ringo Starr – drums, handclaps and assorted percussion (tambourine, maracas, cowbell, bongos, claves and brushed snare); lead vocals (on “Act Naturally”)
Additional musicians
  • George Martin – piano and producer
  • John Scott – flutes on “You’ve Got to Hide Your Love Away”
  • String quartet on “Yesterday”, arranged by Martin in association with McCartney

Surround versions

The songs included in the soundtrack of the film Help! were mixed into 5.1 surround sound for the film’s 2007 DVD release, that is, tracks 1—7, accounting for half of the original album’s songs.

Release history

Country Date Label Format Catalog
United Kingdom 6 August 1965 Parlophone mono LP PMC 1255
stereo LP PCS 3071
United States 13 August 1965 Capitol mono LP MAS 2386
stereo LP SMAS 2386
Worldwide reissue 15 April 1987 Apple, Parlophone, EMI Compact Disc CDP 7 46439 2
United States 21 July 1987 Capitol stereo LP CLJ 46439
Japan 11 March 1998 Toshiba-EMI CD TOCP 51115
Japan 21 January 2004 Toshiba-EMI Remastered LP TOJP 60135
Worldwide reissue 11 April 2006 Apple/Capitol/EMI CD reissue of US LP CDP 0946 3 57500 2 7
Worldwide reissue 9 September 2009 Apple/Capitol/EMI CD stereo remaster CDP 0946 3 82415 2 2

From Wikipedia, the free Encyclopedia

200px-Beatles_logo.svgFOREVER

Beatles for Sale (1964, the Fourth Beatles Album)

200px-Beatles_logo.svgBeatlesforsale-vert

Beatles for Sale is the fourth studio album by English rock band the Beatles, released on 4 December 1964 and produced by George Martin for Parlophone. The album marked a minor turning point in the evolution of the Lennon–McCartney partnership, John Lennon particularly now showing interest in composing songs of a more autobiographical nature. “I’m a Loser” shows Lennon for the first time coming under the influence of Bob Dylan,[3] whom he met in New York while on tour, on 28 August 1964.

Beatles for Sale did not produce a single for the UK – the non-album tracks “I Feel Fine” and “She’s a Woman” performed that role. Nevertheless, that coupling was followed up in the United States by “Eight Days a Week”, which became their seventh number one in March 1965.

The album hit the UK number one spot and retained that position for 11 of the 46 weeks that it spent in the Top 20. Beatles for Sale did not surface as a regular album in the US until 1987. In its place was Beatles ’65 which featured eight songs from Beatles for Sale, plus the A and B-side of “I Feel Fine” and “I’ll Be Back” from the UK’s A Hard Day’s Night album. Beatles ’65 enjoyed a nine-week run at the top of the US charts from January 1965.

Overview

The Beatles began their first studio session for Beatles for Sale on 8 June 1964, only seven days after their last session for A Hard Day’s Night. Prior to the new recording sessions, the band toured Australia and New Zealand (after a two-show night in Hong Kong), played concerts in the Netherlands, Denmark and Sweden and made several television, radio and live concert appearances in the UK. Music critic Stephen Thomas Erlewine of Allmusic said, “It was inevitable that the constant grind of touring, writing, promoting, and recording would grate on the Beatles,”[5] leading to the inclusion of several cover versions after the all-original A Hard Day’s Night; the band’s visible weariness on the album’s cover is noted by narrator Malcolm McDowell during The Compleat Beatles. Yet during these sessions they were still capable of recording the single “I Feel Fine” and its B-side, “She’s a Woman” (both written by Lennon–McCartney, and not included on the album).

Gram Parsons has noted the strong country influence on “I Don’t Want to Spoil the Party”. “I’m a Loser” is also notable for being perhaps the first Beatles song to directly reflect the influence of Bob Dylan, thus nudging folk and rock a little closer together toward the folk-rock explosion of the following year.

Charting

Beatles for Sale and its modified US counterparts, Beatles ’65 and Beatles VI, all reached number one on the charts in their respective countries, with Beatles for Sale taking over from A Hard Day’s Night in the United Kingdom.

On 26 February 1987, Beatles for Sale was officially released on Compact Disc (catalogue number CDP 7 46438 2), as were three other Beatles’ albums, Please Please Me, With the Beatles and A Hard Day’s Night. Almost 23 years after its original release, the album charted in the United Kingdom for a fortnight in 1987. Having been available only as an import in the US in the past, the album was also issued domestically in the US on LP and cassette on 21 July 1987. Even though this album was recorded on four-track tape, the CD version issued in 1987 was available only in mono.

This album has been digitally remastered using the latest technology (along with the rest of the Beatles’ catalogue) and was reissued on CD in stereo for the first time on 9 September 2009.

Writing and Recording

Background

When Beatles for Sale was being recorded, Beatlemania was just past its peak; in early 1964, they had made waves with their television appearances in the United States, sparking unprecedented demand for their records. Beatles for Sale was their fourth album in 21 months. Recording for the album began on 11 August, just one month after the release of A Hard Day’s Night, following on the heels of several tours. Much of the production on the album was done on “days off” from performances in the UK, and most of the songwriting was done in the studio itself.

Most of the album’s recording sessions were completed in a three-week period beginning on 29 September. Beatles’ producer George Martin recalled: “They were rather war-weary during Beatles for Sale. One must remember that they’d been battered like mad throughout ’64, and much of ’63. Success is a wonderful thing, but it is very, very tiring.”

Song Selection

Even the prolific Lennon–McCartney songwriting team could not keep up with the demand for their songs, and with a targeted deadline of Christmas to meet, the band resorted to recording several cover versions for the album. This had been their mode of operation for their first albums but had been abandoned for the all-original A Hard Day’s Night. The album included six covers, the same number as their first two albums. McCartney recalled: “Recording Beatles for Sale didn’t take long. Basically it was our stage show, with some new songs.” Indeed, three of the cover tunes were recorded in a total of five takes in one session on 18 October.

Beatles for Sale featured eight original Lennon and McCartney works. At this stage in their partnership, Lennon’s and McCartney’s songwriting was highly collaborative; even when songs had a primary author the other would often contribute key parts, as with “No Reply” where McCartney provided a middle-eight for what was otherwise almost entirely a Lennon song.

In 1994, McCartney described the songwriting process he and Lennon went through:

We would normally be rung a couple of weeks before the recording session and they’d say, ‘We’re recording in a month’s time and you’ve got a week off before the recordings to write some stuff.’ … so I’d go out to John’s every day for the week, and the rest of the time was just time off. We always wrote a song a day, whatever happened we always wrote a song a day … Mostly it was me getting out of London, to John’s rather nice, comfortable Weybridge house near the golf course … So John and I would sit down, and by then it might be one or two o’clock, and by four or five o’clock we’d be done.

