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Zapple Records, an Apple Records subsidiary run by Barry Miles, a friend of McCartney, was intended as an outlet for the release of spoken word and avant-garde records, as a budget label in the style of a magazine or journal. It was active only from 3 February 1969 until June 1969; a string of projects were announced, and a number of recording sessions undertaken, but only two albums were released on the label both by solo Beatles, while another two LPs of finished material were issued by other labels after Zapple was closed down. The label was launched with the two Beatle related records firstly Lennon and Ono's avant garde Unfinished Music No. 2: Life with the Lions (Zapple 1) and George Harrison's Electronic Sound (Zapple 2). An album of readings by Richard Brautigan was recorded and mixed for release as Zapple 3, and acetate disc copies and test pressings were cut but, said Miles, "The Zapple label was folded by [Allen] Klein before the record could be released. The first two Zapple records did come out. We just didn't have [Brautigan's record] ready in time before Klein closed it down. None of the Beatles ever heard it." Brautigan's record was eventually released as Listening to Richard Brautigan on Harvest Records, a subsidiary of Apple distributor EMI, in the US only.
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I disagree about no correlation with physicality in MP3s and the vinyl resurgence. Instead, I agree with author here. I only started buying records again after my obsession with getting lost in the MP3 cloud and not ever listening to linear music as albums ended with the mp3. I am so much happier with needles and grooves. It slowed my life down, made it nice an d cozy, and it sounds awesome.
"Can't Buy Me Love" was recorded on 29 January 1964 at EMI's Pathe Marconi Studios in Paris, France, where the Beatles were performing 18 days of concerts at the Olympia Theatre. At this time, EMI's West Germany branch, Odeon, insisted that the Beatles would not sell records in any significant numbers in Germany unless they were actually sung in the German language and the Beatles reluctantly agreed to re-record the vocals to "She Loves You" and "I Want to Hold Your Hand" prior to them being released in Germany. George Martin travelled to Paris with a newly mastered rhythm track for what was to be "Komm, Gib Mir Deine Hand". "Sie Liebt Dich" required the Beatles to record a new rhythm track as the original two-track recording had been scrapped. EMI sent a translator to be present for this recording session which had been hurriedly arranged to tie in with the Beatles' Paris commitments. This was accomplished well within the allotted studio time, allowing the Beatles an opportunity to record the backing track, with a guide vocal, to the recently composed "Can't Buy Me Love". At this stage the song included background vocal harmonies, but after listening to the first take, the band concluded that the song did not need them. Therefore, "Can't Buy Me Love" became the first single the Beatles released without their characteristic background harmonies.
McCartney's final vocal was overdubbed at EMI Studios, Abbey Road, London, on 25 February. Also re-recorded on this day at EMI Studios was George Harrison's modified guitar solo, although his original solo can still just be heard in the background. Harrison said: "What happened was, we recorded first in Paris and re-recorded in England. Obviously they'd tried to overdub it, but in those days they only had two tracks, so you can hear the version we put on in London, and in the background you can hear a quieter one." Helen Shapiro, a friend of the Beatles and present at this overdub session, says that Ringo Starr also added extra cymbals "over the top" and that "apparently this was something he did quite often on their records". "Can't Buy Me Love" is also the only English-language track that the Beatles recorded in a studio outside the UK, although the instrumentation of the band's 1968 B-side "The Inner Light" was recorded in India by Harrison and some Indian classical musicians.
"Can't Buy Me Love" was released as a single, backed by John Lennon's song "You Can't Do That". The release took place on 16 March 1964 in the United States and four days later in the United Kingdom. In the US, "Can't Buy Me Love" topped the Billboard Hot 100 chart for five weeks. With the success of the song, the Beatles established four records on the Hot 100:
Pre-1970s vinyl is generally considered as some of the best original pressings you can get. You can even find reissues that were created pre-70s which sound fantastic. A couple of reasons why original pressings sound so good from this period is because it was a golden age for record production and basically the only medium that people bought their records on. Care was taken to produce them and the competition was rife, so record companies would compete to create the best mixes and production techniques. There was also a very skilled labour force and many production plants of which were still relatively new and in perfect working order.
