TITLE:  THE BEATLES-WHITE ALBUM

Label: APPLE RECORDS-MON COPY

Catalogue number: PMC  7067/PMC 7068

The matrices:

XEX 709-1 (1HH) NO EMI recording text

XEX 710-1 (3 HR) NO EMI Recording text

XEX 711-1 (1 OO)

XEX 712-1 (2 AD)

Year : 1968

Number 0111174

Details of the specific copy: Nice copy 1 week UK MONO copy. Top Opening Numbered .

condition: (VISUAL GRADING under 120 watt light most of times)

The Sleeve : EXCELLENT PLUS

•   Front Side  : Light yellowing only . Only one mark on the front side, otherise perfect,

                      not any creasing, tide and solid  not any laminate wear, not any writing. Emposed letter perfectly clear.

•   Back Side : Excellent, not any writing, not any wear, light yellowing and creasing.

•   Inners Side: Just perfect, not any writing, not any wear, or yelowing or creasing.

•   Spine: Excellent, no edgewear, no bends , fully readbale, there are two tiny cuts of the laminate 

•   Edges: No any edgewear or bend. perfect

The Labels: All labels are prefctly clear with no spindle marks or writing or creasing.

The Vinyls :  VERY GOOD PLUS PLUS  at least!. Run smoothly without skips or pops, Warm, HUGE mono

                     Very few clicks , not any hard scrath. read details bellow

         A side: VG+ A few  papers scuffs only, couple of  feelable hairline supeficial  scrathes too NO HARD SCRATCHES. VINYL black shiny.

         B Side: VG++ Very few  papers scuffs and couple of THIN hailine scrathes-one feelable jet black and shiny.

         C side: EX A few  papers scuffs only, jet black shiny , only very few  of superficial TINY thinline scrathes      

         D Side: EX+  A few  papers scuffs only, jet black shiny , only very few  of superficial TINY thinline scrathes.

 

 

The inner sleeves: Black inner sleeve in Nice condition!

The Poster:  VERY GOOD PLUS PLUS  condition , matte paper Uk press Poster original with the kiss,

                    One red ink "V" (check mark) in one tiny photo mnot really noticable!

The Photos:  High quality replicas in photographic paper and original size .

The separator:   1

 

I m not Using  GOLDMINE OR RC systems. Word have ltterall meaning. VERY GOOD IS VERY GOOD , and EXCELLENT IS EXCELLENT.

I do offer money guarantee….IF FOR ANY REASON YOU ARE NOT COMPLETELY SATISFIED WITH THE ITEM YOU WON , And You think The Description was not correct, WE GIVE YOU A FULL REFUND ON YOUR MONEY WITHIN 48 HOURS OF ITEM RETURN. I DO NOT REFUND BEFORE ITEM IS BACK. THE ITEM SHOULD HAVE BEEN RETURNED WITHIN 5 Weeks of the auction END , later I cannot cancl the auction. NO EXCEPTIONS ON THIS RULE.

THE HISTORY:

THE HISTORY:

The Beatles (album)

From Wikipedia, the free encyclopedia

  (Redirected from White album) "The White Album" redirects here. For other uses, see The White Album (disambiguation). The Beatles Studio album by The Beatles Released 22 November 1968 Recorded 30 May – 14 October 1968,Abbey Road Studios and Trident Studios, London, England Genre Rock Length 93:35 Language English Label Apple, Parlophone, EMI Producer George Martin Professional reviews

• Allmusic  link
• BBC  link
• Blender  link
• NME  link
• Pitchfork Media (10.0/10.0) 2009
• PopMatters  link
• Rolling Stone  [1]
• Slant Magazine  link

The Beatles chronology Magical Mystery Tour
(1967) The Beatles
(1968) Yellow Submarine
(1969) Singles from The Beatles

1. "Ob-La-Di, Ob-La-Da"/"Julia"
   Released: 8 November 1976 (US)

Original cover The original vinyl copies, first released in 1968, had the band's name embossed crossways onto a white background. These pressings were also numbered.

The Beatles is the ninth official British album and the fifteenth American album by The Beatles, a double album released in 1968. It is commonly known as The White Album as it has no graphics or text other than the band's name (and, on the early LP and CD releases, a serial number) on its plain white sleeve. The album was the first The Beatles undertook following the death of their manager, Brian Epstein (Magical Mystery Tour is listed as a movie soundtrack). Originally entitled A Doll's House, the title was changed when the British progressive rock band Family released the similarly titled Music in a Doll's House earlier that year.

