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or
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DO NOT BID !!
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 PLEASE READ COMPLETE ITEM DESCRIPTION BEFORE BIDDING
 

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ALL VINYL IS RATED VISUALLY
UNDER DIRECT SUNLIGHT & BRIGHT INCANDESCENT LIGHT

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A WORD ABOUT MY SHIPPING CHARGES

THERE'S A LOT MORE THAN JUST POSTAGE COSTS TO SHIP THE ITEMS I SELL. 

MOST OF THESE ITEMS REQUIRE:

1- ONE (1) OR MORE PROTECTIVE VINYL SLEEVES THAT I PURCHASE NEW
2- ONE or TWO PROTECTIVE CARDBOARD STIFFENERS THAT I PURCHASE NEW
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PLEASE TAKE THIS INTO CONSIDERATION WHEN YOU RATE MY SHIPPING CHARGES.

THANK YOU.

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Review the photos carefully, use them to determine if the item meets your standards. Ratings vary greatly from person to person so PLEASE BE SURE you want this item

--- BEFORE BIDDING ---

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SELLER RESERVES THE RIGHT TO CANCEL SALE AND RELIST  THE ITEM

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Shipping is GUARANTEED within 5 days of payment!!!
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SEE GOLDMINE RECORD GRADING INFORMATION at VERY BOTTOM

NOW THAT the SMALL PRINT is OUT of the WAY
________________

UP FOR AUCTION IS:
A BeaTes Collector's
DREAM
COME
TRUE
|
|
V
TWO (2) COPIES
of
The BeaTles
"PAPERBACK WRITER / RAIN"
____________________

FIRST UP
IS
"PAPERBACK WRITER"
b/w
"RAIN"
RELEASED IN EARLY JUNE 2010
as part of
RECORD STORE DAY APRIL 17 2010
ON THE
PARLOPHONE LABEL
LCO 3098 / SDRM / BEIM
5099964163970 / R 6813

Vinyl: NEW / MINT

Sleeve: NEW / MINT

PLEASE REVIEW PHOTOS CLOSELY

and

SECOND UP
IS

ORIGINAL 1966 CAPITOL RECORDS
PICTURE SLEEVE PRESSING
OF
The BeaTles
"PAPERBACK WRITER"
B/W
"RAIN"
45 RPM w/picture sleeve
CAPITOL # 5651

Vinyl: VG+

SLIGHT PAPER SCUFFING AND HAIRLINES

____

Picture Sleeve: VG+

SOME LIGHT RING-WEAR, RUFFLING - SMALL TEARS 

PLEASE REVIEW PHOTOS CLOSELY

__________________________

SOME HISTORY ABOUT THIS RECORD

Paperback Writer

"Paperback Writer"
US single sleeve Single by The Beatles B-side "Rain" Released 30 May 1966 (US)
10 June 1966 (UK) Format 7" Recorded 13 April 1966,
Abbey Road Studios, London Genre Rock, Pre-hard rock[1] Length 2:18 (stereo version)
2:26 (mono single version) Label Parlophone R5452 (UK)
Capitol 5651 (US) Writer(s) Lennon/McCartney Producer George Martin Certification Gold (RIAA)[1] The Beatles singles chronology "We Can Work It Out" / "Day Tripper"
(UK-1965)
—
"Nowhere Man"
(US-1965) "'Paperback Writer'" / "Rain"
(1966) "Eleanor Rigby" / "Yellow Submarine"
(1966)

"Paperback Writer" is a 1966 pop song recorded and released by The Beatles. Written by Paul McCartney[2] and credited to Lennon/McCartney, the song was released as the A-side of their eleventh single. The single went to the number one spot in the United States, United Kingdom, West Germany, Australia, New Zealand and Norway. Written in the form of a letter from an aspiring author to a publisher, "Paperback Writer" was the first UK Beatles single that was not a love song (though "Nowhere Man", which was a single in the US, was their first album song released with that distinction). On the US Billboard Hot 100, the song was at number one for two non-consecutive weeks, being interrupted by Frank Sinatra's "Strangers in the Night".

"Paperback Writer" was the last new song by The Beatles to be featured in their 1966 touring.

Recording

The track was recorded between 13 April and 14 April 1966.

"Paperback Writer" is marked by the boosted bass guitar sound throughout, partly in response to Lennon demanding to know why the bass on a certain Wilson Pickett record far exceeded the bass on any Beatles records.[3] This changed with the "Paperback Writer" single.

