Frogtoon Music

The Beatles (Album) by The Beatles

Artist Biography For The Beatles

The Beatles Were An English Rock Band Formed In Liverpool In 1960. With The Line-Up Comprising John Lennon Paul McCartney George Harrison And Ringo Starr They Are Regarded As One Of The Most Influential Bands Of All Time. The Group Was Integral To The Development Of 1960s Counterculture And Popular Music's Recognition As An Art Form. Rooted In Skiffle Beat And 1950s Rock And Roll Their Sound Incorporated Elements Of Classical Music And Traditional Pop In Innovative Ways The Band Later Explored Music Styles Ranging From Ballads And Indian Music To Psychedelia And Hard Rock. As Pioneers In Recording Songwriting And Artistic Presentation The Group Revolutionized Many Aspects Of The Music Industry And Were Often Publicized As Leaders Of The Era's Youth And Socio-Cultural Movements. Led By Primary Songwriters Lennon And McCartney The Beatles Built Their Reputation Playing Clubs In Liverpool And Hamburg Over Three Years From 1960 Initially With Stuart Sutcliffe Playing Bass. The Core Trio Of Lennon McCartney And Harrison Together Since 1958 Went Through A Succession Of Drummers Eventually Settling With Pete Best In 1960 Who Played With Them For Two Years Before Being Replaced With Then Rory Storm & The Hurricanes Drummer Ringo Starr In 1962. Manager Brian Epstein Molded Them Into A Professional Act And Producer George Martin Guided And Developed Their Recordings Greatly Expanding Their Domestic Success After Their First Hit "Love Me Do" In Late 1962. As Their Popularity Grew Into The Intense Fan Frenzy Dubbed "Beatlemania" The Band Acquired The Nickname "the Fab Four" With Epstein Martin And Other Members Of The Band's Entourage Sometimes Given The Informal Title Of "fifth Beatle". By Early 1964 The Beatles Were International Stars Leading The "British Invasion" Of The United States Pop Market And Breaking Numerous Sales Records. They Soon Made Their Film Debut With A Hard Day's Night 1964 . From 1965 Onwards They Produced Increasingly Innovative Recordings Including The Albums Rubber Soul 1965 Revolver 1966 And Sgt. Pepper's Lonely Hearts Club Band 1967 And Enjoyed Further Commercial Success With The Beatles Also Known As "the White Album" 1968 And Abbey Road 1969 . In 1968 They Founded Apple Corps A Multi-Armed Multimedia Corporation That Continues To Oversee Projects Related To The Band's Legacy. After The Group's Break-Up In 1970 All Four Members Enjoyed Success As Solo Artists. Lennon Was Shot And Killed In December 1980 And Harrison Died Of Lung Cancer In November 2001. McCartney And Starr Remain Musically Active. The Beatles Are The Best-Selling Music Act Of All Time With Estimated Sales Of 600 Million Units Worldwide. They Hold The Record For Most Number-One Albums On The UK Albums Chart Most Number-One Hits On The Billboard Hot 100 Chart And Most Singles Sold In The UK. The Group Was Inducted Into The Rock And Roll Hall Of Fame In 1988 And All Four Main Members Were Inducted Individually Between 1994 And 2015. In 2008 The Group Topped Billboard's List Of The All-Time Most Successful Artists On The Billboard Hot 100. The Band Received Seven Grammy Awards Four Brit Awards An Academy Award For Best Original Song Score For The 1970 Film Let It Be And Fifteen Ivor Novello Awards. Time Magazine Named Them Among The 20th Century's 100 Most Important People. Former Rolling Stone Associate Editor Robert Greenfield Compared The Beatles To Picasso As "artists Who Broke Through The Constraints Of Their Time Period To Come Up With Something That Was Unique And Original "... In The Form Of Popular Music No One Will Ever Be More Revolutionary More Creative And More Distinctive ..." The British Poet Philip Larkin Described Their Work As "an Enchanting And Intoxicating Hybrid Of African-American Rock-And-Roll With Their Own Adolescent Romanticism" And "the First Advance In Popular Music Since The War". They Not Only Sparked The British Invasion Of The US They Became A Globally Influential Phenomenon As Well. From The 1920s The US Had Dominated Popular Entertainment Culture Throughout Much Of The World Via Hollywood Films Jazz The Music Of Broadway And Tin Pan Alley And Later The Rock And Roll That First Emerged In Memphis Tennessee. The Beatles Are Regarded As