The Beatles was written and recorded during a period of turmoil for the group. After visiting the Maharishi Mahesh Yogi in India and having a particularly productive songwriting session in early 1968, the group returned to the studio for recording from May to October 1968, only to have conflict and dissent drive the group members apart. Drummer Ringo Starr quit the band for a brief time, leaving bassist Paul McCartney to perform drums on some of the album's songs.

Upon release in November 1968, the album received mixed to positive reviews and reached the #1 spot on the charts in the United Kingdom and United States. The album is notable for the eclectic nature of its songs, which has divided critics in evaluating the album's legacy. Still, The Beatles is regarded as one of the greatest albums in rock history. In 2003, the album was ranked number 10 on Rolling Stone magazine's list of "The 500 Greatest Albums of All Time".

[edit]Composition

Most of the songs were conceived during a transcendental meditation course with Maharishi Mahesh Yogi in Rishikesh, India in the spring of 1968. Although the retreat, which had required long periods of meditation, was initially conceived by the band as a spiritual respite from all worldly endeavours—a chance, in John Lennon's words, to "get away from everything"[2] — both Lennon and Paul McCartney had quickly found themselves in songwriting mode, often meeting "clandestinely in the afternoons in each other's rooms"[3] to review the new work. "Regardless of what I was supposed to be doing," Lennon would later recall, "I did write some of my best songs there."[4]Close to forty new compositions had emerged in Rishikesh, twenty-three of which would be laid down in very rough form at Kinfauns, George Harrison’s home in Esher, in May of 1968.

The Beatles had left Rishikesh before the end of the course, with Ringo Starr and then McCartney departing first, and Lennon and Harrison departing together later. According to some reports, Lennon left Rishikesh because he felt personally betrayed by rumours that Maharishi had made sexual advances toward Mia Farrow, who had accompanied The Beatles on their trip. Shortly after he decided to leave, Lennon wrote a song called "Maharishi" which included the lyrics, "Maharishi/You little twat"; the song became "Sexy Sadie". According to several authors, Alexis Mardas (aka "Magic Alex") deliberately engineered these rumours because he was bent on undermining the Maharishi's influence over each Beatle.[5][6][7] Lennon himself, in a 1980 interview, acknowledged that the Maharishi was the inspiration for the song: "I just called him 'Sexy Sadie.."[8]

[edit]Recording

Beatles was recorded between 30 May 1968 and 14 October 1968, largely at Abbey Road Studios, with some sessions at Trident Studios. Although productive, the sessions were reportedly undisciplined and sometimes fractious, and they took place at a time when tensions were growing within the group.[citation needed] Concurrent with the recording of this album, The Beatles were launching their new multimedia business corporation Apple Corps, an enterprise that proved to be a source of significant stress for the band.[citation needed]

The sessions for The Beatles marked the first appearance in the studio of Lennon's new girlfriend and artistic partner, Yoko Ono, who would thereafter be a more or less constant presence at all Beatles sessions.[9] Prior to Ono's appearance on the scene, the individual Beatles had been very insular during recording sessions, with influence from outsiders strictly limited. McCartney's girlfriend at the time, Francie Schwartz, was also present at some of the recording sessions.[10]

Author Mark Lewisohn reports that The Beatles held their first and only 24-hour recording/producing session near the end of the creation of The Beatles, during which occurred the final mixing and sequencing for the album. The session was attended by Lennon, McCartney, and producer George Martin.[11]

]

[edit]Songs

Although most of the songs on any given Beatles album are usually credited to the Lennon/McCartney songwriting team, that description is often misleading, and rarely more so than on The Beatles. With this album, each of the four band members began to showcase the range and depth of his individual songwriting talents, and to display styles that would be carried over to his eventual solo career. Indeed, some songs that the individual Beatles were working on during this period eventually were released on solo albums.[citation needed] These include Lennon's "Look at Me" and "Child of Nature", eventually reworked as "Jealous Guy"; McCartney's "Junk" and "Teddy Boy"; and Harrison's "Not Guilty" and "Circles".[citation needed]

Many of the songs on the album display experimentation with unlikely musical genres, borrowing directly from such sources as 1930s dance-hall music (in "Honey Pie"), classical chamber music (in "Piggies"), theavant-garde sensibilities of Yoko Ono and John Cage (in "Revolution 9"), and the sentimentality of elevator music (in "Good Night"). Such diversity was quite unprecedented in global pop music in 1968, and the album's sprawling approach provoked (and continues to provoke) both praise and criticism from observers.[16] "Revolution 9", in particular, a densely layered eight-minute-and-thirteen-second sound collage, has attracted bewilderment and disapproval from both fans and music critics over the years.

