When Was The First Beatles Album Released

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When Was The First Beatles Album Released
When Was The First Beatles Album Released

When Was The First Beatles Album Released – “The first album was recorded in one long twelve-hour session, the last song that was recorded was a song called Twist and Shout that almost killed me.” JAN

“We all thought, ‘Well, what about this? What with that? because this album was basically what we lived in clubs. GEORGE

When Was The First Beatles Album Released

When Was The First Beatles Album Released

“Oh god, that’s it, a piece of plastic. And that piece of plastic was like gold, you know. You’d sell your soul. You’d sell your soul to get on that little record.” RING

Beatles Swan Song

“John had to save Twist and Shout for last and sucked on Zoobs all day – those little throat pills. And he had to do Twist and Shout at the end knowing he had to do it at the end because it just took him out of his throat torn to do it. It was amazing. You can still hear it on the record.” PAUL

The Beatles’ album Please Please Me was almost released by Parlophone on 22 March 1963 to capitalize on the huge success of the title track, which was the group’s second single and first number one single. 1 on most UK charts.

Ten of the fourteen tracks on the album were recorded in just one day – February 11, 1963. These included a mix of scene favorites and “Lennon-McCartney originals”. The four remaining tracks were taped in 1962, making up the B-side of their debut release and both sides of their second single. A slightly later recording of “Love Me Do” was chosen for the album after the previously released one. This version also appeared on the following EP, and later on the US No. 1 single in 1964.

The iconic cover photo was taken at the then EMI Limited headquarters at 20 Manchester Square in London’s West End in early 1963 by Angus McBean. EMI stayed in the building until 1995, after which it moved to West London, taking the famous balcony railing with it.

Please Please Me

At the time, the UK album charts were dominated by more “adult” tastes such as movie soundtracks and easy listening singers, it was a surprise when Please Please Me hit the top of the charts in May 1963 with thirty left. weeks before being replaced by With The Beatles.

Please Please Me did not receive an official US release until 1987, but “Introducing The Beatles” released in early 1964 on the Vee-Jay label and “The Early Beatles” released on Capitol Records the following year featured many songs from the UK release .

“The Beatles opened a copy of NME and looked proudly at the charts when Please Please Me recently hit the top. It was a big moment for the talented lads from Liverpool, well worth the long wait. The Beatles, a British r-and-b group. Thedisc “Please Please Me” follows in the footsteps of its first hit “Love Me Do”, written by group members John Lennon and Paul McCartney. The Beatles seem to have a bright future, but knowing them, I don’t think it went to their heads.” NME March 8, 1963 The Beatles recorded most of their debut album, Please Please Me, in one studio session. Read our hour-by-hour coverage.

When Was The First Beatles Album Released

The last notes of “Please Please Me” still hung in the musty air of EMI’s Studio Two on November 26, 1962, as George Martin’s disembodied voice hummed through a conversation with the control room above. “Gentlemen,” he said to his mop-clad young accusers, “I think you’ve made your first number one.” The seasoned producer had a keen ear for hits, but it took several months for the Beatles to take their second single to the top of the charts. Released on January 11, the song received an unexpected boost from Mother Nature the following week. The winter of 1963 was one of the most brutal in England’s history, with record cold conditions forcing many to spend Saturday nights at home watching television, just in time to catch a band playing one of the first national broadcasts. on ITV’s pop music show Thank Your Lucky Stars. As the band swung into sync with their latest album, viewers were blown away by the instantly humming melody, cascading harmonies, relentless beat and – for early 1960s Britain – ridiculously long hair. Almost overnight, the single skyrocketed.

The Long And Winding Saga Of Glyn Johns’ Lost Beatles Album

Martin knew the next logical step would be to get the full-length LP to stores as soon as possible. He initially considered recording live at the band’s home base in Liverpool. “I was in the Cavern and I saw what they could do – I knew their repertoire, I knew what they could do,” he recalled in the 1995 documentary The Beatles Anthology. Inexpensive and practically simple to manufacture, the format itself had many advantages. He had achieved great success two years earlier when he recorded the extremely popular satirical revue Beyond the Fringe (starring the young Dudley Moore and Peter Cook) on a tape recorder directly in front of the stage of London’s Fortune Theatre. But the underground Cave, with its concrete walls that act as a natural echo chamber, was not suited to such an endeavor. Instead, Martin played the electricity of Beatles concerts in a recording studio: “I said, ‘Let’s record every song you have. Come down and we’ll whistle it in a day.”

Recording a full album in such a short time didn’t seem like an unreasonable request in 1963. The songs were recorded live on a two-track BTR machine, leaving little room for overdubs or complex edits. Also, “Please Please Me” and the B-side “Ask Me Why” were already in the can, as was the Beatles’ first single “Love Me Do”, backed by “P.S. Kocham Cie”. 10 tracks left to fill the usual 14 tracks on the UK LP. “It was a simple performance of her stage repertoire – more or less a broadcast,” Martin said, as were her regular sessions on BBC radio. Their manager, Brian Epstein, had relieved them of gigs the day before, so they arrived at EMI Studios at 10:00 a.m. on February 11, 1963.

At least that was the idea. Instead, they showed up late and John Lennon had a cold. “[His] voice was beautifully recorded,” recalled session engineer Norman Smith in Mark Lewisohn’s The Complete Beatles Recording Sessions. Cans of Zubes throat pills lay strewn across the lid of a child’s wing in the corner. Nearby, bandmates were standing on stools, working out the day’s setlist with Martin. “We were constantly on edge,” said George Harrison in the Anthology. “We went through all the songs before we recorded anything. We played for a while and George Martin was like, ‘Well, what else have you got? Paul McCartney wanted to record the old Marlene Dietrich ballad “Falling in Love Again”, but the number was vetoed by Martin, who considered it “a pinch”. The same was true of “Besame Mucho”, made famous by the Coasters, which had been a perennial favorite of the Beatles since the 1960s. Instead, Martin insisted on “A Taste of Honey”, a relatively new addition to the set that he felt would sound better on record.

They opted for four originals and then chose six covers that they managed to break through in no time. “We knew the songs because it was an act we were doing all over the country,” Ringo Starr told Anthology. “So we were able to easily go into the studio and record it. The situation with the microphone was also not complicated: one for each amplifier, two speakers for the drums, one for the vocalist and one for the bass drum. Young tape operator Richard Langham was one of the battalion of technicians who helped set up the equipment. As they miked their amps, just like on tour, he found speakers full of scraps of paper. “They were notes from the girls off the dance floor throwing them onto the stage,” Langham said. “They said, ‘Please play this, please play that, this is my phone number.’ I think they just read them and then threw them in the back of the amp.”

The Beatles: Abbey Road, Throat Lozenges, And The Frenetic Making Of Please Please Me

Soon they were ready, armed with the weapons of their choice: McCartney with his signature violin-shaped Hofner 1961 500/1 bass, a Starr’s Premier kit, Harrison’s beloved 1957 Gretsch Duo-Jet Lennon with his matching Jumbo and a 1958 Rickenbacker 325 “[It] was, ‘Pick it up and let’s go,’ because it was half past 10 [or] 11 by that time,” Langham said in a 2013 BBC documentary. EMI in the early 1960s was more of an institutional research facility than a creative space, and as such operated on rigid recording schedules. Sessions were held “strictly on time”, starting in the morning between 10:00 and 10:00

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