Recording

Recording took place at EMI Studios, Abbey Road, London. The Beatles had to share the studio with classical musicians, as McCartney would relate in 1988: “These days you go to a recording studio and you tend to see other groups, other musicians … you’d see classical sessions going on in ‘number one.’ We were always asked to turn down because a classical piano was being recorded in ‘number one’ and they could hear us.” George Harrison recalled that the band was becoming more sophisticated about recording techniques: “Our records were progressing. We’d started out like anyone spending their first time in a studio—nervous and naive and looking for success. By this time we’d had loads of hits and were becoming more relaxed with ourselves, and more comfortable in the studio … we were beginning to do a little overdubbing, too, probably to a four-track.”

Recording was completed on 18 October. The band participated in several mixing and editing sessions before completing the project on 4 November; the album was rushed into production and released exactly a month later. The Beatles’ road manager, Neil Aspinall, later reflected: “No band today would come off a long US tour at the end of September, go into the studio and start a new album, still writing songs, and then go on a UK tour, finish the album in five weeks, still touring, and have the album out in time for Christmas. But that’s what the Beatles did at the end of 1964. A lot of it was down to naivety, thinking that this was the way things were done. If the record company needs another album, you go and make one.”

Original songs

Opening tracks

All three opening tracks for Beatles for Sale have a sad or resentful emotion attached to them. This opening sequence set the sombre overall mood of the album, revisited in another Lennon tune, “I Don’t Want to Spoil the Party”, which, “consistent in tone with ‘No Reply’, ‘I’m a Loser’, and ‘Baby’s in Black’”, according to Allmusic, “finds the singer showing up at a party only to find that the girl he expected to find isn’t there”.

Other McCartney songs on the album included “What You’re Doing”, which implored the singer’s girlfriend to “stop your lying”. Although “Eight Days a Week” and “What You’re Doing” are well regarded by many fans, they were regarded negatively by their creators: McCartney dismissed “What You’re Doing” as “a bit of filler … Maybe it’s a better recording than it is a song …”, while Lennon referred to “Eight Days a Week” in a 1980 interview with Playboy magazine as “lousy”. In 1972, Lennon revealed that “Eight Days a Week” had been made with the goal of being the theme song for the film Help!:

I think we wrote this when we were trying to write the title song for ‘Help!’ because there was at one time the thought of calling the film Eight Arms To Hold You.

McCartney considered the Beatles for Sale sessions to be the beginning of a more mature phase for the band:

We got more and more free to get into ourselves. Our student selves rather than ‘we must please the girls and make money’, which is all that “From Me to You”, “Thank You Girl”, “P.S. I Love You” is about. “Baby’s in Black” we did because we liked waltz-time … and I think also John and I wanted to do something bluesy, a bit darker, more grown-up, rather than just straight pop.

“No Reply”

According to Lennon in 1972, Beatles music publisher Dick James was quite pleased with “No Reply”:

I remember Dick James coming up to me after we did this one and saying, ‘You’re getting better now—that was a complete story.’ Apparently, before that, he thought my songs wandered off.

Reviewer David Rowley found its lyrics to “read like a picture story from a girl’s comic,” and to depict the picture “of walking down a street and seeing a girl silhouetted in a window, not answering the telephone.”

“I’m a Loser”

Steven Thomas Erlewine, writing for Allmusic, singled out “I’m a Loser” as “one of the very first Beatles compositions with lyrics addressing more serious points than young love.” (cf. “There’s a Place”)

David Rowley found it to be an “obvious copy of Bob Dylan”, as where Lennon refers to the listener as a “friend”, Dylan does the same on “Blowin’ in the Wind”. He also said its intention was to “openly subvert the simple true love themes of their earlier work”.

“Baby’s in Black”

Main article: Baby’s in Black

Unterberger said this song was “a love lament for a grieving girl that was perhaps more morose than any previous Beatles song”. The song features a two-part harmony sung by Lennon and McCartney.

“I’ll Follow the Sun”

“I’ll Follow the Sun” was a reworking of an old song; it had originally been written when McCartney was a youth, as he related in 1988:

I wrote that in my front parlour in Forthlin Road. I was about 16 … We had this hard R&B image in Liverpool, so I think songs like “I’ll Follow the Sun”, ballads like that, got pushed back to later.

Unterberger argued that although the song was “sometimes described as a ballad because of its light and mild nature, it’s actually taken at a pretty brisk tempo.”

George Martin would later say that this was his favourite song from Beatles for Sale.

“Eight Days a Week”

Main article: Eight Days a Week

“Eight Days a Week” is noteworthy as one of the first examples of the in-studio experimentation that the band would use extensively in the future; in two recording sessions totalling nearly seven hours on 6 October devoted exclusively to this song, Lennon and McCartney tried one technique after another before settling on the eventual arrangement. Each of the first six takes of the song featured a strikingly different approach to the beginning and ending sections of the song; the eventual chiming guitar-based introduction to the song would be recorded in a different session and edited in later. The final version of the song incorporated another Beatles first and pop music rarity: the song begins with a fade in as a counterpoint to pop songs which end in a fade out.

“Every Little Thing”

Main article: Every Little Thing (song)

The dark theme of the album was balanced by “Every Little Thing”, a “celebration of what a wonderful girl the guy has”, according to Unterberger,[15] that appeared later in the album and had been written as an attempt for a single, according to McCartney:

‘Every Little Thing’, like most of the stuff I did, was my attempt at the next single … but it became an album filler rather than the great almighty single. It didn’t have quite what was required.

The British progressive rock band Yes included an extended cover of this song on their 1969 debut album and have played their version live on many occasions.

“What You’re Doing”

Main article: What You’re Doing

The lyrics are generally believed to concern McCartney’s relationship with Jane Asher, also considered to be the muse for future Beatles songs such as “I’m Looking Through You” and “You Won’t See Me” from Rubber Soul and “For No One” from Revolver.

Cover Songs

The remainder of the album consisted of cover versions, several of which had been staples of the Beatles’ live shows years earlier, especially in Hamburg, Germany and at The Cavern in Liverpool, including Chuck Berry’s “Rock and Roll Music”, Buddy Holly’s “Words of Love”, and two by Carl Perkins, “Everybody’s Trying to Be My Baby” (sung by George Harrison) and “Honey Don’t” (sung by Ringo Starr).