The only western instrument available to the group during their Indian visit was the acoustic guitar, and thus most of the songs on The Beatles were written and first performed on that instrument.[citation needed] Some of these songs remained acoustic on The Beatles (notably "Rocky Raccoon", "Blackbird", "I Will" and "Mother Nature's Son") and were recorded in the studio either solo, or by only part of the group.

[edit]Compositions not included

A number of songs were recorded in demo form for possible inclusion but were not incorporated as part of the album. These included "Mean Mr. Mustard" and "Polythene Pam" (both of which would be used for the medley on Abbey Road); "Child of Nature" (recorded with drastically different lyrics as "Jealous Guy" for Lennon's Imagine), "Jubilee" (later retitled "Junk" and released on McCartney's first solo LP); "Etcetera" (a McCartney composition later recorded by the Black Dyke Mills Band as "Thingumybob"); "The Long and Winding Road" (completed in 1969 for the Let It Be LP); "Something" (which ended up on Abbey Road); and "Sour Milk Sea" (which Harrison gave to friend and Apple artist Jackie Lomax for his first LP, Is This What You Want). Other songs recorded for, but ultimately left off The Beatles received significant exposure via bootlegs, notably Harrison's "Circles" and "Not Guilty" (which he would eventually re-record as solo tracks and release on his 1982 album, Gone Troppo and 1979 self-titled album, George Harrison respectively) and Lennon's manic "What's the New Mary Jane".

[edit]Editing concerns, and release

The Beatles was the first Beatles' album released by Apple Records, as well as their only original double album. Producer George Martin has said that he was against the idea of a double album at the time and suggested to the group that they reduce the number of songs in order to form a single album featuring their stronger work, but that the band decided against this.[17] Interviewed for the Beatles Anthology, Starr said he now felt it should have been released as two separate albums (that he appropriately named The White Album and The Whiter Album). Harrison felt on reflection that some of the tracks could have been released as B-sides, but "there was a lot of ego in that band". He also supported the idea of the double album, to clear out the backlog of songs the group had at the time. McCartney, by contrast, said it was fine as it was and that its wide variety of songs was a major part of the album's appeal.[18]

The Beatles shares the same November 22 release date as The Beatles' second album, With the Beatles, released five years earlier.

[edit]Singles

Although "Hey Jude" was not intended to be included on any LP release, it was recorded during the White Album sessions and was released as a stand-alone single before the release of The Beatles. "Hey Jude's" B-side, "Revolution", was an alternate version of the album's "Revolution 1". Lennon had wanted the original version of "Revolution" to be released as a single, but the other three Beatles objected on the grounds that it was too slow.[13] A new, faster version, with heavily distorted guitar and a high-energy keyboard solo from Nicky Hopkins was recorded, and was relegated to the flip side of "Hey Jude". The resulting release — "Hey Jude" on side A and "Revolution" on side B — emerged as the first release on the Beatles' new Apple Records label. It went on to become the best selling of all Beatles' singles in the US.

Four tracks from the "White Album" were released on two American and one British single almost eight years after the original album was released. In the summer 1976, to promote the compilation album, Rock 'n' Roll Music, EMI's Parlophone label in the UK and its Capitol label in the US each released a single that contained A and B-sides that appeared on the compilation album. In Britain, Parlophone issued "Back in the U.S.S.R." as the single. (Its B-side was "Twist and Shout", which originally appeared on the group's first album, Please Please Me.) In America, Capitol released "Got to Get You Into My Life" (from the group's 1966 album, Revolver) on the A-side, but selected "Helter Skelter," to serve as the flip side. "Helter Skelter" was likely chosen for the B-side because a cover version of the song had been prominently featured in a made-for-tv movie about the Charles Manson murders that had aired on CBS shortly before the release of Rock 'n' Roll Music. The singles were successful, with "Got to Get You into My Life" hitting No. 7 on the Billboard Hot 100 in the US and "Back in the U.S.S.R." hitting No. 18 on the New Musical Express chart in Britain. Both records also helped sell Rock 'n' Roll Music, which hit No. 2 in the United States and No. 10 in the UK. With the success of the singles from the compilation album, Capitol followed-up "Got To Get You Into My Life" with the release of another single in November 1976. Instead of taking two more tracks from Rock 'n' Roll Music, however, Capitol selected two "White Album" tracks—"Ob-La-Di, Ob-La-Da" as the A-Side, and "Julia" as the B-Side. The "Ob-La-Di, Ob-La-Da" single was sold in an individually-numbered white picture sleeve that mimicked the design of the original album. "Ob-La-Di, Ob-La-Da" did not duplicate the success of its predecessor, however, as it failed to make the Top Forty, stalling out at No. 49 on Billboard.