British Cultural Icons With Young Adults From Abroad Naming The Band Among A Group Of People That They Most Associated With UK Culture. Their Musical Innovations And Commercial Success Inspired Musicians Worldwide. Many Artists Have Acknowledged The Beatles' Influence And Enjoyed Chart Success With Covers Of Their Songs. On Radio Their Arrival Marked The Beginning Of A New Era In 1968 The Programme Director Of New York's WABC Radio Station Forbade His DJs From Playing Any "pre-Beatles" Music Marking The Defining Line Of What Would Be Considered Oldies On American Radio. They Helped To Redefine The Album As Something More Than Just A Few Hits Padded Out With "filler" And They Were Primary Innovators Of The Modern Music Video. The Shea Stadium Show With Which They Opened Their 1965 North American Tour Attracted An Estimated 55 600 People Then The Largest Audience In Concert History Spitz Describes The Event As A "major Breakthrough ... A Giant Step Toward Reshaping The Concert Business". Emulation Of Their Clothing And Especially Their Hairstyles Which Became A Mark Of Rebellion Had A Global Impact On Fashion. According To Gould The Beatles Changed The Way People Listened To Popular Music And Experienced Its Role In Their Lives. From What Began As The Beatlemania Fad The Group's Popularity Grew Into What Was Seen As An Embodiment Of Socio-Cultural Movements Of The Decade. As Icons Of The 1960s Counterculture Gould Continues They Became A Catalyst For Bohemianism And Activism In Various Social And Political Arenas Fuelling Movements Such As Women's Liberation Gay Liberation And Environmentalism. According To Peter Lavezzoli After The "more Popular Than Jesus" Controversy In 1966 The Beatles Felt Considerable Pressure To Say The Right Things And "began A Concerted Effort To Spread A Message Of Wisdom And Higher Consciousness". Other Commentators Such As Mikal Gilmore And Todd Leopold Have Traced The Inception Of Their Socio-Cultural Impact Earlier Interpreting Even The Beatlemania Period Particularly On Their First Visit To The US As A Key Moment In The Development Of Generational Awareness. Referring To Their Appearance On The Ed Sullivan Show Leopold States "In Many Ways The Sullivan Appearance Marked The Beginning Of A Cultural Revolution ... The Beatles Were Like Aliens Dropped Into The United States Of 1964. In 1965 Queen Elizabeth II Appointed Lennon McCartney Harrison And Starr Members Of The Order Of The British Empire MBE . The Beatles Won The 1971 Academy Award For Best Original Song Score For The Film Let It Be 1970 . The Recipients Of Seven Grammy Awards And Fifteen Ivor Novello Awards The Beatles Have Six Diamond Albums As Well As 20 Multi-Platinum Albums 16 Platinum Albums And Six Gold Albums In The US. In The UK The Beatles Have Four Multi-Platinum Albums Four Platinum Albums Eight Gold Albums And One Silver Album. They Were Inducted Into The Rock And Roll Hall Of Fame In 1988. The Best-Selling Band In History The Beatles Have Sold More Than 800 Million Physical And Digital Albums As Of 2013. They Have Had More Number-One Albums On The UK Charts Fifteen And Sold More Singles In The UK 21.9 Million Than Any Other Act. In 2004 Rolling Stone Ranked The Beatles As The Most Significant And Influential Rock Music Artists Of The Last 50 Years. They Ranked Number One On Billboard Magazine's List Of The All-Time Most Successful Hot 100 Artists Released In 2008 To Celebrate The US Singles Chart's 50th Anniversary. As Of 2017 They Hold The Record For Most Number-One Hits On The Billboard Hot 100 With Twenty. The Recording Industry Association Of America Certifies That The Beatles Have Sold 178 Million Units In The US More Than Any Other Artist. They Were Collectively Included In Time Magazine's Compilation Of The 20th Century's 100 Most Influential People. In 2014 They Received The Grammy Lifetime Achievement Award. There Are Two Holidays Celebrated For The Beatles Global Beatles Day On 25 June Each Year. On That Date In 1967 The Band Performed "All You Need Is Love" On Television. In 2001 UNESCO Created World Beatles Day On 16 January Each Year. This Date Has Direct Relation To The Opening Of The Cavern Club In 1957. Five Asteroids 4147 Lennon 4148 McCartney 4149 Harrison 4150 Starr And 8749 Beatles Are Named After The Beatles.