"'Paperback Writer' was the first time the bass sound had been heard in all its excitement," said Beatles' engineer Geoff Emerick in Mark Lewisohn's book The Complete Beatles Recording Sessions. "To get the loud bass sound, Paul played a different bass, a Rickenbacker. Then we boosted it further by using a loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current."[3]

Emerick stated that the "Paperback Writer" / "Rain" single was cut louder than any other Beatles record up to that time, due to a new piece of equipment used in the mastering process, referred to as "Automatic Transient Overload Control", which was devised by the EMI maintenance department.[4]

Personnel

• Paul McCartney – vocal, bass
• John Lennon – backing vocal, rhythm guitar
• George Harrison – backing vocal, lead guitar
• Ringo Starr – drums, tambourine

Song lyrics

According to disc jockey Jimmy Savile, McCartney wrote the song in response to a request from an aunt who asked if he could "write a single that wasn't about love."[7][8] Savile said, "With that thought obviously still in his mind, he walked around the room and noticed that Ringo was reading a book. He took one look and announced that he would write a song about a book."[7] In a 2007 interview, McCartney recalled that he wrote the song after reading in the Daily Mail about an aspiring author, possibly Martin Amis.[9] The Daily Mail was Lennon's regular newspaper and copies were in Lennon's Weybridge home when Lennon and McCartney were writing songs.[7]

The song's lyrics are in the form of a letter from an aspiring author addressed to a publisher. The author badly needs a job and has written a paperback version of a book by a "man named Lear." This is a reference to the Victorian painter Edward Lear, who wrote nonsense poems and songs of which John Lennon was very fond (though Lear never wrote novels).

Aside from deviating from the subject of love, McCartney had it in mind to write a song with a melody backed by a single, static chord. "John and I would like to do songs with just one note like 'Long Tall Sally.' We got near it in 'The Word.'"[10] McCartney claimed to have barely failed to achieve this goal with "Paperback Writer," as the verse remains on G until the end, at which point it pauses on C. The backing vocals during this section are from the French children's song "Frère Jacques"."[11]

"Butcher cover"

In Britain the single was promoted with the infamous "butcher cover" art, depicting The Beatles with raw meat and decapitated baby dolls tossed about. This photograph was also originally used as the cover for the Capitol US-only album Yesterday and Today.[12] The image was soon replaced with a normal picture of the band as it had caused great controversy in America. For the American release of the "Paperback Writer" single, the cover depicted The Beatles playing live, but with John Lennon and George Harrison's images reflected so that it appears that they are playing left-handed. (See the image at the top of the page).

Promotional films

Michael Lindsay-Hogg directed four promotional films for the song shot on 19 and 20 May 1966. On the first day they recorded a colour performance at Abbey Road, for The Ed Sullivan Show, which was shown on 5 June, and two black and white performance clips for British television. These were shown on Ready Steady Go! and Thank Your Lucky Stars on 3 June and 25 June, respectively.

On 20 May, another colour film was made at Chiswick House in west London. The Beatles mimed to the song, and they were shown in and around the conservatory in the grounds of the house. The clip was first broadcast in black and white on BBC-TV's Top of the Pops on 2 June.[13]

 

Rain

"Rain"
US single sleeve Single by The Beatles A-side Paperback Writer Released 30 May 1966 (US)
10 June 1966 (UK) Format 7" Recorded 14 April 1966
Abbey Road Studios Genre Psychedelic rock Length 2:59 Label Parlophone Writer(s) Lennon/McCartney Producer George Martin The Beatles singles chronology "We Can Work It Out" / "Day Tripper"
(UK-1965)
---
"Nowhere Man"
(US-1965) "Paperback Writer" / "Rain"
(1966) "Eleanor Rigby" / "Yellow Submarine"
(1966) [[:Image:|"Rain" by The Beatles]] [[Image:|220px|noicon|alt=]] Problems listening to this file? See media help.

"Rain" is a song by the English rock band The Beatles, credited to Lennon/McCartney. It was first released in June 1966 as the B-side of the "Paperback Writer" single. Both songs were recorded during the sessions for Revolver but neither appears on that album.