[edit]Mono version

The Beatles was the last Beatles album to be released with a unique, alternate mono mix, albeit one issued only in the UK. Twenty-eight of the album's 30 tracks ("Revolution 1" and "Revolution 9" being the only exceptions) exist in official alternate mono mixes.

Beatles' albums after The Beatles (except Yellow Submarine in the UK) occasionally had mono pressings in certain countries (such as Brazil), but these editions—Yellow Submarine, Abbey Road and Let It Be—were in each case mono fold-downs from the regular stereo mixes.

In the US, mono records were already being phased out; the US release of The Beatles was the first Beatles LP to be issued in stereo only.

The mono version of The Beatles was made available worldwide (including the US) on 9 September 2009, as part of the Beatles in Mono CD box set.

[edit]Sleeve

A vintage circa-1970 pressing ofThe Beatles. Note the serial number and the embossed, rather than printed, album title.

The album's sleeve was designed by Richard Hamilton, a notable pop artist who had organised a Marcel Duchamp retrospective at the Tate Gallery the previous year. Hamilton's design was in stark contrast to Peter Blake's vivid cover art for Sgt. Pepper's Lonely Hearts Club Band, and consisted of a plain white sleeve. The band's name was discreetly embossed slightly below the middle of the album's right side, and the cover also featured a unique stamped serial number, "to create," in Hamilton's words, "the ironic situation of a numbered edition of something like five million copies."[citation needed] Indeed, the artist intended the cover to resemble the "look" of conceptual art, an emerging movement in contemporary art at the time. Later vinyl record releases in the US showed the title in grey printed (rather than embossed) letters. Early copies on compact disc were also numbered. Later CD releases rendered the album's title in black or grey. The 30th anniversary CD release was done to look like the original album sleeve, with an embossed title and serial number, including a small reproduction of the poster and pictures (see re-issues).

The album's inside packaging included a poster, the lyrics to the songs, and a set of photographs taken by John Kelly[19] during the autumn of 1968 that have themselves become iconic. This is the only sleeve of a Beatles studio album not to show the members of the band on the front.

Tape versions of the album did not feature a white cover. Instead, cassette, reel-to-reel, and 8-track versions (first issued on two cartridges in early 1969) contained cover artwork that featured a black and white (with no grey) version of the four Kelly photographs.[20] In both the cassette and 8-track versions of the album, the two tapes were sold in a black slip-cover box that bore the title, "The BEATLES" in gold lettering along the front.[21] This departure from the LP's design not only made it difficult for less-informed fans to identify the tape in record stores, but it also led some fans at the time to jokingly refer to the 8-track or cassette not as the "white album" but as the "black tape." In 1988, Capitol/EMI re-issued the 2-cassette version of the album, still with the same cover artwork as the original cassettes — but without the black slip-cover box.

[edit][edit]Track listing

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

Side one # Title Lead vocals[37] Length 1. "Back in the U.S.S.R."   McCartney 2:43 2. "Dear Prudence"   Lennon 3:56 3. "Glass Onion"   Lennon 2:17 4. "Ob-La-Di, Ob-La-Da"   McCartney 3:08 5. "Wild Honey Pie"   McCartney 0:53 6. "The Continuing Story of Bungalow Bill"   Lennon 3:14 7. "While My Guitar Gently Weeps" (George Harrison) Harrison 4:45 8. "Happiness Is a Warm Gun"   Lennon 2:43 Side two # Title Lead vocals[37] Length 1. "Martha My Dear"   McCartney 2:28 2. "I'm So Tired"   Lennon 2:03 3. "Blackbird"   McCartney 2:18 4. "Piggies" (Harrison) Harrison 2:04 5. "Rocky Raccoon"   McCartney 3:32 6. "Don't Pass Me By" (Richard Starkey) Starr 3:50 7. "Why Don't We Do It in the Road?"   McCartney 1:41 8. "I Will"   McCartney 1:46 9. "Julia"   Lennon 2:54 Side three # Title Lead vocals[37] Length 1. "Birthday"   McCartney with Lennon 2:42 2. "Yer Blues"   Lennon 4:01 3. "Mother Nature's Son"   McCartney 2:48 4. "Everybody's Got Something to Hide Except Me and My Monkey"   Lennon 2:24 5. "Sexy Sadie"   Lennon 3:15 6. "Helter Skelter"   McCartney 4:29 7. "Long, Long, Long" (Harrison) Harrison 3:04 Side four # Title Lead vocals[37] Length 1. "Revolution 1"   Lennon 4:15 2. "Honey Pie"   McCartney 2:41 3. "Savoy Truffle" (Harrison) Harrison 2:54 4. "Cry Baby Cry"   Lennon, with McCartney 3:01 5. "Revolution 9"     8:22 6. "Good Night"   Starr 3:11