800px-Beatles_for_sale_side1Many critics panned the cover version of “Mr. Moonlight”. Stephen Thomas Erlwine of allmusic called it Lennon’s “beloved obscurity” that wound up as “arguably the worst thing the group ever recorded.”[5] Q magazine agreed, calling “Mr. Moonlight” “appalling.” Rowley noted that the original by Dr Feelgood and the Interns was “hardly outstanding”. A cover of Little Willie John’s “Leave My Kitten Alone” was recorded at the same session, but rejected from inclusion on the finished album; it was widely bootlegged before seeing official release on 1995’s Anthology 1 compilation.

596px-Bfs_lp_corrThe recording of the medley of “Kansas City” and “Hey, Hey, Hey, Hey!” was memorable for McCartney, who in 1984 said that it required “a great deal of nerve to just jump up and scream like an idiot.” His efforts were egged on by Lennon, who “would go, ‘Come on! You can sing it better than that, man! Come on, come on! Really throw it!'” The song was inspired by Little Richard, who combined “Kansas City” with his own composition, “Hey, Hey, Hey, Hey!”, but Rowley found the lead vocals “strained” and considered it McCartney’s “weakest Little Richard cover version” (although McCartney only recorded one other Little Richard cover, “Long Tall Sally”, while with the Beatles). However, in contrast to this Ian MacDonald, in his book Revolution in the Head: The Beatles’ Records and the Sixties, described it as one of their better covers. The original LP sleeve listed the song as “Kansas City” (Leiber & Stoller). After the attorneys for Venice Music complained, the record label was revised to read “Medley: (a) Kansas City (Leiber/Stoller) (P)1964 Macmelodies Ltd./KPM. (b) Hey, Hey, Hey, Hey! (Penniman) Venice Mus. Ltd. (P)1964.”

Release

Beatles for Sale was released in the United Kingdom on 4 December 1964. On 12 December, it began a 46-week-long run in the charts, and a week later knocked A Hard Day’s Night off the top of the charts. After seven weeks, the album’s time at the top seemed over, but Beatles for Sale made a comeback on 27 February 1965, by dethroning The Rolling Stones and returning to the top spot for a week. The album’s run in the charts was not complete either; on 7 March 1987, almost 23 years after its original release, Beatles for Sale re-entered the charts briefly for a period of two weeks shortly after the first CD release on 26 February 1987.

Album Design

The downbeat mood of the songs on Beatles for Sale was reflected in the album cover, which shows the unsmiling, weary-looking Beatles in an autumn scene photographed at Hyde Park, London. McCartney recalled: “The album cover was rather nice: Robert Freeman’s photos. It was easy. We did a session lasting a couple of hours and had some reasonable pictures to use … The photographer would always be able to say to us, ‘Just show up,’ because we all wore the same kind of gear all the time. Black stuff; white shirts and big black scarves.”

This was the first Beatles album to feature a gatefold cover (the next would be Sgt. Pepper’s Lonely Hearts Club Band, in 1967). The photo inside the gatefold cover showed The Beatles standing in front of a montage of photos, which some have assumed was the source of inspiration for the cover of Sgt. Pepper’s Lonely Hearts Club Band, though there is no evidence for this.

The sleeve notes featured an observation by Derek Taylor on what the album would mean to people of the future:

There’s priceless history between these covers. When, in a generation or so, a radioactive, cigar-smoking child, picnicking on Saturn, asks you what the Beatle affair was all about, don’t try to explain all about the long hair and the screams! Just play them a few tracks from this album and he’ll probably understand. The kids of AD2000 will draw from the music much the same sense of well being and warmth as we do today.

North American Release

The concurrent Beatles release in the United States, Beatles ’65, included eight songs from Beatles for Sale, omitting the tracks “Kansas City/Hey, Hey, Hey, Hey!”, “Eight Days a Week” (a number one hit single in the US in early 1965), “What You’re Doing”, “Words of Love”, “Every Little Thing”, and “I Don’t Want to Spoil the Party” (flipside to “Eight Days a Week”, it reached number 35 in the US and it would hit number one on the US Country chart for Rosanne Cash when she remade it in 1989). In turn, it added the track “I’ll Be Back” from the British release of A Hard Day’s Night and the single “I Feel Fine”/”She’s a Woman”. The six omitted tracks finally got an LP release in America on Beatles VI in 1965. Beatles ’65 was released eleven days after Beatles for Sale (and just ten days before the Christmas holiday) and became the fastest-selling album of the year in the United States.

Australian Release

Australian cover of Beatles for Sale.
Australian cover of Beatles for Sale.

Although the LP was released with an identical track listing to the UK version, EMI Australia changed the cover art. The reason for this was due to a union rule stating that either new artwork had to be made for overseas albums or the original cover was to be photographed. John Lennon complained to EMI Australia at a meeting about the changes, but the cover remained the same until the album’s release on compact disc in 1988.

The cover of the Australian release of the LP featured individual photographs of The Beatles taken at one of the group’s Sydney concerts in June 1964.

Reaction

The band, which in the previous year had grown weary of performing for screaming audiences, followed the contemporary standard industry practice of including covers in order to maintain an expected level of productivity. Q found the album title to hold a “hint of cynicism” in depicting The Beatles as a “product” to be sold. Erlewine said, “The weariness of Beatles for Sale comes as something of a shock.”

Professional ratings
Review scores
Source Rating
Allmusic 5/5 stars
The A.V. Club B
Consequence of Sound 4.5/5 stars
Encyclopedia of Popular Music 4/5 stars
Paste 79/100
Pitchfork Media 9.3/10
The Rolling Stone Album Guide 4.5/5 stars

Despite citing it as “the group’s most uneven album”, Allmusic felt that its best moments find them “moving from Merseybeat to the sophisticated pop/rock they developed in mid-career.” Tom Ewing of Pitchfork Media said, “Lennon’s anger and the band’s rediscovery of rock ‘n’ roll mean For Sale’s reputation as the group’s meanest album is deserved”. Neil McCormick of The Daily Telegraph commented that “if this is a low point, they still sound fantastic”, adding that “the Beatlemania pop songs are of a high standard, even if they are becoming slightly generic.” John Lennon said of the album, “You could call our new one a Beatles country and western LP.”

Track Listing

All songs written and composed by Lennon–McCartney, except where noted.

