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WD_443/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 5 | | Medium: | oilstick on paper | | Size (inches): | 40.2 x 25.2 | | Size (mm): | 1020 x 640 | | Catalog #: | WD_0443 | | Description: | Signed, date and copyright in pencil on the reverse.
The Beatles In America - Bruce Spizer discussion about Capitol acetates and other Captiol rarities.
QUESTION: In your research and with your talks with former Capitol president Alan Livingston, did you discover if Capitol had plans to release further Beatles product-different compilations and configurations? Beatles historian and collector Gareth Pawlowski was in possession of several Capitol acetate albums (originally owned by Brian Epstein), that involved more Beatles interviews.
SPIZER: As discussed in my Capitol album book, Capitol prepared acetates in the summer of 1964 for a double LP titled "Best Of The Beatles." It was never released. There were also a few acetates prepared for potential interview discs. These would have been done in a style similar to "The Beatles' Story." I recently came across the paper work and tape for yet another interview LP. It came with a memo from Alan Livingston saying that the interview was available for use. I didn't get the impression that Capitol seriously considered putting it out. It was just something to file away for possible future use.
QUESTION: Why was the Hollywood Bowl album delayed for release until 1977? The perennial rumor is that Capitol will release the Hollywood Bowl album this year on CD. Do you know anything about this?
SPIZER: Capitol recorded the Beatles in August of 1964 and 1965 at the Hollywood Bowl. In 1964, the plan was to release a live album quickly to give plenty of time for Christmas sales. Capitol cut acetates and probably sent copies to Brian Epstein and George Martin. The label was very upset when word came back from England not to release the LP. Martin thought the crowd noise and the performances ruined the record. He believed that the studio performances were better. Capitol believed that the LP would sell in the millions. So, although Capitol desperately wanted to issue the live album, the Beatles and George Martin blocked it release. The same thing, more or less, happened in 1965.
The success of the Rock 'n' Roll Music album in 1976 proved that the public was willing to buy "new" Beatles product. It was only logical that the Hollywood Bowl tapes be pulled off the shelf. Capitol programmed a double album with performances from both 1964 and 1965. George Martin had other ideas. He and his engineers ran the Capitol tapes through a vintage tape machine and prepared a single record using what Martin considered to be the best performances from 1964 and 1965. As expected, the album was a big seller.
Eventually the Hollywood Bowl will be released legitimately on CD. Hopefully it will be expanded to include both full concerts. There are some bootleg CDs that sound wonderful. Because the technology has improved so much since 1977, Capitol/EMI/Apple could easily put out a terrific sounding CD of both shows. My guess is that the concerts will be out on CD within the next three years.
QUESTION: Is the Butcher cover the Holy Grail for collectors? Are there other Capitol records that are rarer? What are some of the rarer things in your collection?
SPIZER:...Capitol acetate albums are certainly much rarer, but they don't attract the multitude of collectors as the Butchers. That's probably a good thing as most acetates are limited to five or less copies!
QUESTION: You documented surviving acetates and stories behind a few Beatles albums that Capitol prepared, but did not release. How might that have changed things?
SPIZER: In the summer of 1964, Capitol prepared a double album called Best Of The Beatles, which was to combine the Capitol and Vee-Jay hits. While this would have been a terrific album, Capitol could not release it because Vee-Jay didn't lose its rights to its 16 Beatles songs until October of 1964. I don't know why Capitol's production department did not know that. So, much to the horror of the Capitol sales force, that LP never happened. Another interesting acetate was for a single LP from 1966 called Beatle Tour. It was similar in style and format to The Beatles Story, mixing music by the Hollyridge Strings with interviews of the members of the band. I don't know if that was going to be an official release or just a promo album. And of course, the album that most frustrated the Capitol sales force, the unreleased Beatles Live At The Hollywood Bowl from 1964. That album would have easily sold over two million copies in its first month, but George Martin and the Beatles blocked its release because they were not happy with the sound or the band's performance on a few songs. I own the mono acetate and it sounds fabulous. It captures the excitement of the concert. There are only three songs where the Beatles are slightly off on the vocals: I Want To Hold Your Hand, If I Fell and A Hard Day's Night. It would have been a great live album that would have sold extremely well.
QUESTION: Your book contains an image of a cover for Live At The Hollywood Bowl album that will no doubt attract a lot of attention and comment.
SPIZER: Yeah, I had some fun with that one. My research indicated that Capitol probably never prepared a cover for the album because the project was killed shortly after the acetates were cut. I wondered what the cover would have looked like, so I designed my version of the cover as I thought the Capitol art department would have done it in 1964. I combined aspects of Capitol's live Beach Boys album from 1964 with the basic layout of Something New. I then came up with text mimicking Capitol's style. My partner-in-crime was my pre-press person, Diana Thornton, who brought the ideas in my head to life. A few months after we printed the cover, I interviewed George Osaki, who was head of the Capitol art department during the sixties. He designed the unique Capitol album covers for those early LPs. George got a chuckle out of our creation, saying it was exactly what he would have done at the time.