HOME THE BEATLES
POPULAR TRACKS MIXES ALBUMS
Video 1 : 50

Frogtoon Music -

Frogtoon Music Album Info: The Beatles

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 And The First Released By Their Own Record Label Apple. 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 Number One 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”. 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”— Both Lennon And Paul McCartney Had Quickly Found Themselves In Songwriting Mode Often Meeting “clandestinely In The Afternoons In Each Other’s Rooms” 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.” 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. In A 1980 Interview Lennon Acknowledged That The Maharishi Was The Inspiration For The Song “I Just Called Him ‘Sexy Sadie’. The 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. 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. 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. 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. 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 Which Occurred During The Final Mixing And Sequencing For The Album. The Session Was Attended By Lennon McCartney And Producer George Martin. Despite The Album’s Official Title Which Emphasised Group Identity Studio Efforts On The Beatles Captured The Work Of Four Increasingly Individualised Artists Who Frequently Found Themselves At Odds. The Band’s Work Pattern Changed Dramatically With This Project And By Most Accounts The Extraordinary Synergy Of The Beatles’ Previous Studio Sessions Was Harder To Come By During This Period. Sometimes McCartney Would Record In One Studio For Prolonged Periods Of Time While Lennon Would Record In Another Each Man Using Different Engineers. At One Point In The Sessions George Martin Whose Authority Over The Band In The Studio Had Waned Spontaneously Left To Go On Holiday Leaving Chris Thomas In Charge Of Producing. During One Of These Sessions While Recording “Helter Skelter” Harrison Reportedly Ran Around The Studio While Holding A Flaming Ashtray Above His Head. Long After The Recording Of The Beatles Was Complete Martin Mentioned In Interviews That His Working Relationship With The Beatles Changed During This Period And That Many Of The Band’s Efforts Seemed Unfocused Often Yielding Prolonged Jam Sessions That Sounded Uninspired. On 16 July Recording Engineer Geoff Emerick Who Had Worked With The Group Since Revolver Announced He Was No Longer Willing To Work With The Group. The Sudden Departures Were Not Limited To EMI Personnel. On 22 August Starr Abruptly Left The Studio Explaining Later That He Felt His Role Was Minimised Compared To That Of The Other Members And That He Was Tired Of Waiting Through The Long And Contentious Recording Sessions. Lennon McCartney And Harrison Pleaded With Starr To Return And After Two Weeks He Did. Upon Starr’s Return He Found His Drum Kit Decorated With Red White And Blue Flowers A Welcome-Back Gesture From Harrison. The Reconciliation Was However Only Temporary And Starr’s Exit Served As A Precursor Of Future “months And Years Of Misery” In Starr’s Words. Indeed After The Beatles Was Completed Both Harrison And Lennon Would Stage Similar Unpublicised Departures From The Band. McCartney Whose Public Departure In 1970 Would Mark The Formal End Of The Band’s Ensemble Described The Sessions For The Beatles As A Turning Point For The Group. Up To This Point He Observed “The World Was A Problem But We Weren’t. You Know That Was The Best Thing About The Beatles Until We Started To Break Up Like During The White Album And Stuff. Even The Studio Got A Bit Tense Then.” According To 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. 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 2010 The Actual Musician/instrument Lineup On The Track Remains Disputed. Though Not Formally Credited On The Album Eric Clapton Played Lead Guitar On Harrison’s “While My Guitar Gently Weeps”. 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. Harrison Who Had Invited Clapton To The Sessions Soon Reciprocated By Collaborating With Clapton On The Song “Badge” For Cream’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 1”. “Savoy Truffle” Also Features The Horn Section. Jack Fallon Played A Bluegrass Fiddle On “Don’t Pass Me By” And A Team Of Orchestral Players And Background Singers Appeared On “Good Night” Which Was Beatle-Free Except For Ringo’s Vocal . 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 Customizing 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. 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 Authorization From The Studio Chiefs Into The Number 2 Recording Studio At Abbey Road For The Band’s Use. 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. 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”. 