Side one
No. Title Lead vocals Length
1. “No Reply” Lennon with McCartney 2:15
2. “I’m a Loser” Lennon with McCartney 2:31
3. “Baby’s in Black” McCartney and Lennon 2:02
4. “Rock and Roll Music” (Chuck Berry) Lennon 2:32
5. “I’ll Follow the Sun” McCartney 1:46
6. “Mr. Moonlight” (Roy Lee Johnson) Lennon 2:33
7. “Kansas City/Hey-Hey-Hey-Hey!” (Jerry Leiber and Mike Stoller/Richard Penniman) McCartney 2:33
Side two
No. Title Lead vocals Length
1. “Eight Days a Week” Lennon 2:44
2. “Words of Love” (Buddy Holly) Lennon and McCartney 2:12
3. “Honey Don’t” (Carl Perkins) Starr 2:55
4. “Every Little Thing” Lennon and McCartney 2:01
5. “I Don’t Want to Spoil the Party” Lennon with McCartney 2:33
6. “What You’re Doing” McCartney 2:30
7. “Everybody’s Trying to Be My Baby” (Perkins) Harrison 2:23

Charts and Certifications

Chart positions

Chart Year Peak
position
UK Albums Chart 1964 1
1965

Certifications

Region Certification Sales/shipments
Australia (ARIA) Gold 35,000^
Canada (Music Canada) Gold 50,000^
United Kingdom (BPI) Gold 100,000^
United States (RIAA) Platinum 1,000,000^
^shipments figures based on certification alone

dagger BPI certification awarded only for sales since 1994.

Personnel

The Beatles
  • John Lennon – lead, harmony and backing vocals, rhythm and acoustic guitars, piano, harmonica, tambourine, handclaps; 12-string lead guitar on “Every Little Thing”
  • Paul McCartney – lead, harmony and backing vocals, bass guitar, acoustic guitar, piano, Hammond organ, handclaps
  • George Harrison – harmony and backing vocals, lead vocals on “Everybody’s Trying to Be My Baby”, lead, acoustic and 12 string guitars, African drum, handclaps
  • Ringo Starr – drums, tambourine, maracas, timpani, cowbell, packing case, bongos, lead vocals on “Honey Don’t”
Additional musicians
  • George Martin – piano and producer
Personnel per Mark Lewisohn

From Wikipedia, the free Encyclopedia

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A Hard Day’s Night (1964, the Third Beatles Album)

HardDayUK-vertA Hard Day’s Night is the third studio album by British rock group the Beatles, released on 10 July 1964, with side one containing songs from the soundtrack to their film A Hard Day’s Night. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing. This is the first Beatles album to be recorded entirely on four-track tape, allowing for good stereo mixes.

In contrast to their first two albums, all 13 tracks on A Hard Day’s Night were written by John Lennon and Paul McCartney, showcasing the development of the band’s songwriting talents. The album contains some of their most famous songs, including the title track, with its distinct, instantly recognisable opening chord, and the previously released “Can’t Buy Me Love”; both were transatlantic number-one singles for the band.

The title of the album was the accidental creation of drummer Ringo Starr. According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car and Dick Lester [director of the movie] suggested the title, ‘Hard Day’s Night’ from something Ringo had said. I had used it in ‘In His Own Write’, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny … just said it. So Dick Lester said, ‘We are going to use that title.'”

In 2000, Q placed A Hard Day’s Night at number five in its list of the 100 Greatest British Albums Ever. In 2012, A Hard Day’s Night was voted 307th on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”.

Contents

Hard_days_night_side1-vertMusically, A Hard Day’s Night eschews the rock and roll cover songs of the band’s previous albums for a predominantly pop sound. Sputnikmusic’s Dave Donnelly observes “short, peppy” pop songs characterised by layered vocals, immediate choruses, and understated instrumentation. According to Pitchfork Media’s Tom Ewing, the lack of rock and roll covers allows listeners to “take the group’s new sound purely on its own modernist terms”, with audacious “chord choices”, powerful harmonies, “gleaming” guitar, and “Northern” harmonica. Music journalist Robert Christgau writes that Lennon–McCartney’s songs were “more sophisticated musically” than before.

Side one of the LP contains the songs from the movie soundtrack. Side two contains songs written for, but not included in, the film, although a 1980s re-release of the movie includes a prologue before the opening credits with “I’ll Cry Instead” on the soundtrack.

A Hard Day’s Night is the first Beatles album to feature entirely original compositions, and the only one where all the songs were written by John Lennon and Paul McCartney.[19] Lennon dominates the song writing being the primary author of ten out of the thirteen tracks on the album, all except “And I Love Her,” “Can’t Buy Me Love,” and “Things We Said Today.” This is also one of three Beatles albums, along with Let It Be and Magical Mystery Tour, in which Starr does not sing lead vocal on any songs. Starr sang the lead vocal on “Matchbox” during the sessions; it appeared instead on the Long Tall Sally EP.

Cultural Influence

According to music critic Richie Unterberger, “George Harrison’s resonant 12-string electric guitar leads were hugely influential; the movie helped persuade The Byrds, then folksingers, to plunge all out into rock & roll, and the Beatles would be hugely influential on the folk-rock explosion of 1965. The Beatles’ success, too, had begun to open the US market for fellow Brits like the Rolling Stones, the Animals, and the Kinks, and inspired young American groups like the Beau Brummels, Lovin’ Spoonful, and others to mount a challenge of their own with self-penned material that owed a great debt to Lennon-McCartney.”

Reissues

On 26 February 1987, A Hard Day’s Night was officially released on compact disc in mono, along with Please Please Me, With the Beatles, and Beatles for Sale. Having been available only as an import in the US in the past, the 13 track UK version of the album was also issued in the US on LP and cassette on 21 July 1987. Stereo mixes of “A Hard Day’s Night”, “Can’t Buy Me Love” and “And I Love Her” had been made available on the first compact disc issue of 1962–1966 in 1993. Most of the rest of the tracks appeared in stereo on compact disc for the first time with the release of the box set The Capitol Albums, Volume 1 in 2004.

On 9 September 2009, a remastered version of this album was released and was the first time the album appeared in stereo on compact disc in its entirety. This album is also included in The Beatles Stereo Box Set. A remastered mono version of the original UK album was part of The Beatles in Mono box set.

Track Listing

Side one
No. Title Lead vocals Length
1. “A Hard Day’s Night” Lennon and McCartney 2:34
2. “I Should Have Known Better” Lennon 2:43
3. “If I Fell” Lennon and McCartney 2:19
4. “I’m Happy Just to Dance with You” Harrison 1:56
5. “And I Love Her” McCartney 2:30
6. “Tell Me Why” Lennon with McCartney 2:09
7. “Can’t Buy Me Love” McCartney 2:12
Side two
No. Title Lead vocals Length
1. “Any Time at All” Lennon 2:11
2. “I’ll Cry Instead” Lennon 1:46
3. “Things We Said Today” McCartney 2:35
4. “When I Get Home” Lennon 2:17
5. “You Can’t Do That” Lennon 2:35
6. “I’ll Be Back” Lennon with McCartney 2:24

Charts and certifications

Chart performance

Year Chart Position
1964 UK Albums Chart 1
1965 Australian Kent Music Report Albums Chart 1
2009 Finnish Albums Chart 27

Certifications

Region Certification Sales/shipments
Australia (ARIA) Gold 35,000^
United Kingdom (BPI) Gold 100,000^
^shipments figures based on certification alone

dagger BPI certification awarded only for sales since 1994.