Written primarily by John Lennon, "Rain" has been called The Beatles' finest B-side, especially notable for its heavy sonic presence and backwards vocals, both of which were a hint of things to come on Revolver, released two months later.[1][2][3]

Three promotional films were made for the song "Rain", starring the Beatles.[4] These videos, along with other Beatles videos at the time, sparked George Harrison to say during the Beatles Anthology, "So I suppose, in a way, we invented MTV."[5]

 Recording

The inspiration for "Rain" is agreed on by Neil Aspinall, the Beatles' roadie, and John Lennon. They both described the band's arrival in Australia, marked by rain and poor weather.[6] Lennon said, "I've never seen rain as hard as that, except in Tahiti", and later explained that "Rain" was "about people moaning about the weather all the time".[7]

Recording began on 14 April 1966, in the same session as "Paperback Writer", and concluded on 16 April, with a series of overdubs before mixing on the same day.[2][8] At that time, The Beatles were enthused about experimenting in the studio to achieve new sounds and effects.[9] These experiments were showcased in their influential seventh album, Revolver. Geoff Emerick, who was the engineer for both sessions, described one technique he used to alter the sonic texture of the track by recording the backing track "faster than normal." After playing the tape normally, "the music had a radically different tonal quality.[10] A similar technique was used to alter the tone of Lennon's lead vocal. It was recorded with the tape machine being slowed down, so making Lennon's voice sound higher when played back at normal speed.[11] The last verse of "Rain" includes backwards vocals, which was one of the first uses of this technique on a record.[7][12] The backwards vocals are Lennon singing the lyrics of the song: "When the sun shines," "Rain," and "If the rain comes, they run and hide their heads."[13] Both Lennon and producer George Martin have claimed credit for the idea; Lennon said:

“ After we'd done the session on that particular song—it ended at about four or five in the morning—I went home with a tape to see what else you could do with it. And I was sort of very tired, you know, not knowing what I was doing, and I just happened to put it on my own tape recorder and it came out backwards. And I liked it better. So that's how it happened.[14] ”

Emerick confirms Lennon's creative accident, but Martin remembers it differently:

“ I was always playing around with tapes and I thought it might be fun to do something extra with John's voice. So I lifted a bit of his main vocal off the four-track, put it on another spool, turned it around and then slid it back and forth until it fitted. John was out at the time but when he came back he was amazed.[2][10] ”

The "Paperback Writer"/"Rain" single was the first release to use a new device invented by the maintenance department at Abbey Road called "ATOC" for "Automatic Transient Overload Control". The new device allowed the record to be cut at a louder volume, louder than any other single up to that time.[10] On the final mix of the single, Lennon was on lead vocal and rhythm guitar (1964 Gretsch 6120 "Nashville"). Paul McCartney was on backing vocal as well as bass guitar (1964 Rickenbacker 4001S). George Harrison was on backing vocal and lead guitar (1962 Gibson Les Paul (SG) Standard). Finally, Ringo Starr played drums (Ludwig) and tambourine.[3][8]

Personnel

• John Lennon – vocal, rhythm guitar
• Paul McCartney – backing vocal, bass
• George Harrison – backing vocal, lead guitar
• Ringo Starr – drums, tambourine

Personnel per Ian MacDonald[3]

Musical structure

While technologically elaborate, "Rain" has a simple musical structure. Set in the key of G major, it begins with what Alan W. Pollack calls, "a ra-ta-tat half-measure's fanfare of solo snare drums", followed by a guitar intro of the first chord. The verses are nine measures long, and the song is in 4/4 time. Each verse is based on the G, C, and D chords (I, IV, and V). The refrain contains only I and IV chords, and is twelve measures long (the repetition of a six-measure pattern). The first two measures are the G chord. The third and fourth measures are the C chord. The third measure has the C chord in the so-called 6/4 (second) inversion. The fifth and sixth measures return to the G chord. The refrain, though seemingly slower than the verse, is at the same tempo. Pollack says this illusion is achieved by "the change of beat for the first four measures from its erstwhile bounce to something more plodding and regular". After four verses and two refrains, a short solo for guitar and drums is played, with complete silence for one beat. What is heard next is what Pollack calls "historically significant" reverse lyrics.[15] The Beatles pioneered the fade-out fade-in coda that was later used on "Strawberry Fields Forever" and "Led Zeppelin "Thank You".[16].

Release

It was released as a B-side to "Paperback Writer" in the United States (Capitol 5651) on 30 May 1966 and in the UK on 10 June 1966 (Parlophone R5452). It later appeared on the compilations Hey Jude in the US and Rarities in the UK. It also appeared on the Past Masters CD (Parlophone CDP 7 90044 2).[8]

Promotional films

The Beatles created three promotional films for "Rain"[4] which are considered among the early precursors of music videos.[17] The films were directed by Michael Lindsay-Hogg who worked with them earlier on the pop 1960 television programme Ready Steady Go![18] One features The Beatles walking and singing in a garden and a greenhouse (filmed 20 May 1966 filmed at Chiswick House in London).[4][19] The other two feature the band performing on a soundstage (filmed 19 May 1966, one in colour for Ed Sullivan and the other in black and white for the UK).[4][20] McCartney was injured in a moped accident on 26 December 1965, six months prior to the filming of "Rain" and closeups in the film reveal a scarred lip and a chipped tooth.[18][20] McCartney's appearance in the film played a role in the "Paul is dead" rumors from 1969.[8]

The Beatles Anthology documentary video includes a re-edit of two of these three clips, full of rhythmic fast cuts and several shots that went unused in the original videos.[21] This creates an impression that the videos were more technically complex, fast-paced, and innovative than was the case. For example, the backwards film effects shown here are 1990s creations. Such effects were actually first deployed in the "Strawberry Fields Forever" promotional film of January 1967.[22]

Reception

The song's highest chart position in the US was number twenty three (11 June 1966). The "Paperback Writer" single reached number one in the UK (for two weeks starting on 23 June 1966).[8] "Rain" is one of the Beatles's most critically acclaimed songs, appearing on best-of lists, including Rolling Stone magazine's The 500 Greatest Songs of All Time (#463).[23] AcclaimedMusic.net, ranks "Rain" at #557 on the Top 3000 Songs, the 22nd highest-rated Beatle song on the site.[24][25]

Notable in "Rain" is Ringo Starr's drumming which Starr rates as his best recorded performance.[26] Critics agreed: both Ian MacDonald and Rolling Stone said his drumming was "superb" and Richie Unterberger of Allmusic praised his "creative drum breaks".[12][27][28]

Paul McCartney also plays a complex bassline throughout the recorded performance.

"Rain" cover versions include Petula Clark, Ibex, Bongwater, Humble Pie, Shonen Knife, The Punkles and The Allman Brothers. The Grateful Dead performed the song throughout the 1990s, often as an encore. U2 has played the song in whole or in part throughout many of their tours.[29] Pearl Jam covered the song during their 1992 Pinkpop Festival show. Kula Shaker covered the song live at Reading Festival in 1996 as did Fairport Convention, featuring Dan Ar Braz, at the Cropredy Festival in 1997. Todd Rundgren has also covered the song[8], as has the late Dan Fogelberg, who reprised it as part of his own cover of "Rhythm of the Rain".

Beatles For Record Store Day

'Paperback Writer' to be re-issued
Click To View the Fullsize Image/s

Record Store Day has gained some stellar support, with The Beatles set to re-issue one of their classic singles.

Founded in the United States, Record Store Day is a means of celebrating the humble independent music shop. Nestled down side streets across the land, a good record shop can help energise a music scene - as well as keeping music geeks out of the rain.

This year Record Store Day has gained some stellar support. Canadian hardcore group Fucked Up wrote a passionate blog confirming their involvement, with the punk rockers set to issue several special singles.

Now record label Parlophone has thrown its weight behind the project. The label's back catalogue includes some well known names, who are set to issue limited edition singles on Record Store Day.

The Beatles are to re-issue what arguably ranks as their finest seven inch. 'Paperback Writer' opens with glorious harmonies before breaking into an astonishing freak-out riff.

Flipside 'Rain' was arguably more influential, with its backward vocals and guitar effects helping to pave the way for psychedelia. Ripped off to high heaven by Oasis, 'Rain' must surely stand as the finest B-side ever.

Joining The Beatles in Parlophone's celebration of 'Record Store Day' are the likes of Hot Chip, Tinie Tempah, Jonsi, Lily Allen and more.

Parlophone president Miles Leonard: “Parlophone and our artists recognise the importance of our Indie stores and their contribution to not only our new and developing artists but to our catalogue as a whole. Being able to support this campaign with some great 7" releases from The Beatles to Bat For Lashes is our way of thanking them for their continued support. After all 'Music Matters'.”

Record Store Day is on April 17th.

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The GOLDMINE STANDARD
for
RECORD GRADING

 
THE TRUTH BEHIND THE GRADES
 
Most of the time, LPs are sold with two grades — one for the record and one for the cover. We list only one grade, however, because with some exceptions, albums without covers are worthless, and covers without the accompanying record are worthless. If an album is graded VG for the cover and VG+ for the record, add the two values together and divide by 2 to get a rough estimate of the value of a “mixed-grade” LP.

Most records are graded visually. This is because most record dealers have lot of records — hundreds of thousands in some cases — and they don’t have the time to play their entire stock. That said, some defects are easy to see, such as scratches and warps. Others are subtle, such as groove wear from using a cheap or poorly aligned tone arm. It has been our experience that older LPs (1950s to about 1971) tend to play better than they look, and newer LPs (at least until 1989) tend to play worse than they look.
When grading your records, do so under a strong light. Look at everything carefully, and then assign a grade based on your overall observations.
______________________________________________________


Here are the standard grades for record albums, from best to worst.

SEALED ALBUMS  
Still-sealed albums can — and do — bring even higher prices than those in our listings. However, you must be careful when paying a premium for sealed LPs of any kind for several reasons:

1.  They may have been re-sealed.
2.  The records may not be in Near Mint condition.
3.  The record inside may not be the original or most-desirable pressing.
4.  Most bizarre of all, the wrong record my be inside. (I’ve had this happen to me; I opened a sealed album by on MCA artist only to find a record by a different MCA artist inside! Fortunately, I didn’t pay a lot of or that sealed LP. I would have been quite upset if I had!)

MINT (M)
These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition.

There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.

NEAR MINT (NM OR M-)
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect.

Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect.

Near mint records are shiny and free of visible defects. No writing, stickers, other markings or spindle marks appear on the label. No major factory defects are present; a record and label obviously pressed off center is not Near Mint.

If played, an NM record will do so without surface noise. Near Mint records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.

NM covers have no creases, ring wear or seam splits of any kind.

These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint!

It is estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. This is why they fetch such high prices, even for more common items. They must meet these standards to qualify.
 
VERY GOOD PLUS (VG+) OR EXCELLENT (E)
A good description of a VG+ Record is “except for a couple of minor things, this would be Near Mint.”

Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it is toward the high end of the grade, (sometimes called VG++ or E+).

VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that don’t affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, so long as repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ Covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable locataion. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VERY GOOD (VG)

Many of the imperfections found on a VG+ Record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a an NM record — are among the biggest bargains in record collecting, because moost of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.

VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail.

When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise won’t overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG covers will have many signs on human handling. Ring wear in the middle or along the edges of the cover, where the edge of a record would reside, is obvious; it may appear on all three sides, thought it won’t be obvious upon looking. Someone might have written on it or stamped a price tag on it, too.

GOOD (G), GOOD PLUS (G+) OR VERY GOOD MINUS (VG-)

Lower-grade records go for 10 to 15 percent of the Near Mint value, if you are lucky.

Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noicse and groove wear. The label is worn and exhibits significant ring wear, heavy writing or obvious damage caused by tring to remove tape or stickers and failing miserably.

A Good to VG- cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as huge radio station letters written across the front to deter theft.

If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.

POOR (P) AND FAIR (F)

Poor and Fair records go for 0 to 5 percent of the Near Mint value, if they go at all.

More likely, they end up going in the trash. Records are cracked, impossibly warped or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.

Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at all
7" - standard 45 RPM co - cut-out pc - picture sleeve sl - slight UK- United Kingdom (British Pressing) 10" - 10-inch vinyl LP dj - Disc Jockey (promo) pi - picture Insert (CD Single) sm spl - Seam Split US - United States (domestic pressing) 12" - 12-inch single ep - Extended Play promo - promotional copy soc - sticker on cover va - various artists bb - bb hole in cover imp - import ps - picture sleeve (45) sol - slicker on label wlp - white label promo boot - bootleg lp - 12" vinyl album quad - quadraphonic ss - still sealed woc - writing on cover cc - cut corner m - mono Lp re - reissue s/t - self titled wol - writing on label cd - compact disc nap - not affecting play ri - reissue tc - title cover (12" and CD's) xol - "x" on label cd3 - 3" compact disc single non-lp- not on full-length LP or CD rpm - revolutions per minute ti - title insert (CD single) * check the context, as "m" can also mean "mint" cd5 - 5" compact disc single oc - original cast recording rw - ring wear toc - tape on cover   coh - cut-out-hole ost - original soundtrack s - stereo Lp tol - tape on label