From an interview for The World Beatles Forum.
http://www.beatle.net/twbf_interview.htm
-http://www.beatle.net/
The Beatles ACETATE Records
Reference Acetate - the process of deciding which songs or versions are to be used for any given record production. They frequency contain a different version of the song, a different mix, or are cut at a different speed from the released version; sometimes they contain a song that has never been released at all. If the master tapes are unavailable, or have been recorded over, then a acetate may be the only surviving copy of that particular piece of music.
Production Acetate - used in the process of producing photograph records.
Promotional Acetate - occasionally there may be enough acetate cut to a few select radio stations to play to gain airplay and advanced publicity.
Reference Acetate
1. Why, 1964
single-sided 45rpm 7-inch acetate with 'A Belinda Recording' label, titled in blue ballpoint.
This is one of the very earlist recordings of the Beatles, recorded while Pete Best was still in the band, backing Tony sheridan(who is the only singer on the record). It was original released in Germany in 1961 and released in the U.K. in 1964. The sound at the bigining of this acetate varies due to the erratic initial speed of the acetate cutting machine.
2. Can't Buy Me Love, 1964
single-sided 45rpm 7-inch acetate with Emidisc label, titled in blue ballpoint.
Brian Epstein's private collection(No.1), twelve-four acetate from 'Can't Buy Me Love' to 'Lovely Lita', passed to Gareth Pawlowski, after his death sold through Rockaway Records.
3. I Should Have Known Better, 1964
single-sided 45rpm 7-inch acetate cut by Geoff Emerick, with Emidisc label, titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.2
4. Tell Me Why, 1964
single-sided 45rpm 7-inch acetate cut by Geoff Emerick, with Emidisc label, titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.3
5. A Hard Days Night, 1964
single-sided 45rpm 7-inch acetate with Dick James Demo Disc label and typed title.
Brian Epstein's private collection, No.4
6. And I Love Her, 1964
single-sided 45rpm 7-inch acetate cut by Geoff Emerick, with Emidisc label, titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.5
7. I'm Happy Just To Dance With You, 1964
single-sided 45rpm 7-inch acetate cut by Geoff Emerick, with Emidisc label, titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.6
8. She's A Woman, 3:00, 1964
single-sided 45rpm 7-inch acetate cut by Geoff Emerick(GE), with Emidisc label, titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.7
9. A Ticket To Ride, 3:00, 1965
single-sided 45rpm 7-inch acetate cut by A.B.(A.B. Lincoln), with Emidisc label, titled in blue ink.
Brian Epstein's private collection, No.8
10. Yes It Is, 1965
AB single-sided 45rpm 7-inch acetate with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.9
11. If I Need ed Someone, 2:19, October 26, 1965
single-sided 45rpm 7-inch acetate cut by Vic Gann(VG) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.10
12. Drive My Car, 2:26, October 26, 1965
single-sided 45rpm 7-inch acetate cut by Vic Gann(VG) with Emidisc label titled in blue ballpoint.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.11
13. This Bird Has Flown, 2:03, October 27, 1965
single-sided 45rpm 7-inch acetate cut by Vic Gann(VG) with Emidisc label, titled in bluepoint.
This is the working title for the song released as 'Norwegian Wood(This Bird Has Flown)' on 'Rubber Soul'. It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.12
14. What Goes On, 2:46, November 10, 1965
single-sided 45rpm 7-inch acetate cut by Ken Scott(KS) with Emidisc label titled in blue ink.
It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.13
15. We Can Work It Out, 2:13, November 10, 1965
single-sided 45rpm 7-inch acetate cut by Geoff Emerick(GE) with Emidisc label titled in blue ink.
Brian Epstein's private collection, No.14
16. Wait, 2:13, November 15, 1965
single-sided 45rpm 7-inch acetate cut by Ken Scott(KS) with Emidisc label titled in blue ink.
Brian Epstein's private collection, No.15
17. 12-Bar Original, November 30, 1965
18. Paperback Writer, 2:25, 1966
single-sided 45rpm 7-inch acetate cut by Anthony Clark(AC) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.16
19. Mark 1, 2:53, May 2, 1966
single-sided 45rpm 7-inch acetate cut by Anthony Clark with Emidisc label titled in blue ballpont.
This is the working title for the song released as 'Tomorrow Never Knows' on 'Revolver'. It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.17
20. Yellow Submarine, 2:37, May 2, 1966
single-sided 45rpm 7-inch acetate cut by Geoff Emerick(GE) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.18
21. For No One, 2:00, June 8, 1966
single-sided 45rpm 7-inch acetate cut by Anthony Clark(AC) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.19
22. Granny Smith, 3:05, July 8, 1966
single-sided 45rpm 7-inch acetate cut by Anthony Clark(AC) with Emidisc label titled in blue ballpoint.