North American Release AHardDaysNightUSalbumcover-vert

The American version of the album was released on 26 June 1964 by United Artists Records in both mono and stereo, the fourth Beatles album in the United States. The album went to number one on the Billboard album chart, spending 14 weeks there, the longest run of any album that year.

All seven songs from the film, the first side of the UK album, were featured along with “I’ll Cry Instead”, which, although written for the film, was cut at the last minute. The American version also included four easy listening-styled instrumental versions of Lennon and McCartney songs arranged by George Martin conducting an orchestra of studio musicians: “I Should Have Known Better,” “And I Love Her,” “Ringo’s Theme,” and “A Hard Day’s Night.” After EMI acquired United Artists Records, this album was reissued on 17 August 1980 on the Capitol label, catalogue SW-11921.

While the stereo version of the album included the instrumental tracks in true stereo, the Beatles’ own recordings appeared as electronically rechannelled stereo recordings made from the mono releases. The 1980 Capitol Records release used the same master tape as the original United Artists stereo release, despite the availability of several tracks with official stereo remixes by that time. True stereo versions of most of the songs appeared on the Capitol album Something New, released in July 1964. “Can’t Buy Me Love” and “I Should Have Known Better” finally appeared in stereo on the Apple Records compilation Hey Jude in 1970. The song “A Hard Day’s Night” did not appear in stereo in the US until the LP Reel Music in March 1982. In 2014, the American version of “A Hard Day’s Night” was released on CD individually and in a boxed set of all the other US Beatles albums to celebrate the fiftieth anniversary of the Beatles first US visit. This CD reissue features all of the songs in both true stereo and mono mixes.

Track Listing

Side one
No. Title Lead vocals Length
1. “A Hard Day’s Night” Lennon and McCartney 2:33
2. “Tell Me Why” Lennon with McCartney 2:10
3. “I’ll Cry Instead” Lennon 2:06
4. “I Should Have Known Better” instrumental 2:10
5. “I’m Happy Just to Dance with You” Harrison 1:59
6. “And I Love Her” instrumental 3:46
Side two
No. Title Lead vocals Length
1. “I Should Have Known Better” Lennon 2:44
2. “If I Fell” Lennon and McCartney 2:22
3. “And I Love Her” McCartney 2:29
4. “Ringo’s Theme (This Boy)” instrumental 3:10
5. “Can’t Buy Me Love” McCartney 2:12
6. “A Hard Day’s Night” instrumental 2:06

Charts and Certifications

Certifications

Region Certification Sales/shipments
Canada (Music Canada) Platinum 100,000^
United States (RIAA) 4× Platinum 4,000,000^
^shipments figures based on certification alone

Chart Succession

Preceded by
Hello, Dolly! by Louis Armstrong
Billboard Top LPs number-one album
25 July – 30 October 1964
Succeeded by
People by Barbra Streisand
Preceded by
The Rolling Stones by The Rolling Stones
UK Albums Chart number-one album
25 July 1964 – 19 December 1964
Succeeded by
Beatles for Sale by The Beatles

Personnel

  • John Lennon – vocals; acoustic and electric (six and twelve-string) guitars; piano; harmonica; tambourine
  • Paul McCartney – vocals; acoustic and bass guitars; piano; cowbell
  • George Harrison – vocals; acoustic and electric (six and twelve-string) guitars; claves
  • Ringo Starr – drums and percussions
  • George Martin – piano
  • Norman Smith – bongos on “A Hard Day’s Night”

200px-Beatles_logo.svgFOREVER

From Wikipedia, the free Encyclopedia

With the Beatles (1963, the Second Beatles Album)

200px-Beatles_logo.svg

Withthebeatlescover-vert

With the Beatles is the second studio album by the English rock group The Beatles. It was released on 22 November 1963, on Parlophone, and was recorded four months after the band’s debut Please Please Me. The album features eight original compositions (seven by Lennon–McCartney and “Don’t Bother Me”, George Harrison’s first recorded solo composition and his first released on a Beatles album) and six covers (mostly of Motown and R&B hits). The cover photograph was taken by the fashion photographer, Robert Freeman, and it has been mimicked by several music groups over the years. Most of the songs from the album were released in the United States by Capitol Records as the Meet the Beatles! LP on 20 January 1964; the rest featured on their next US album, The Beatles’ Second Album.

The LP had advance orders of a half million and sold another half million by September 1965, making it the second album to sell a million copies in the United Kingdom, after the soundtrack to the 1958 film South Pacific. With the Beatles remained at the top of the charts for 21 weeks, displacing Please Please Me, so that the Beatles occupied the top spot for 51 consecutive weeks. It even reached number 11 in the “singles charts” (because at the time UK charts counted all records sold, regardless of format). EMI Australia did not receive the cover art, and used a caricature of the band in a similar style to the black-and-white photograph on other releases. The Beatles were unaware of this until fans showed them the cover during their only Australian tour, and informed the EMI publicity staff that they were not pleased with the substitution.

On 26 February 1987, With the Beatles was officially released on compact disc (in mono only, catalogue number CDP 7 46436 2). Having been available only as an import in the US in the past, the album was also issued domestically in the US on LP and cassette on 21 July 1987. Along with the rest of the Beatles’ canon, it was re-released on CD in newly re-mastered stereo and mono versions on 9 September 2009.

In 2003, the album was ranked number 420 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The album was a number 1 in the UK and Germany.

Track Listing

All songs written and composed by Lennon–McCartney, except where noted.

Side one
No. Title Lead vocals Length
1. “It Won’t Be Long” Lennon with McCartney 2:13
2. “All I’ve Got to Do” Lennon 2:03
3. “All My Loving” McCartney 2:08
4. “Don’t Bother Me” (Harrison) George Harrison 2:28
5. “Little Child” Lennon with McCartney 1:46
6. “Till There Was You” (Meredith Willson) McCartney 2:14
7. “Please Mister Postman” (Georgia Dobbins, William Garrett, Freddie Gorman, Brian Holland, Robert Bateman) Lennon with McCartney and Harrison 2:34
Side two
No. Title Lead vocals Length
1. “Roll Over Beethoven” (Chuck Berry) Harrison 2:45
2. “Hold Me Tight” McCartney 2:32
3. “You Really Got a Hold on Me” (Smokey Robinson) Lennon with Harrison and McCartney 3:01
4. “I Wanna Be Your Man” Ringo Starr with McCartney 1:59
5. “Devil in Her Heart” (Richard Drapkin) Harrison 2:26
6. “Not a Second Time” Lennon 2:07
7. “Money (That’s What I Want)” (Janie Bradford, Berry Gordy) Lennon with McCartney and Harrison 2:49

Recording

With the Beatles (side 1) - Parlophone yellow and black label.
With the Beatles (side 1) – Parlophone yellow and black label.