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” The Avant-Garde Sensibilities Of Yoko Ono And John Cage In “Revolution 9” And The Lush Sentimentality Of Henry Mancini’s Film Scores 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. “Revolution 9” In Particular A Densely Layered Eight-Minute-And-Thirteen-Second Sound Collage Has Attracted Both Interest 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. Some Of These Songs Remained Acoustic On The Beatles Notably “Rocky Raccoon” “Blackbird” “Julia” “Cry Baby Cry” “I Will” And “Mother Nature’s Son” And Were Recorded In The Studio Either Solo Or By Only Part Of The Group. A Number Of Songs Were Recorded During These Sessions But Were Never Included On A Beatles Record Including Harrison’s “Not Guilty” Which He Rerecorded For His 1979 Self-Titled Album George Harrison Lennon’s “What’s The New Mary Jane” Which Has Been Previously Recorded And McCartney’s “Jubilee” Later Retitled “Junk” And Released On McCartney’s First Solo LP . Others 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 “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” Which He Would Eventually Re-Record As Solo Tracks And Release On His 1982 Album Gone Troppo And “Not Guilty” And Lennon’s Manic “What’s The New Mary Jane”. More Recently The Song “Revolution 1 Take 20 ” A Previously Unknown Track Surfaced In 2009 On The Europe-Only Bootleg Revolution Take…Your Knickers Off And Is Supposed To Connect “Revolution 1” And The Avant-Garde “Revolution 9” Both Of Which Appeared On The Beatles In An Attempt By Lennon To Record One Long Version Of “Revolution” Before Ultimately Splitting The Two Songs Up. 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. 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. The Beatles Shares The Same Release Date 22 November As The Beatles’ Second Album With The Beatles Released Five Years Earlier. 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. 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 Be The Beatles’ Most Successful Single With World Sales Over 5 Million By The End Of 1968 And 7.5 Million By October 1972. 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. The Beatles Was The Last Beatles Album To Be Released With A Unique Alternate Mono Mix Albeit One Issued Only In The UK And A Few Other Countries. Twenty-Eight Of The Album’s 30 Tracks “Revolution 1” And “Revolution 9” Being The Only Exceptions Exist In Official Alternate Mono Mixes. Several Of These Mono Mixes Are Quite Different From The Stereo Versions. 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. 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.” 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 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 High Contrast Black And White With No Grey Versions Of The Four Kelly Photographs. 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” And The Outline Of An Apple Embossed In Silver. 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. The Beatles Were At The Peak Of Their Global Influence And Visibility In Late 1968. Sgt. Pepper’s Lonely Hearts Club Band Released The Previous Year Had Enjoyed A Combination Of Commercial Success Critical Acclaim And Immense Cultural Influence That Had Previously Seemed Inconceivable For A Pop Release. Time For Instance Had Written In 1967 That Pepper Constituted A “historic Departure In The Progress Of Music—any Music ” While Timothy Leary In A Widely Quoted Assessment Of The Same Period Declared That The Band Were Prototypes Of “evolutionary Agents Sent By God Endowed With Mysterious Powers To Create A New Human Species.” After Releasing An Album That Had Delivered Such Critical Commercial And Generational Shockwaves The Beatles Faced The Inevitable Question Of What They Could Possibly Do To Top It. The Next Full-Length Album Whatever It Was Was Destined To Draw Considerable Scrutiny. The Intervening Release Of Magical Mystery Tour Notwithstanding Released As A Double-EP Package In The UK The Beatles Represented The Group’s First Major Musical Statement Since Sgt. Pepper And Thus Was A Highly Anticipated Event For Both The Mainstream Press And The Youth-Oriented Counter-Culture Movement With Which The Band Had By This Time Become Strongly Associated. Expectations To Say The Least Were High. The Reviews Were Mixed To Mostly Positive. * Tony Palmer In The Observer Wrote Shortly After The Album’s Release “If There Is Still Any Doubt That Lennon And McCartney Are The Greatest Songwriters Since Schubert Then … The Album The Beatles … Should Surely See The Last Vestiges Of Cultural Snobbery And Bourgeois Prejudice Swept Away In A Deluge Of Joyful Music Making…”
* Richard Goldstein Writing In The New York Times On 8 December 1968 Described The Album As A “major Success.”
* Another Review In The New York Times This One By Nik Cohn Considered The Album “boring Beyond Belief” And Described “more Than Half The Songs” As “profound Mediocrities.”
* Alan Smith In An NME Review Entitled “The Brilliant The Bad And The Ugly ” Derided “Revolution #9” As A “pretentious” Example Of “idiot Immaturity” And In The Following Sentence Assigned The Benediction “God Bless You Beatles!” To “most Of The Rest” Of The Album.