Not really a simple question to answer, some re-issues sound miles than the originals as the 20-30 years of technology ie half speed masters and better gear can improve the sound significantly (see 2014 beatles mono) probably the best versions of most of the beatles records. But there are also moments where the re-issues are done badly (see rem green). Totally depends on the source analogue tape source sound warm, but digital source can give you more detail, the mastering engineer (see some good ones bob ludwig, kevin Gray, Bernie Grundman) and the technology used, and then also the pressing plant and label. As an audio engineer, some advice is have a listen and do your research. There are terrible re-issues and terrible originals, hope you get the good ones
I have an original UK mono pressing of the 'white' album, but my pressing - and as I understand it - no original pressings of the 'white' album have the word "MONO" featured on the label. The way to tell a mono album is to look for the "XEX" prefix on both the label and in the runoff area on the record itself. (And beware. I have two cases of labels stating something different than what the album actually is - a UK mono label Pepper that plays in stereo and a UK stereo label Revolver that plays in mono. Note, the etchings on the records are correct, it is the labels that are incorrect).
Slated as the final work in the exhibition, Chang has electronically overlaid 100 discrete copies of the album to create one densely layered 96-minute double LP on which each version of the iconic original brings its own sonic history to the final recording. The physical imperfections of the 45 year old records pop, skip and crackle to create an eerie heterophony as the record gradually drifts out of sync with itself over the course of each side.
The Beatles sit among the ranks of icons like Mother Mary and iPhones for how universally well-known they are. Fly to the far corners of the globe and chances are high that if you hold up a jaunty four-framed photo of Paul, John, George, and Ringo, someone will recognize them. It goes without saying how significant The Beatles were for the music industry, but what isn't said nearly enough is how important they can be for your wallet. The Beatles merchandise is some of the only pop culture collectibles that don't suffer from low-values because of the sheer amount of it that was sold. After all, 'tis the season for making a good decision while vinyl's still hot; hunt down some of the most valuable Beatles albums and records to sell for college tuition level amounts of money.
They say that everything sounds better on vinyl, and while playing your favorite double-sided LP over and over again may be great for your ears, it's terrible for your wallet. Some well-preserved albums from top talent can sell for hundreds of thousands of dollars to interested collectors and fans around the world. And, of course, The Beatles vinyl collection that stretches the 1960s and beyond tops the list of valuable albums you can sell. From little known compilation records to number one albums, all of these Beatles albums and records are worth looking for at the record store and in your grandparent's dusty collection.
I am relatively new to The Beatles. I have liked their music for a good while, but been only a casual listener. Now I am planning to buy their LPs on vinyl, but I am hesitating a bit due to the question of which releases to buy. One debate that has interested me particularly is the mono vs stereo debate. I see that it is a widespread opinion that The Beatles sound better in mono, particularly when it comes to their early LPs.I have no experience with mono records, as the only mono records I own are a few singles. So is there anyone who could elaborate on this? Could anyone try to explain how the mono and stereo versions sound compared to each other? I know that it might sound like a weird question, but I really don't have a clue. And what are the opinions regarding which albums who sound best in each format?
I would like to note that I don't intend to listen to my records with headphones. I also want to note that I have a mono switch on my amp so I can play stereo records in mono if I want to. Is there still a point in getting the mono records, at least of some albums? I would also note that I plan to buy old analog pressings, rather than recent digital reissues, so the question of which versions who have the best remastering is not really an issue.
Chang comes in each day to play the records selected by visitors (or by his own choosing), and is also continuing to buy new ones for his collection during the installation. He exclusively buys the first edition, and only those under $20 in order to have some with well-worn character (one even has a cigarette burn all the way through its vinyl, another had its sleeves replaced with paper towels). 041b061a72