This is the working title for the song released as 'Love You To' on 'Revolver'. It was not released in the U.K. as 7-inch record.
Brian Epstein's private collection, No.20
23. Yellow Submarine/Eleeanor Rigby, July 25, 1966
bouble sided 45rpm 7-inch acetate cut by K.S. with Emidisc label titled in ballpoint.
24. A Day In The Life, 5:03, February 24, 1967
single-sided 45rpm 7-inch acetate cut by Phil McDonald(PMC) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.21
25. Getting Better, 2:45, March 9, 1967
single-sided 45rpm 7-inch acetate cut by Phil McDonald(PMC) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.22
26. SGT. Peper's Lonely Hearts Club Band, 2:19, March 14, 1967
single-sided 45rpm 7-inch acetate cut by Phil McDonald(PMC) with Emidisc label titled 'SARGENT PEPPERS' and dated in blue ballpoint, where the released version has 'Billy Shears', this version has a differnt ending where the last half minute of the song is a bass riff backed with guitars and horns.
Brian Epstein's private collection, No.23
27. Lovely Rita, 2:45, March 22, 1967
single-sided 45rpm 7-inch acetate cut by Phil McDonald(PMC) with Emidisc label titled in blue ballpoint.
Brian Epstein's private collection, No.24
28. Magical Mystery Tour, circa 1967
single-sided 45rpm 7-inch(15 cm) acetate of alternate unreleased recording (it has a differnt ending) of the track 'Magical Mystery Tour', stamped '634' on the reverse center.
29. Fool On The Hill, September 6, 1967
30. I Am The Walrus, September 6, 1967
31. Flying, September 8, 1967
32. Oh Darling, 1969
single-sided 45rpm 7-inch acetate, Emidisc label titled in blue ballpoint.
Unreleased version with differnt lead vocal.
33. ONE AFTER 909', 'STRAVINSKY', 'MAHARISH' and 'QUEEN SAYS NO'/'Teddy Boy' and Dialogue from 'Let It Be', 1969
double sided 10-inch acetate with Bell Custom label and typed titles, 'B'-side with additional Spector Productions label with felt pen titled 'TEDDY BOY' in Spector's hand, 'A'-side with 'ONE AFTER 909', 'STRAVINSKY', 'MAHARISH' and 'QUEEN SAYS NO'.
The McCartney composition 'Teddy Boy' was recorded during the 'Get Back' album sessions, and was track 2 on the B side of the first Glyn Johns-produced 'Get Back' album. It was not indicated in Johns's second version of the album, possibly because the knew McCartney was recording it for his first solo LP. It was later remixed by Phil Spector for possible inclusion on the album, despite the fact that this would have made the album and film sound tracks different, when his main task was to ensure continuity, and it would have been issued almost simultaneously with Paul's new, solo version of the song. Spector made two mixes of the song, one faithful to the January 25, 1969 recording, the other considerable edited down to 3 minutes 10 seconds.
34. 'The Long And Winding Road/Queen Says No/For You Blue', circa 1970
single sided 7-inch(17cm) acetate with Emidisc label titled in blue ballpoint 'The Long And Winding Road'.
An unusual acetate, as after 'The Long And Winding Road' it continues with the 'Queen Says No' dialogue from John and 'For You Blue' of which about the first 45 seconds can be heared.
35. The Long And Winding Road, 1970
single-sided 45rpm 7-inch(17.5cm) acetate, Emidisc label titled in blue ballpoint.
36. Let It be, 1970
single-sided 45rpm 7-inch(17.5cm) acetate witn Apple Custom label titled in black ballpoint.
37. I, Me, Mine, 1969-1970
single-sided 45rpm 7-inch(19cm)acetate witn Apple Custom label and typed titles.
this unreleased version of the song was used in the 'Let It Be' films and has a spoken introduction by George Harrison.
Production Acetate
1. 'BEATLES For Sale' album, 1964
double sided 12-inch test pressing of the U.K.release of the album with Parlophne test pressing label titled in blue ballpoint by Brian Epstein.
Promotional Acetate
1. Why, 1964
45rpm 7-inch single with 'MGM Special Disc Jockey Record' label, in a rare American stock picture sleeve.
2. 'A Hard Dy's Night' album, 1964
United Artists UAL 3366, in picture sleeve.
3. 'Let It Be' , circa 1970
three track, single sided promo ABKO-Beatle Promo 1970, with dialogue from the films.
7 inches(17.5cm)
Listed by Garp. Updated June 13, 1998.
-www.bekkoame.ne.jp/~garp/acetate1.htm
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