* The New Rolling Stone Album Guide Praises The Album But Maintains That It Has “loads Of Self-Indulgent Filler ” Identifying “Revolution #9” In Particular As “justly Maligned ” And Suggests That Listeners In The CD Era Who Can Program Digital Players To Skip Over Unwanted Tracks May Have An Advantage Over The Album’s Original Audience. Some Contemporary Critics Say The Album’s Inclusion Of Supposedly Extraneous Material Is A Part Of Its Appeal. Stephen Thomas Erlewine’s Review For Allmusic Contends That * “Each Song On The Sprawling Double Album The Beatles Is An Entity To Itself As The Band Touches On Anything And Everything They Can. This Makes For A Frustratingly Scattershot Record Or A Singularly Gripping Musical Experience Depending On Your View But What Makes The White Album Interesting Is Its Mess.” One Important Current Trend In Critical Assessments Of The Album Is To Draw Parallels Between The Band’s Disintegrating Ensemble And The Chaotic Events Of The Tumultuous Year In Which The Beatles Was Created 1968. Along These Lines Slant Magazine Observed That * “ The Album Reveals The Popping Seams Of A Band That Had The Pressure Of An Entire Fissuring Generational/political Gap On Its Back. Maybe It’s Because It Shows The Beatles At The Point Where Even Their Music Couldn’t Hide The Underlying Tensions Between John Paul George And Ringo Or Maybe Because It Was Coincidentally? Released At The Tail End Of A Year Anyone Could Agree Was The Embittered Honeymoon’s End For The Love Generation The Year When To Borrow From A Famous Yeats Poem The Center Decidedly Could Not Hold … For Whatever Reason The Beatles Is Still One Of The Few Albums By The Fab Four That Resists Reflexive Canonization Which Along With Society’s Continued Fragmentation Keeps The Album Fresh And Surprising.” In 1997 The Beatles Was Named The 10th Greatest Album Of All Time In A ‘Music Of The Millennium’ Poll Conducted By HMV Channel 4 The Guardian And Classic FM. In 1998 Q Magazine Readers Placed It At Number 17 While In 2000 The Same Magazine Placed It At Number Seven In Its List Of The 100 Greatest British Albums Ever. In 2001 The TV Network VH1 Named It As The 11th Greatest Album Ever. It Was Ranked Number 10 In Rolling Stone’s List Of The 500 Greatest Albums Of All Time In 2003. In 2006 The Album Was Chosen By Time Magazine As One Of The 100 Best Albums Of All Time. On The 40th Anniversary Of The Album’s Release The Vatican Newspaper L’Osservatore Romano Published A Lengthy Article Which Declared That “Forty Years Later This Album Remains A Type Of Magical Musical Anthology 30 Songs You Can Go Through And Listen To At Will Certain Of Finding Some Pearls That Even Today Remain Unparalleled.” Forgiving Lennon’s “more Popular Than Jesus” Remark The Paper Called The White Album The “creative Summit” Of The Beatles’ Career Comparing It Favourably To Contemporary Music And Taking Note Of The Now Antiquated Equipment Used Concluding That “a Listening Experience Like That Offered By The Beatles Is Truly Rare.” Ian MacDonald In His Book Revolution In The Head Argues That The Beatles Was The Album In Which The Band’s Cryptic Messages To Its Fan Base Became Not Merely Vague But Intentionally And Perhaps Dangerously Open-Ended Citing Oblique Passages In Songs Like “Glass Onion” E.G. “the Walrus Was Paul” And “Piggies” “what They Need’s A Damn Good Whacking” . These Pronouncements And Many Others On The Album Came To Attract Extraordinary Popular Interest At A Time When More Of The World’s Youth Were Using Drugs Recreationally And Looking For Spiritual Political And Strategic Advice From The Beatles. Steve Turner Too In His Book A Hard Day’s Write Maintains That With This Album “The Beatles Had Perhaps Laid Themselves Open To Misinterpretation By Mixing Up The Languages Of Poetry And Nonsense.” Bob Dylan’s Songs Had Been Similarly Mined For Hidden Meanings But The Massive Countercultural Analysis Of The Beatles Surpassed Anything That Had Gone Before. Even Lennon’s Seemingly Direct Engagement With The Tumultuous Political Issues Of 1968 In “Revolution 1” Carried A Nuanced Obliqueness And Ended Up Sending Messages The Author May Not Have Intended. In The Album’s Version Of The Song Lennon Advises Those Who “talk About Destruction” To “count Me Out.” As McDonald Notes However Lennon Then Follows The Sung Word “out” With The Spoken Word “in.” At The Time Of The Album’s Release — Which Followed Chronologically The Up-Tempo Single Version Of The Song “Revolution” — That Single Word “in” Was Taken By Many On The Radical Left As Lennon’s Acknowledgment After Considered Thought That Violence In The Pursuit Of Political Aims Was Indeed Justified In Some Cases. At A Time