Recording

Unlike Please Please Me, which was recorded in one day (11 February 1963), With The Beatles was recorded over seven sessions across three months, from 18 July to 23 October. In between sessions, as Beatlemania took off across the UK, the group were busy with radio, TV, and live performances. The sessions featured:
18 July: “You Really Got A Hold On Me”, “Money (That’s What I Want)”, “(There’s A) Devil In Her Heart” and “Till There Was You”.
30 July: “Please Mister Postman”, “It Won’t Be Long”, “Money (That’s What I Want)”, “Till There Was You”, “Roll Over Beethoven”, “It Won’t Be Long”, and “All My Loving”.
11 September: “I Wanna Be Your Man”, “Little Child”, “All I’ve Got To Do”, “Not A Second Time” and “Don’t Bother Me”.
12 September: “Hold Me Tight” “Don’t Bother Me”, “Little Child” and “I Wanna Be Your Man”.
3 October: “I Wanna Be Your Man” and “Little Child”.
17 October: “I Want To Hold Your Hand”, “This Boy”, and “You Really Got A Hold On Me”. This was the Beatles’ first session to use four-track recording. “I Want To Hold Your Hand” and “This Boy” were the A-side and B-side of The Beatles’ next single, released on 29 November.
23 October: “I Wanna Be Your Man”.

Personnel

According to Mark Lewisohn:

The Beatles
  • George Harrison – lead, harmony and backing vocals; lead and acoustic guitars; handclaps; nylon-string acoustic guitar on “Till There Was You”
  • John Lennon – lead, harmony and backing vocals; rhythm and acoustic guitars; harmonica and handclaps; nylon-string acoustic guitar on “Till There Was You”; Hammond organ on “I Wanna Be Your Man” and tambourine on “Don’t Bother Me”
  • Paul McCartney – lead, harmony and backing vocals; bass guitar and handclaps; piano on “Little Child” and claves on “Don’t Bother Me”
  • Ringo Starr – drums, tambourine, maracas, handclaps; lead vocals on “I Wanna Be Your Man” and Arabian loose-skin bongo on “Till There Was You” and “Don’t Bother Me”
Production
  • Robert Freeman – cover photograph
  • George Martin – arrangement, production and mixing; piano on “You Really Got a Hold on Me”, “Not a Second Time” and “Money (That’s What I Want)”
  • Norman Smith – engineering and mixing

Chart performance

Album
Chart (1963) Peak
position
UK Albums Chart 1
Album cuts
Billboard charts (North America)
Year Song Chart Rank
1964 “All My Loving” Billboard Hot 100 45
1964 “Roll Over Beethoven” Billboard Hot 100 68

Certifications

Region Certification Sales/shipments
Australia (ARIA) Gold 35,000^
Canada (Music Canada) Gold 50,000^
Germany (BVMI) Gold 250,000^
United Kingdom (BPI) Gold 100,000^
United States (RIAA) Gold 500,000^
^shipments figures based on certification alone

dagger BPI certification awarded only for sales since 1994.

Release history

Region Date Label Format Catalogue
United Kingdom 22 November 1963 Parlophone Mono LP PMC 1206
Stereo LP PCS 3045
16 February 1987 CD CDP 7 46436 2
United States 26 February 1987 Capitol Records Mono, LP CLJ-46436
Parlophone CD CDP 7 46436 2
Worldwide re-release 9 September 2009 Apple Records Remastered stereo CD 0946 3 82420 2 4
Remastered mono CD
13 November 2012 Remastered stereo LP 0094638242017

200px-Beatles_logo.svgFOREVER

From Wikipedia, the free Encyclopedia

Please Please Me (1963, the First Beatles Album)

200px-Beatles_logo.svg PleasePleaseMe-vertPlease Please Me is the debut album by the English rock band The Beatles. Parlophone rush-released the album on 22 March 1963 in the United Kingdom to capitalise on the success of the singles “Please Please Me” (No. 1 on most lists but only No. 2 on Record Retailer) and “Love Me Do” (No. 17).

Of the album’s 14 songs, eight were written by Lennon–McCartney (originally credited “McCartney–Lennon”), early evidence of what Rolling Stone later called “[their invention of] the idea of the self-contained rock band, writing their own hits and playing their own instruments.” In 2012, Please Please Me was voted 39th on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time.

Recording

In order for the album to contain 14 songs (the norm for British 12″ vinyl pop albums at that time was to have seven songs on each side, while American albums usually had only five or six songs per side), 10 more tracks were needed to add to the four sides of their first two singles recorded and released previously. Therefore, at 10:00 am on Monday, 11 February 1963, the Beatles and George Martin began recording essentially their live act in 1963 and finished at 10:45 pm—less than 13 hours later. In three sessions that day (each lasting approximately three hours) they produced an authentic representation of the band’s Cavern Club-era sound, with only a few minor overdubs and edits. Optimistically, only two sessions were originally booked by Martin and the evening session was an afterthought. Mark Lewisohn would later write: “There can scarcely have been 585 more productive minutes in the history of recorded music” Martin overdubbed the piano on “Misery” on 20 February and celesta on “Baby It’s You” five days later.

Martin had initially contemplated recording the album live at the Cavern in front of the group’s home audience and visited the Liverpool club on 9 December 1962 to consider the technicalities. But when time constraints intervened, he decided to book them at EMI Studios in Abbey Road instead and record them virtually live. Martin said, “It was a straightforward performance of their stage repertoire—a broadcast, more or less.”

The day ended with a cover of “Twist and Shout,” which had to be recorded last because John Lennon had a particularly bad cold and Martin feared the throat-shredding vocal would ruin Lennon’s voice for the day. This performance, captured on the first take, prompted Martin to say: “I don’t know how they do it. We’ve been recording all day but the longer we go on the better they get.”

The song “Hold Me Tight” was recorded during these sessions, but was “surplus to requirements” and not included on the album. “Hold Me Tight” was recorded again on 12 September 1963 for With the Beatles.

