TITLE:  THE BEATLES-WHITE ALBUM

Label: APPLE RECORDS

Catalogue number: PCS  7067/PCS 7068

The matrices: YEX 709-1 (2 GDT)

                      YEX 710-1 (4 AR)

                      YEX 711-1 (3 GDD)

                      YEX 712-1 (2 OR)

Year : 1968

NUMBERED: No 0040417

1st press

Details of the specific copy: 1st pressing Stereo Copy, Top  opening 1968  issue.

rare label no EMI recording text  on any side Guarantee 1st Weke pressing!

condition: (VISUAL GRADING most of times)

The Sleeve : VERY GOOD  PLUS

•   Front Side  : Very light Creasing on the top left corners No edgewear No ringwear. 

                       very light  yellowing signs, not any writing. Emposed letter perfectly visble not any spot.

•   Back Side : Very light Creasing intop left corner , very light yellowing, a brown spot on top left side

•   Inners Side: Nice and clear, not any writing,  very light yelowing not any creasing not any cut

•   Spine: The laminate on the spine shows wear although the spine is clear and Fully readbale (even teh word beatle miss 1/3 of it height).

•   Edges: Shows some light edgewear .

The Labels: All labels are perfectly clear with only a few  spindle marks no writing light very ligh creasing.

"Sold in U.K. subject.to resale price conditions, see price lists" text on all four sdes"

The Vinyls : Both vinyls looks like VERY GOOD PLUS  at least. Quite a few paper scuffs nbut no hard scrathes , all side run smoothly with skips or pops.

         A side: VG+ +Quite a few  papers scuffs only, jet black shiny not any single hard feelable scratch. Light spindle marks on the label.

                       

         B Side: VG+ Quite a few  papers scuffs, and very few tine hairline scrathes, jet black shiny, only cuouple of  feelable scratches. Light spindle marks on the label.        

         C side: VG++ Quite a few  papers scuffs only, jet black shiny not any single hard feelable scratch. Light spindle marks on the label.

         D Side: VG+ Quite a few  papers scuffs, and very few tine hairline scrathes, jet black shiny, only cuouple of  feelable scratches. Light spindle marks on the label.  

 The inner sleeves: correct black inners in very good conidtion , light creasing an some small cut near the opening.

The Poster: Great  condition , matte paper Uk press Poster.

The Photos: complete set of 4 pictures .perfect.

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 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][edit]Instrumental contributions

According to Mark Lewisohn, McCartney played drums on "Back in the U.S.S.R." because Starr had left the group during the period when the song was being recorded.[11] Lewisohn also reports that, in the case of "Dear Prudence", also recorded during Starr's absence, the three remaining Beatles each made contributions on bass and drums, with the result that those parts may be composite tracks played by Lennon, McCartney and/or Harrison. As of 2008, the actual musician/instrument lineup on the track remains disputed.[citation needed]

[edit]Other musicians

Eric Clapton played lead guitar on Harrison's "While My Guitar Gently Weeps".[14] Harrison explains in The Beatles Anthology that Clapton's presence temporarily alleviated the studio tension and that all band members were on their best behaviour during his time with the band in the studio.[13] Harrison, who had invited Clapton to the sessions, soon reciprocated by collaborating with Clapton on the song "Badge" forCream's last album Goodbye.

Clapton was not the only outside musician to sit in on the sessions. Nicky Hopkins provided electric piano for the single cut of "Revolution" (recorded during these sessions); Hopkins also provided acoustic piano on a number of tracks. Several horns were also recorded on the album version of "Revolution".[citation needed] "Savoy Truffle" also features the horn section. Jack Fallon played a bluegrass fiddle on "Don't Pass Me By",[15]and a team of orchestral players and background singers appeared on "Good Night" (which was Beatle-free except for Ringo's vocal).

[edit]Technical advances

The sessions for The Beatles were notable for the band's formal transition from 4-track to 8-track recording. As work on the album began, Abbey Road Studios possessed, but had yet to install, an 8-track machine that had supposedly been sitting in a storage room for months. This was in accordance with EMI's policy of testing and customising new gear, sometimes for months, before putting it into use in the studios. The Beatles recorded "Hey Jude" and "Dear Prudence" at Trident Studios in central London, which had an 8-track recorder.[11] When they learned about EMI's 8-track recorder, they insisted on using it, and engineers Ken Scott and Dave Harries took the machine (without authorisation from the studio chiefs) into the Number 2 recording studio at Abbey Road for the band's use.[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]

[edit][edit]

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][edit]Sales

As it was their first studio album in almost eighteen months (and coming after the blockbuster success of Sgt. Pepper's Lonely Hearts Club Band) expectations were high at time of release of The Beatles. The album debuted straight at #1 in the UK on 1 December 1968,[40] (becoming their third album to do so, after Help! and Revolver). It spent seven weeks at the top of the UK charts (including the entire competitive Christmasseason), until it was replaced by The Seekers' Best of the Seekers on 25 January 1969, dropping to number two. However, the album returned to the top spot the next week, spending an eighth and final week at #1. Then, it spent another four weeks on the Top 10, and then dropped the charts quicker than Sgt. Pepper. The White Album was particularly notable for blocking the Beatles follow-up album, Yellow Submarine, which debuted (and peaked at) #3 on 8 February 1969, the same week The White Album was dominating the second position on the charts. In all, The Beatles spent 24 weeks on the UK charts (a far cry comparison to the over 200 weeks spent by Sgt. Pepper's).

In the United States, the album was received with huge commercial success. It debuted at #11, then reached #2, and finally peaked at #1 in its third week, spending a total of nine weeks at the top. In all, The Beatlesspent 155 weeks on the Billboard 200. According to the Recording Industry Association of America, The Beatles is The Beatles' best-selling album at 19-times platinum and the tenth-best-selling album of all time in the United States.

[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

 

All Items Are shipped from ATHENS Greece not from UK.

S&H to UK is 5.5 GBP for the first LP, 6.5 GBP for 2 LP sets of 2 LPs, and 2.5 GBP for each LP after.

S&H to the rest of the World is 6.2 GBP for the first LP, 8.5 GBP for 2 LP sets of 2 LPs, and 2.5 GBP for each LP after.

s&h to Greece is 4 GBP fro any order size!!!

Items that cost more than 50 GBp must be shipped with insurrance that is 3.5 GBp more. Please Do not pay before you receive our invoice. Thanks!

S&h to GREECE : 4GBP or any order Size, ??? ???????????? ? ?????????. ??? ??? ?????????

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