Of Increasing Unrest In The Streets And Campuses Of Paris And Berkeley The Album’s Lyrics Seemed To Many To Mark A Reversal Of Lennon’s Position On The Question Which Was Hotly Debated During This Period. However The Recording Chronology Belies The Interpretation That From The Single To The Album Lennon Moved From A Definite Position To One Of Ambivalence Since Despite The Single’s Earlier Release It Was The Album Version That Was Recorded First. Cult Leader Charles Manson Persuaded Members Of His “family” That The Album Was An Apocalyptic Message Predicting A Prolonged Race War And Justifying The Murder Of Wealthy People. In October 1969 A Detroit Radio Program Began To Promote Theories Based On Clues Supposedly Left On The Beatles And Other Beatles Albums That Paul McCartney Had Died And Been Replaced By A Lookalike. The Ensuing Hunt For Clues To A Cover Up That The Beatles Presumably Wanted To Suppress And Simultaneously Publicise Became One Of The Classic Examples Of An Urban Legend. 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 At Number One In The UK On 1 December 1968 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 Christmas Season 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 Number One. 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 Number Three 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 Far Less Than The More Than 200 Weeks For Sgt. Pepper’s . In The United States The Album Was Received With Huge Commercial Success. It Debuted At Number 11 Jumped To Number Two And Reached Number One In Its Third Week Spending A Total Of Nine Weeks At The Top. In All The Beatles Spent 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. Each Sale Is Counted As 2 Sales Because “The Beatles” Is A Double Record Set. Two Re-Issues In 1978 One By Capitol Records The Other By Parlophone Saw The Album Pressed On White Vinyl Completing The Look Of The “white” Album. In 1985 EMI Electrola Released A DMM Direct Metal Mastering White Vinyl Pressing Of The Album In Germany Which Was Imported To The United States In Large Numbers. Another Popular White Vinyl Pressing Was Manufactured In France. The 1978 Parlophone White Vinyl Export Pressing And The German DMM Pressing Are Considered By Many To Be The Best-Sounding Versions Of The Album. This Is Due To The Use Of The Famed Neumann Lathe On The 1978 Export Pressing And The Use Of The DMM Process On The 1985 Pressing. On 7 January 1982 Mobile Fidelity Sound Lab MFSL Released The Album In A Non-Embossed Unnumbered Version Of Cover With The ORIGINAL MASTER RECORDING Banner At The Top. Neither The Poster Nor Portraits Were Included. The Labels To The Discs Are White With Primarily Black Text And The Capitol Dome Logo At Three O’clock. The MFSL Discs Were Made With Super Vinyl A Heavy And Hard Compound That Provides An Extraordinary Quiet Playing Surface. Although MFSL Leased The Album From Capitol And Used The Company’s Sub-Master Many Fans Believe They Sound Superior To The Standard British And American Pressings. The Discs Were Stored In “rice Paper” Static-Free Dust-Free Inner Sleeves Enclosed In An Off-White Gatefold Reinforced Stiff Board That Fit Into The Custom Fabricated Album Jacket. The Album Was First Released On CD On 25 August 1987. In 1998 A 30th Anniversary Reissue Of The Album Was Released. The Packaging Of This Release Is Virtually Identical To Its Vinyl Counterpart. It Has The Same Pure White Gatefold Cover Complete With The Title The BEATLES In A Slightly Raised Embossed Graphic At A Slight Angle. It Also Included The Now-Classic Sequentially Numbered Serial Number On The Front Of This Cover Thus Making This One A Real Limited Edition. The Interior Of This Cover Features The Song Titles On The Left-Hand Side And The Four Black-And-White Photos Of The Group Members On The Right. This Version Of The Cover Even Accurately Mimics The Original British Vinyl Pressing From 1968 With The Openings For The Discs At The Top Rather Than The Sides. There Are Miniatures Of The Four Full-Colour Glossy Portrait Photos Included As Well As An Exact Replica Of The Poster With The Photo Collage On One Side And The Album’s Complete Song Lyrics On The Opposite Side. The CDs Are Housed In Black Sleeves Which Were Also Used For The Original British Album. This Commemorative Double CD Album Is Housed In A Clear Plastic Slipcase. On 9 September 2009 New Remasters Of All The Beatles Studio Albums Were Released. For This New Release The Slipcover Holding The CD Digipak Is Embossed In Much The Same Style As The Original Sleeve. Although There Is No Serial Number On The Front There Is A Serial Number Printed Along The Edges Of The CD Version.

Music Tags for The Beatles: