THE BEATLES EIGHT DAYS A WEEK RARE ORIG '64 CAPITOL 7" PICTURE SLEEVE STUNNING

$

32

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·       THE BEATLES –EIGHT DAYS A WEEK c/w I DON'T WANT TO SPOIL THE PARTY– RARE ORIGINAL 1964 CAPITOL RECORDS MONO 7-inch SINGLE PICTURE SLEEVE # 5371

·       ORIGINAL U.S. PRESSING

***PLEASE NOTE: WE ARE OFFERING HERE ONLY A RARE PICTURE SLEEVE. THE RECORD IS NOT INCLUDED (SORRY!) ***

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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     When it was first released in Britain in late 1964 on Beatles for Sale, Eight Days a Week was just an album track. America's appetite for Beatles product, however, was insatiable at this point, and the bigger and more affluent U.S. market far more accommodating for songs that could be sold on singles. So "Eight Days a Week," like "Twist and Shout" and "Do You Want to Know a Secret?" before it, and like "Yesterday" and "Nowhere Man" after it, was released on a 45, although it was not designed by the Beatles themselves as a featured single, and did not appear as such in their native U.K. Although it made number one in the States, it is not one of the songs that first comes to mind when early Beatles classics are summarized. That hardly means that it was forgettable; in fact, it was damned good. There are few Lennon-McCartney songs that are bouncier and cheerier than "Eight Days a Week," although there's plenty of yearning grit in John Lennon's lead vocal, particularly at a point near the end of the song, where he breaks into a brief peculiar wordless melisma. He's superbly supported by Paul McCartney's harmony vocals, and the necessary mixture of light and shade is supplied by the bridge, which suddenly goes into emphatic minor chords. At one point during this bridge, all the instruments drop out, leaving the voices unaccompanied for a line; everything comes to a dead stop for a nanosecond. Then a shoe-drop of Ringo Starr drums kicks the music into gear again, and the melody brightens as it explodes back into the verse; the Beatles' spirits could never be dampened for long. Becoming ever bolder in their studio experimentation even at this relatively early date, the track begins with a gradual fade-in, a device which had rarely been employed in rock music, and served to heighten the drama and immediately seize the listener's attention. Although the lyric is for the most part a standard celebratory love song, the title phrase "eight days a week" (like a previous Beatles title, "a hard day's night") betrays Lennon-McCartney's growing knack for unusual wordplay -- a trait that would soon become far more commonplace. Lennon, never the best judge of the Beatles' own work, was surprisingly disdainful of the song in a 1980 Playboy interview, claiming (erroneously) that "it was never a good song. We struggled to record it and struggled to make it into a song. It was [McCartney's] initial effort, but I think we both worked on it. I'm not sure. But it was lousy anyway."

 (EXCERPT FROM AN ONLINE REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

"I Don't Want to Spoil the Party" is a song by the English rock band the Beatles, written by John Lennon and credited to Lennon–McCartney. It was released on the album Beatles for Sale in the United Kingdom in December 1964. "I Don't Want to Spoil the Party" was also released on the Beatles for Sale (No. 2) EP.

In the United States, Capitol released the song as the B-side of the single "Eight Days a Week", and later on the Beatles VI album, both in 1965. The song charted as a B-side, reaching number 39 on the Billboard Hot 100.

The lyrics anticipate themes that were to become familiar in Lennon's songwriting – alienation and inner pain. In this song, the narrator is at a party, waiting for his girl to show up. When it becomes clear that she has stood him up, he decides to leave, rather than spoil the party for everyone else. Both the lyrics and melody share a melancholy sound and theme with songs that precede it on Beatles for Sale, such as "No Reply" and "I'm a Loser". Author Ian MacDonald views the song as a return to the subject matter introduced by Lennon on "I'll Cry Instead", from the Beatles' A Hard Day's Night album, and a "preview" of "You've Got to Hide Your Love Away", from Help!

The Beatles recorded "I Don't Want to Spoil the Party" on 29 September 1964 in 19 takes, the last of which was released. George Harrison's guitar solo, played on his new Gretsch Tennessean in the style of Carl Perkins, was enhanced by midrange resonance boost, giving it an especially bright sound. According to The Encyclopedia of Country Music, the song is an early example of country rock, anticipating the Byrds' work in that style. MacDonald describes it as the "most overt" country track on Beatles for Sale, an album that is "dominated by the idiom".

Among the band's biographers, opinions differ on which Beatle sings the low harmony part during the verses, below Lennon's lead vocal. MacDonald lists Harrison as the second vocalist on the track, while John Winn credits McCartney, saying that he sounds "deceptively like a second Lennon". According to musicologist Walter Everett, the harmony part is Lennon "self-duetting".

(EXCERPT FROM AN ANONYMOUS ONLINE REVIEW)

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·       CONDITION:

·       45-RPM SINGLE RECORD:

(IMPORTANT NOTE: unless otherwise noted below, ALL records are graded visually, and NOT play-graded!; we  grade records under the normal room light or discrete sunlight)

***PLEASE NOTE: WE ARE OFFERING HERE ONLY A RARE PICTURE SLEEVE. THE RECORD IS NOT INCLUDED (SORRY!) ***

·       PICTURE SLEEVE

THE PICTURE SLEEVE IS NEAR MINT

The following flaws or imperfections are noted on the sleeve:

-        Sleeve has a few tiny wrinkles along the seams (BARELY VISIBLE)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  SLEEVE

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