The whole day’s session cost around £400 (£10,000 as of 2014).  George Martin said: “There wasn’t a lot of money at Parlophone. I was working to an annual budget of £55,000.” This budget had to cover all of the artists on Martin’s roster. Individually, under a contract with the Musicians’ Union, each Beatle collected a £7 10s (£7.50) session fee for each three-hour session.

Martin considered calling the album Off the Beatle Track before Please Please Me was released on Parlophone PCS 3042. The album was recorded on a two-track BTR reel-to-reel tape deck, with most of the instrumentation on one track and the vocals on the other, allowing for a better balance between the two on the final quarter-inch tape mix-down in mono. A stereo mix was made at the same time as the mono mix, with one track on the left channel and the other on the right, as well as an added layer of reverb to better blend the two tracks together. This was common practice for mixing stereo albums at the time.

Release

Please Please Me was released as a mono LP album on the Parlophone label in the UK on 22 March 1963, and has remained on UK catalogue continuously since 1963. The stereo version was released on 26 April, over a month after the mono version.

Please Please Me by The Beatles (side 1) - Parlophone gold and black label
Please Please Me by The Beatles (side 1) – Parlophone gold and black label

Release formats:

  • Vinyl (12″) record (stereo and mono)
  • Reel-to-reel (3-3/4-ips) (mono) (paperbox) [deleted late 1960s]
  • Reel-to-reel (3-3/4-ips (mono)+(stereo)) (plastic boxes) [deleted mid-1970s]
  • 8-track tape (stereo) [deleted late 1970s]
  • Cassette tape (originally released in stereo, re-issued in mono in 1988) [deleted late 1990s]
  • CD (1987 version) (mono) [deleted 2009]
  • CD (remastered in 2009) (stereo and limited edition mono)
  • Digital Download (remastered in 2009) (stereo)
  • Vinyl (re-issue of the 1963 vinyl, but used 2009 CD release) (stereo)

In the United States, most of the songs on Please Please Me were first issued on Vee-Jay Records’ Introducing… The Beatles in 1964, and subsequently on Capitol Records’ The Early Beatles in 1965. Please Please Me was not released in the US until the Beatles’ catalogue was standardised for CD.

In Canada, the majority of the album’s songs were included upon the Canadian-exclusive release Twist and Shout, which featured “From Me to You” and “She Loves You” in place of “I Saw Her Standing There” and “Misery”.

In New Zealand, the album first appeared only in mono on the black Parlophone label. The following year (1964) EMI(NZ) changed from black to a blue Parlophone label and the album was again available only in mono. Due to constant demand, it was finally made available in stereo, first through the World Record Club on their Young World label in both mono and stereo, and finally on the blue Parlophone label.

The album was released on CD on 26 February 1987 in mono, as were their three subsequent albums, With the Beatles, A Hard Day’s Night and Beatles for Sale. It was not released on vinyl or tape in the US until five months later when it was issued for the first time in the US on LP and cassette on 21 July 1987.

Please Please Me was remastered and re-released on CD in stereo, along with all the other original UK studio albums, on 9 September 2009. The 2009 remasters replaced the 1987 remasters. A remastered mono CD was also available as part of the limited edition The Beatles in Mono box set.

Sleeve Notes

As consistent with all early 1960s albums made in the UK, the rear of the album sleeve has sleeve notes. The Beatles press officer Tony Barrow wrote extensive sleeve notes, which included a brief mention of their early 1960s rivals the Shadows.

Album Cover

George Martin was an honorary fellow of the Zoological Society of London, which owns the London Zoo. Martin thought that it might be good publicity for the zoo to have The Beatles pose outside the insect house for the cover photography of the album. However, the society turned down Martin’s offer, and instead, Angus McBean was asked to take the distinctive colour photograph of the group looking down over the stairwell inside EMI’s London headquarters in Manchester Square.[21] Martin was to write later: “We rang up the legendary theatre photographer Angus McBean, and bingo, he came round and did it there and then. It was done in an almighty rush, like the music. Thereafter, though, the Beatles’ own creativity came bursting to the fore.”[32] In 1969, the Beatles asked McBean to recreate this shot. Although the 1969 photograph was originally intended for the then-planned Get Back album, it was not used when that project saw eventual release in 1970 as Let It Be. Instead, the 1969 photograph, along with an unused photograph from the 1963 photo shoot, was used in 1973 for the Beatles’ retrospective albums 1962–1966 and 1967–1970. Another unused photograph from the 1963 photo shoot was used for The Beatles (No. 1) (also released in 1963).

Reception

Professional ratings
Review scores
Source Rating
Allmusic 5/5 stars
The A.V. Club A
Consequence of Sound 4.5/5 stars
The Daily Telegraph 4/5 stars
Encyclopedia of Popular Music 4/5 stars
Paste 92/100
Pitchfork Media 9.5/10
Rolling Stone favourable
The Rolling Stone Album Guide 5/5 stars
Sputnikmusic 4/5

Please Please Me hit the top of the UK album charts in May 1963 and remained there for 30 weeks before being replaced by With The Beatles. This was surprising because the UK album charts at the time tended to be dominated by film soundtracks and easy listening vocalists.

In a 1987 review upon its CD reissue, Rolling Stone magazine’s Steve Pond recommended Please Please Me “for the Beatles’ unfettered joy at making music”. In 2012, Please Please Me was voted 39th on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”. It was ranked first among the Beatles’ early albums, and sixth of all of the Beatles’ albums, with Sgt. Pepper’s Lonely Hearts Club Band, Revolver, Rubber Soul, The Beatles (The White Album) and Abbey Road ranked higher.

Rolling Stone also placed two songs from the album on its list of The 500 Greatest Songs of All Time: No. 140, “I Saw Her Standing There”, and No. 186, “Please Please Me”. According to Stephen Thomas Erlewine of Allmusic, “Decades after its release, the album still sounds fresh,” the covers are “impressive” and the originals “astonishing.”

Track listing

Side one
No. Title Writer(s) Lead vocals Length
1. “I Saw Her Standing There” John Lennon and Paul McCartney Paul McCartney 2:54
2. “Misery” John Lennon and Paul McCartney John Lennon and Paul McCartney 1:50
3. “Anna (Go to Him)” Arthur Alexander John Lennon 2:55
4. “Chains” Gerry Goffin, Carole King George Harrison 2:23
5. “Boys” Luther Dixon, Wes Farrell Ringo Starr 2:24
6. “Ask Me Why” John Lennon and Paul McCartney John Lennon 2:24
7. “Please Please Me” John Lennon and Paul McCartney John Lennon and Paul McCartney 1:59
Side two
No. Title Writer(s) Lead vocals Length
1. “Love Me Do” John Lennon and Paul McCartney John Lennon and Paul McCartney 2:23
2. “P.S. I Love You” John Lennon and Paul McCartney Paul McCartney 2:04
3. “Baby It’s You” Mack David, Barney Williams, Burt Bacharach John Lennon 2:40
4. “Do You Want to Know a Secret” John Lennon and Paul McCartney George Harrison 1:59
5. “A Taste of Honey” Bobby Scott, Ric Marlow Paul McCartney 2:03
6. “There’s a Place” John Lennon and Paul McCartney John Lennon and Paul McCartney 1:51
7. “Twist and Shout” Phil Medley, Bert Russell John Lennon 2:32

Track listing per Calkin.

Personnel

According to Mark Lewisohn:

The Beatles
  • John Lennon – lead vocals, background vocals, rhythm guitar, acoustic guitar, harmonica, hand claps
  • Paul McCartney – lead vocals, background vocals, bass guitar, hand claps
  • George Harrison – background vocals, lead vocals on “Chains” and “Do You Want to Know a Secret”, lead guitar, acoustic guitar, hand claps
  • Ringo Starr – drums, tambourine, maracas, hand claps, lead vocals on “Boys”
Additional musicians and production
  • George Martin – producer, mixer, additional arrangements, piano on “Misery”, celesta on “Baby It’s You”
  • Norman Smith – audio engineer, mixer
  • Andy White – drums on “Love Me Do”, percussion on “P.S. I Love You”

Charts and Certifications

Chart Positions

Chart Year Peak
position
UK Albums Chart 1963 1

Certifications

Region Certification Sales/shipments
Australia (ARIA) Gold 35,000^
Canada (Music Canada) Gold 50,000^
United Kingdom (BPI) Gold 100,000^
United States (RIAA) Platinum 1,000,000^
^shipments figures based on certification alone

dagger BPI certification awarded only for sales since 1994.

Release History

Region Date Label Format Catalogue
United Kingdom 22 March 1963 Parlophone Mono LP PMC 1202
26 April 1963 Stereo LP PCS 3042
United States 26 February 1987 Capitol Records Mono, LP C1 46435
Stereo LP
Cassette C4 46435
CD CDP 7 46435 2
Worldwide re-release 9 September 2009 Apple Records Remastered stereo CD 0946 3 82416 2 1
Remastered mono CD
13 November 2012 Remastered stereo LP 0946 3 82416 1 4
16 November 2010 iTunes Store Digital download of remastered stereo

50th Anniversary

In 2013 the album’s 50th Anniversary was celebrated by modern artists re-recording the album in just one day, the same time it took The Beatles to record it 50 years earlier. The Stereophonics recorded a cover of the album’s opening track, “I Saw Her Standing There.” It and the other recordings were broadcast on BBC Radio 2, and a documentary about the re-recording of The Beatles’ debut album was broadcast on BBC Television.

200px-Beatles_logo.svgFOREVER

From Wikipedia, the free Encyclopedia

Best Pop Singers of the 21st Century

1. Adele

Adele01

  • Wow this is just an inspiration of what life is in to pop stars. I found out that this is just an amazing website to all people who are determent to learn and to find out about the truth to all these creations and beginnings to all immediate pop stars.
  • This Young Lady Has Just Begun Her Journey! Adele Has Been On Top Of The Billboard 100! With Her Hits Rolling In The Deep and Someone Like You. What Could Possibly Be Next For Adele.
  • She’s great. She’s a shot in the arm for the industry. She writes her own music that’s not at all contrived. And she’s managed to sell loads of records which makes her a great example to the younger artists. Her voice is serene. It can lighten you up anytime.
  • Love you Adele

2. Lady Gaga

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  • She is the best when it comes to pop she can bring it and when she brings it she tops the list with her hits she tops all females
  • The Mother Monster is a new artist and with just three albums she managed to establish herself as one of the best singers, performers and rockstars of all time because she’s excellent in so many types of songs!
  • “Greatest vocal abilities… If she took off her costumes adults would understand, but she’s an artist. Her abilities rival those of Whitney Houston and Tina Turner. She’s one of the greatest of all time.

3. Katy Perry

Katy Pery01

  • Katy Perry Is The Best Out There In Pop! She Is Aiming For Her 6th Hit Of An Album! 2010,2011 And 2012 Will Be Her Best Year.
  • Her songs are amazing but where has she gone now?… She should make more music… And shes really pretty
  • Katy Perry is a awesome singer and song writer
  • Her lyrics have a meaning to them unlike Taylor Swift’s she only writes a song when she breaks up with someone
  • VOTE FOR KATY PERRY😜😃

4. Beyonce

Beyonce Knowles

  • Obviously beyonce should be in the top 10 over kesha, gomez and bieber
  • Beyonce is great and her songs are always real hits.
  • Shes amazing performer, dancer, singer and actres

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5. Bruno Mars

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  • I saw the list and expected Bruno Mars to be on the top but then, I saw him here, at number 8. Besides being shocking, this is complete trash. Bruno Mars deserves a top 5 position for sure, if no the first.
  • Bruno Mars Has Also Risen To Fame! He Will Be Soon Out There!
  • Bruno Mars draws from all the greats and blend them with his unique talents to touch young and old alike. Incredible artist, showman and spirit

6. Enrique Iglesias

Enrique Iglesias

  • This list is wrong. Enrique must be on the top of the list. His voice is amazing. Enrique should be after Michael jackson. That idiot justin bieber should in the bottom of the list.What the hell is Enrique doing on position 14
  • People he should be 1. Have you all heard his new song heart attack. It rocks. He has started to sing better now a days but he used to sing good before also. Please vote
  • TEN TIMES BETTER THAN BIEBER

7. Amy Winehouse

Amy Winehouse

  • The best singer of our lifetime. Full stop.
  • Best singer in our lifetimeAmy Winehouse is one of my greatest idols and I really love her song “Back to Black”.

8. Taylor Swift

Taylor Swift

  • Taylor Swift is like THE best singer ever. Not only does she sing pop, she also sings country. Her voice is suitable for both genres. She is an amazing singer. Keep it up Taylor! You’re so sweet and kind.One Day This Female Artist Could Be The Best Female Recording Artist IN HistoryEvery time I listen to her songs I just get it stuck in my head and I just can’t stop singing it. I just have to keep listening to it!

9. Rihanna

Rihanna

  • Rihanna is the best she got the best music and also I like Nicki Minaj
  • I think rihannas so good. no wonder my mum like her
  • Best pop singer ever

10. Pitbull

Pitbull

  • Pitbull is Awesome. Justin Bieber sucks eggs
  • He is the best his give me everything is really comfortingPitbull! What Can I Say This International Pop Star Is On Top Of The List For Best Male Artist