[edit]Personnel

The Beatles

• George Harrison – lead, harmony and background vocals; lead and rhythm (electric and acoustic) guitars, four- and six-string bass guitar; Hammond organ; drums and assorted percussion (tambourine, hand shake bell, handclaps and vocal percussion) and sound effects[11]
• John Lennon – lead, harmony and background vocals; lead and rhythm (electric and acoustic) guitars, 4 and 6-string bass guitar; pianos (electric and acoustic), Hammond organ, harmonium, mellotron; drums and assorted percussion (tambourine, maracas, thumping on the back of an acoustic guitar, handclaps and vocal percussion); harmonica, saxophone and whistling; tapes, tape loops and sound effects (electronic and home-made)[11]
• Paul McCartney – lead, harmony and background vocals; lead and rhythm (electric and acoustic) guitars, 4 and 6-string bass guitar; pianos (electric and acoustic), Hammond organ, drums, timpani and assorted percussion (tambourine, handclaps and vocal percussion; drums on "Back in the U.S.S.R." and "Dear Prudence"); recorder, flugelhorn and sound effects[11]
• Ringo Starr – drums and assorted percussion (tambourine, bongos, cymbals, maracas, vocal percussion); lead vocals, electric piano and sleigh bell (on "Don't Pass Me By") , lead vocals (on "Don't Pass Me By" and "Good Night") and backing vocals ("The Continuing Story of Bungalow Bill")[11]

Guest musicians

• Eric Clapton – lead guitar on "While my Guitar Gently Weeps"
• Mal Evans – backing vocals and handclaps on "Dear Prudence","The Continuing Story of Bungalow Bill" and "Birthday", saxophone and sound effects on "Helter Skelter"
• Jack Fallon – violin on "Don't Pass Me By"
• Pattie Harrison – backing vocals on "Birthday"
• Jackie Lomax – backing vocals and handclaps on "Dear Prudence"
• Jimmy Scott – congas on "Ob-La-Di-Ob-La-Da"
• Maureen Starkey – backing vocals on "The Continuing Story of Bungalow Bill"
• Yoko Ono – backing vocals and handclaps on "The Continuing Story of Bungalow Bill" and tapes and sound effects on "Revolution 9", backing vocals on "Birthday"

Session musicians

• Ted Barker – trombone on "Martha My Dear"
• Leon Calvert – trumpet and flugelhorn on "Martha My Dear"
• Henry Datyner, Eric Bowie, Norman Lederman, Ronald Thomas (all on "Glass Onion"), Bernard Miller, Dennis McConnell, Lou Soufier and Les Maddox (all on "Martha My Dear") – violins
• Reginald Kilby (on "Glass Onion" and "Martha My Dear"), Eldon Fox (on "Glass Onion") and Frederick Alexander (on "Martha My Dear") – cellos
• Harry Klein – clarinet on "Honey Pie", saxophone on "Savoy Truffle"
• Alf Reece – tuba on "Martha My Dear"
• The Mike Sammes Singers – backing vocals on "Good Night"
• Stanley Reynolds and Ronnie Hughes – trumpet (all on "Martha My Dear")
• Tony Tunstall – French horn on "Martha My Dear"
• John Underwood, Keith Cummings (all on "Glass Onion"), Leo Birnbaum and Henry Myerscough (all on "Martha My Dear") – violas

Production team

• Geoff Emerick – engineer, vocal on "Revolution #1" ("Take 2")
• George Martin – record producer and mixer; string, brass, clarinet, orchestral arrangements and conducting; piano on "Rocky Raccoon"
• Ken Scott – engineer and mixer
• Chris Thomas – producer; mellotron on "The Continuing Story of Bungalow Bill", harpsichord on "Piggies" and piano on "Long, Long, Long"

 

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