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Here And There Live! Vol. 2 (Audiofön AF-08)

Party At The Palace - June 3rd, 2002: Dame Edna, Her Majesty, Blackbird, George Martin, While My Guitar Gently Weeps (with Eric Clapton), Sgt. Pepper’s Lonely Hearts Club Band / The End, All You Need Is Love, Prince Charles, Hey Jude (complete), I Saw Her Standing There, The Long And Winding Road, With A Little Help From My Friends.

Air Canada Centre, Toronto, ON, Canada - April 13th, 2002: Mull Of Kintyre.

74th Annual Academy Awards, Kodak Theater, Hollywood, CA - March 25th, 2002: Vanilla Sky.

Tribute To George Harrison, Liverpool Empire Theatre - February 24th, 2002: Yesterday

Superbowl finale, New Orleans Superdome, New Orleans, LA - February 2002: Freedom, A Hard Day’s Night.

The Party at the Palace was a pop concert held in London in 2002. The event was in commemoration of the Golden Jubilee of Elizabeth II held over the Golden Jubilee Weekend June 1st to 4th, 2002. The concert itself was held at Buckingham Palace Garden on June 3rd, 2002. It was the pop equivalent of the Prom at the Palace, a classical music event. The event was touted as the greatest concert in Britain since Live Aid or possibly ever. Tickets to the event were determined by a lottery. 12,000 people attended the concert. An estimated 1 million people watched outside the Palace in The Mall and around the Queen Victoria Memorial, and 200 million on television. The concert included performances of many hit songs from the reign of Queen Elizabeth II. The event was the culmination of a national day of partying. The BBC Music Live Festival also occurred on the day. At 1:00 towns across the United Kingdom had bands play “All You Need Is Love” before church bells were rung around the country.

A minor controversy occurred in Britain after it was announced that the Rolling Stones would not perform at the concert. A controversy was also started after Tony Blair conducted an informal walkabout and some also expressed displeasure at Cherie Blair for what they perceived as excessive dancing and singing. Most of the set was released on silver soon after on Her Majesty’s Request (Now Disc NOW03) in 2002. Here And There Live! Vol. 2, the new release on Audiofön is an improvement since it includes a complete “Hey Jude” and three songs not present on Now, “I Saw Her Standing There,” “The Long And Winding Road,” and “With A Little Help From My Friends.” The sound quality for the set is excellent except for “I Saw Her Standing There,” which comes from a good audience recording.

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McCartney is introduced by Dame Edna introducing Paul as “our next contestant.” He begins with “Her Majesty” from Abbey Road. “I had to do it” he says afterwards. After “Blackbird,” Sir George Martin speaks for a couple minutes about how wonderful The Beatles were to work with, especially the late George Harrison who passed away nine months before. He then introduces Eric Clapton and Paul McCartney to sing one of Harrison’s compositions “While My Guitar Gently Weeps.” Clapton sings the verses and duplicates his solo from The Beatles while Paul plays on the psychedelic colored piano, Phil Collins plays drums and Ray Cooper plays around on percussion. Following is ”Sgt. Pepper’s Lonely Heart’s Club Band” segued with “The End” in the same arrangement McCartney introduced on tour before.

“All You Need Is Love” is introduced as something “I think you just might know it.” The orchestra starts with the opening melody of “God Save The Queen” before beginning the Beatle tune. McCartney is again joined by Eric Clapton and Phil Collins but this time is also joined by Brian May of Queen, Rod Stewart, Joe Cocker, Brian Wilson (standing behind the psychedelic piano but not playing), and a whole bunch of people who wander on stage to sing the chorus. Stewart takes the first verse but has a faulty microphone so is barely audible. Cocker takes the second verse while Paul takes the third. Prince Charles speaks for about a minute, thanks everybody for coming to the party and leads all in a cheer for “mum.”

“Let It Be” features Eric Clapton, Ozzy Osbourne, Tony Bennett, Dame Shirley Bassey, Joe Cocker, Phil Collins, The Corrs, Brian Wilson, Sir Elton John, Tom Jones (with Kermit the Frog on his shoulder), Annie Lennox, Ricky Martin, Rod Stewart, Steve Winwood, Sir Cliff Richard, and many more for a rousing finale. “I Saw Her Standing There” is merely fair quality, but is good to be included. “The Long And Winding Road” is performed by The Corrs from earlier in the day. Andrea delivers a gorgeous rendition on vocals with Sharon playing the melody on violin. The final song from the Queen’s Golden Jubilee is Joe Cocker’s cover of The Beatles “With A Little Help From My Friends” in the same arrangement that was a hit for him in 1968. Although neither of these tracks feature McCartney, it is nice to have these Beatle covers in this collection.

Audiofön include one track from the April 13th, 2002 Toronto show, “Mull Of Kintyre.” This comes from a very good but slightly distant audience recording. “Vanilla Sky” comes from an excellent soundtrack recording from the 74th Academy Awards ceremony on March 25th, 2002. This song, for the Cameron Crowe film of the same name, was nominated for an award but lost to “If I Didn’t Have You” by Randy Newman for the film Monsters, Inc. “Yesterday” comes from the George Harrison memorial concert held in Liverpool on February 24th, 2002. His appearance was a surprise since he wasn’t on the bill but appeared when fans encouraged him to attend. The source comes from a very good audience recording. Paul speaks for several minutes about growing up with him before dedicating the song to George. The song is sung a capella with the audience singing the chorus and with the lyrics changed to say “why he had to go / I don’t know / he wouldn’t say.” It is a poignant performance and this three minutes is the highlight of the entire disc.

The disc closes with Paul’s two songs for the pre-Super Bowl party on February 3rd, 2002 at the Super Dome in New Orleans. He sings “Freedom,” the song he wrote in response to the terrorist attack on the World Trade Center six months before. The disc ends with a thirty second snippet of McCartney singing “A Hard Day’s Night” with Terry Bradshaw. “I remember when he had hair” McCartney says to the reporter. Both tracks come from a professional source and is in excellent sound quality. Just as the first volume focused upon the resumption of Paul’s career after Linda’s death in 1999, volume two focuses upon material from 2002 with the death of George Harrison looming over the events. The label use several screen shots from the events taken straight from the television (hence pixelation issues), but the sound quality and the well thought out arrangement of the tracks make this recommended.

http://www.collectorsmusicreviews.com/mccartney-paul/paul-mccartney-here-and-there-live...

Ñêîðî!

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Audiofön will be issuing Paul McCartney Rocking At The Palace Square (AF 10), a two disc set documenting the St. Petersburg, Russia show on June 20th, 2004 in an excellent soundboard recording.

George Harrison 1974 US Tour (BFB 37) is a 3CD and 1DVD. The audio contains the Seattle show on November 4th, 1974, the DVD has the Bangla Desh press conference, six Dick Cavett Shows, Hari’s On Tour and home movies from the US tour.

The Beatles Every Little Thing (BFB 39) contains 8 CD’s of recording variations, rare mixes and musical odditties from around the world. A great collection of rarities from the entire Beatles recording career. Additional CD-Rom contains all 77 editions of the legendary The Beatles Monthly Book magazine, which were publised between 1963 and 1969. DVD: Hard Days And Hard Nights, rare recordings from 1964. NTSC. Lim. Ed. 500 numbered copies! Incl. 24 page booklet.

King Snake is coming out with Paul McCartney The Liverpool Sound (KS-019), a DVD with the June 1st, 2008 show in Liverpool available on NTCS format.

http://www.collectorsmusicreviews.com/announcements/news-and-new-releases-4/

Tarantura label

George Harrison with Eric Clapton Legends In The Material World is a three disc set with the December 17th, 1991 Tokyo show from a new tape source together with a bonus disc interesting material.

http://www.collectorsmusicreviews.com/announcements/new-releases-2/

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George Harrison
All Things Must Pass
US Stereo

The Japanese silver Dr. Ebbetts label released the US stereo All Things Must Pass (STCH 639), a digital transfer done in the summer of 2008.

http://www.collectorsmusicreviews.com/announcements/new-george-harrison/

Paul McCartney - Rocking At The Palace Square (Audiofön AF 10)

Palace Square, St. Petersburg, Russia - June 20th, 2004

Disc 1 (71:33): Jet, Got To Get You Into My Life, Flaming Pie, All My Loving, Let Me Roll It / Foxy Lady, You Won’t See Me, She’s A Woman, Maybe I’m Amazed, The Long And Winding Road, In Spite Of All The Danger, Blackbird, We Can Work It Out, Here Today, All Things Must Pass, I’ll Follow The Sun, For No One, Calico Skies, I’ve Just Seen A Face, Eleanor Rigby

Disc 2 (68:15): Drive My Car, Penny Lane, Get Back, Band On The Run, Back In The U.S.S.R., Live And Let Die, I’ve Got A Feeling, St. Petersburg (improvisation), Lady Madonna, Hey Jude, Yesterday, Let It Be, I Saw Her Standing There, Helter Skelter, Sgt. Pepper’s Lonely Hearts Club Band (reprise) / The End

Paul McCartney’s first show in Russia occurred in 2003 in Moscow and it took another year for his second. Close to the end of the 14 date ‘04 Summer Tour he made a return trip to Russia, this time in St. Petersburg. This show occurred two days after sixty-second birthday and, as it turns out, was his three thousand concert. The complete video tape was released several years ago on 04 Summer In Russia on MBE and eleven songs, “Jet,” “Got To Get Into My Life,” “Flaming Pie,” “Let Me Roll It,” “Drive My Car,” “Penny Lane,” “Get Back,” “Back In The USSR,” “I’ve Got A Feeling,” “Sgt. Pepper’s Lonely Heart Club Band (Reprise)/The End,” and “Helter Skelter,” are included on the officially released DVD Paul McCartney in Red Square. Audiofön presents the complete show sourced from a professionally recorded and mixed tape that sounds like an official release. The balance is flawless and clarity is perfect making this one of the best ever McCartney titles available.

The tape is excellent in capturing the excitement and warmth of the entire event, which the BBC reported, “Sir Paul McCartney has played his 3,000th concert before 60,000 fans in the Russian city of St Petersburg. The two-and-a-half hour open air show was late starting, due to strict security arrangements. It was Sir Paul’s first concert in the Russian city and the 3,000th time he has played since joining The Quarrymen at the age of 15. ‘I was amazed when people told me I’ll do my 3,000th gig on this tour,’ he said earlier this week. Sir Paul is thought to have played with The Beatles 2,523 times. He is also reported to have played 140 concerts with his band Wings and 285 as a solo artist.

“The singer celebrated his 62nd birthday on Friday, and President Vladimir Putin telephoned him to offer congratulations. The concert, in a city centre square near the Winter Palace, was a sell-out, with tickets changing hands for up to $500. There were 2,500 policemen on duty, with fans going through three security checks before being allowed to enter the square. The crowd sang along with most of the songs, the Beatles hit Back in the USSR proving particularly popular. Sir Paul addressed the audience in English and Russian and was wildly applauded when he returned for an encore carrying the Russian flag.”

The setlist remained the same as on the rest of the dates with a mix of some newer material, Wings hits and the Beatles classics all encapsulated in the opening three songs. The enthusiastic audience serenade Paul with “Happy Birthday” after “All My Loving.” The BBC report is accurate in describing the audience singing along to almost every tune and the mix captures that well. It is apparent especially when they play “She’s A Woman,” a particular favorite to St. Petersburg. (A friend of mine studied in St. Petersburg in the summer of 1992 and she told me that buskers in the subway would sing this song.)

After “The Long And Winding Road” Paul plays an acoustic set, which he introduces by saying, “this is the part of the show where everybody leaves me alone with you in Palace Square…do you understand my Russian? Not bad for an Englishman.” He continues with the story of his first recording before “Despite Of All The Danger” and afterwards quips ”what do you expect for £5?”

An interesting subset occurs with “We Can Work It Out,” Lennon and McCartney’s song about working towards reconciliation and follows with “Here Today,” McCartney’s ode to his friendship to Lennon which can be seen somewhat as a coda to the Beatles tune. To include the other Beatle who passed away too soon, he sings George Harrison’s “All Things Must Pass.” “I’ll Follow The Sun” is extended as far as possible and at the end of “For No One” Paul brings ”I’ll Follow The Sun” back again for another coda.

A quick succession of hits follow before Laborial acknowledges this to be McCartney’s three-thousandth concert and asks the crowd if they want to see fire before the incendiary (both musically and visually) “Live And Let Die.” “St. Petersburg” in the setlist is a short catchy melody thanking the rain for not ruining the show and about how beautiful the city is. The final half hour of the show presents another succession of absolute classics that sounds like a list of the most influential songs ever recorded: “Yesterday,” “Hey Jude” and “Let It Be.” The final encore of the show is a long version of “Sgt. Pepper’s Lonely Hearts Club Band” segued with “The End” from Abbey Road including all of the guitar and drum solos from the studio track. Afterwards the audience won’t leave and Paul has to convince them it really is the end of the show. Audiofön utilize a double slimline jewel case with attractive looking graphics on the artwork. Their last three McCartney releases have been very strong and they continue with this one as well.

http://www.collectorsmusicreviews.com/mccartney-paul/paul-mccartney-rocking-at-the-pala...

Wings - Live In Groningen (Darthdisc DD 009)

Evenementenhal, Groningen, Netherlands - August 19th, 1972

(74:18) Instrumental, Eat At Home, Smile Away, Bip Bop, Mumbo, 1882, I Would Only Smile, Give Ireland Back To The Irish, Blue Moon Of Kentucky, The Mess, Best Friend, Soily, I Am Your Singer, Seaside Woman, Say You Don’t Mind, Wild Life, Will The Circle Be Unbroken, My Love, Mary Had A Little Lamb

Live In Groningen is a 2001 silver pressed release of a newly discovered and distributed audience recording from Wings’ first tour in Europe in the summer of 1972. The liner notes with the CDR release (which are not replicated on the silver) give the background story, stating:

“The Wings show on this CD was transferred from a previously unbooted open reel tape marked ‘Wings In Paris 1972.’ But collectors will recognize the performance, or at least, part of it. Sections of it appeared on the rare Oriental Nightfish vinyl bootleg [’Eat At Home,’ ‘Mumbo,’ ‘Best Friend,’ ‘1882,’ and ‘I Would Only Smile’ on Oriental Nightfish (Hoffman Avenue HAR 169)], and a longer segment has changed hands on tape. In both cases, the show was identified as ‘Sweden.’ Actually, it appears to be neither Sweden nor Paris, although we cannot be entirely sure exactly what it is. McCartney makes no location references during the show, but us heard saying dank u - thank you, in Dutch. We have (at least) extractions from most of the 1972 Dutch shows, and the performances here do not match those.

“One show that had not made the rounds was Groningen (although we do have part of a sound-check). So putting 2 and 2 (or maybe 1 and 3/4) together, we’re guessing that this is that long lost Groningen Show. Or most of it. This tape plays a good deal longer than the copied down ‘Sweden’ tape, and it includes a true anomaly: A version of ‘Will The Circle Be Unbroken’ - a song not known to have appeared on any other Wings set list - is heard where the band more typically broke into ‘Turkey In the Straw.’ The Tape is not complete. Missing is the closing segment, ‘Maybe I’m Amazed,’ ‘Hi Hi Hi,’ and ‘Long Tall Sally.’ Oddly, ‘Best Friend’ was missing from this source as well. But it had been included in the so called ‘Sweden’ tape, so the performance from that source was restored to its place here. - Neo, 2001″

The sound quality is fair to good with significant amounts of distortion except for “Best Friend” which is poor. As a rare tape from a poorly documented period it is good, but the lo-fi experience means it won’t be played too often. This has the set list from the era except that “Henry’s Blues,” which normally follows “I Am Your Singer,” was dropped. The performance, a mixture of songs from the first two Wings albums, his latest singles “Give Ireland Back To The Irish” and “Mary Had A Little Lamb,” and several covers, is low key and delivered at a quick pace. Live In Groningen comes packaged in a normal jewel case with the artwork duplicated from the circulating CDR release.

http://www.collectorsmusicreviews.com/mccartney-paul/wings-live-in-groningen-darthdisc-...

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Wings - Wild Live (Mainstream MAST-023/024)

Vejlby Risskov Hallen, Aarhus, Denmark - August 14th, 1972

Disc 1 (63:01): Introduction, Eat At Home, Smile Away, Bip Bop, Mumbo, 1882, I Would Only Smile, Give Ireland Back To The Irish, Blue Moon Of Kentucky, The Mess, Best Friend, Soily, I Am Your Singer, Seaside Woman, Henry’s Blues

Disc 2 (65:05): Say You Don’t Mind, Wild Life/Henry’s a capella, Mary Had A Little Lamb, Maybe I’m Amazed, Hi Hi Hi, Hi Hi Hi (reprise), Long Tall Sally. Doelen, Rotterdam, Netherlands - August 17th, 1972: Introduction/Eat At Home, Smile Away, 1882, I Would Only Smile, Blue Moon Of Kentucky, Best Friend, Seaside Woman. Concertgebouw, Amsterdam, Netherlands - August 20th, 1972: I Am Your Singer. Congressgebouw, Den Haag, Netherlands - August 21st, 1972: The Mess

Paul McCartney’s first foray into live performance was the impromptu “university” tour of the UK early in 1972 where he played eleven shows over three weeks in February. The first officially booked and advertised tour was of Europe that summer. Beginning on July 9th at the Centre Culturelle in Chateau Vallon in France, they played twenty-five shows ending in Berlin on August 24th. In addition to breaking in the new band and gaining confidence as a live act, they were promoting their latest two singles “Give Ireland Back To The Irish” and “Mary Had A Little Lamb.” The concerts were all officially recorded with the hope that some of the performances could be used for the new album, although only “The Mess” from Den Haag has ever surfaced as the b-side to the single “My Love” and as a bonus on the remastered CD Red Rose Speedway. There were several incidents such as their arrest for marijuana possession in Gothenburg, Sweden and a death threat to McCartney.

Wild Live is an early Mainstream release which gathers together several key documents to offer a two-disc anthology of the tour. The main show is the complete August 14th tape from Aarhus, Denmark. This was first released on vinyl on Wings Over Denmark, but Mainstream use the second generation copy of the same tape source that was issue on Rocking Goose’s Paul McCartney & Wings Over Aarhus on CDR. The taper is distant but clear and captures the atmosphere of the event very well beginning as the mc is announcing the presence of Wings (with no mention of McCartney) and the instrumental introduction.

“This next one is a bit slower than that one. This one’s called, it’s off our new album, called ‘1882.’” McCartney changed his mind since the song was going to be included on Red Rose Speedway but was scraped and it remains unreleased to this day, effectively being buried. He recorded a demo of the song soon after leaving the Beatles in 1970. That demo exists where it is played as a fast-paced waltz. Wings recorded it for the album, but that version has yet to surface. The live versions are slowed down to a blues like dirge and tells the story of a poor boy arrested for stealing bread to feed his dead mother. There is an additional verse sung that is not in the published lyrics which go: “Good morning, young master, it’s twenty-five to nine / and they’ll be coming to get you in twenty minute’s time / you’ll be drawn, you’ll be quartered, you’ll be hung at the neck / and I want you to not get mad little man (that’s what he said) / said the boy ’I am dying and leave it to you / as I’m leaving tell me what did I do?”

Denny Laine’s “I Would Only Smile” is an upbeat contrast and Laine laughs his way through the short little ditty. This song would be released a decade later on Laine’s first solo album. McCartney then gives the normal introduction to “Give Ireland Back To The Irish” about it being banned. “Soily” is played in the middle of the set and in later years would be pushed back to the encores. This is followed by a two song “Linda” set, where she shares vocals with Paul on “I Am Your Singer” and then sings her magnificent composition “Seaside Woman.” Another unreleased song follows. “Henry’s Blues” is McCullough’s solo spot, singing and playing lead but the recording is incomplete and fades out after seven minutes.

After playing “Wild Life” McCullough starts clapping, singing, and whistling something that is hard to decipher, lasting about a minute. Denny Laine encourages the audience to sing along to the chorus for the next song, the “la la, la la, la la la la la la” part he says. After they start the audience miss it the first time. “Okay, that’s the bit, sing it next time” Paul sings. “Hi, Hi, Hi” raises the energy to the point where the audience clap and cheer them on to play a reprise of the song and they oblige with another two minutes of the rocker.

The bonus material on disc two is a copy of the famous vinyl title Complain To The Queen (Birthday Records) which has excerpts from shows in Rotterdam, Den Haag, and Amsterdam. The Rotterdam excerpt, comprising of seven songs, is very good sound quality. There is slight amounts of distortion and it is a bit distant, but has an acceptable level of clarity. It is a good tape for having another recording of “1882″ which is again introduced as a new song from the upcoming album. “I Am Your Singer” from the Concertgebouw is in very good and clear stereo with an abundance of atmosphere. This version is notable for the audience giving Linda a big cheer when she sings her part and their short reprise of the song at the end. Finally the recording of “The Mess” from Den Haag is the worst sounding fragment on the release. Wild Live is packaged in a double slimline jewel case with the artwork covered in a collage of Captain Snaps photos from the tour. This is a really good compendium of the tour with great documents of early Wings.

http://www.collectorsmusicreviews.com/mccartney-paul/paul-mccartney-wings-wild-live-mai...

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http://beatlestrade.narod.ru/paul/WildLive.htm

Ïîäðîáíîñòè î ðåëèçå "Legends In The Material World":

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George Harrison & Eric Clapton - Legends In The Material World (Tarantura TCDGHEC-1)
Tokyo Dome, Tokyo, Japan - December 17th, 1991

Disc 1 (79:29): Opening buzzer, announcement/SE, enters the stage, I Want To Tell You, Old Brown Shoe, Tax Man, Give Me Love, If I Needed Someone, Something, What Is Life, Dark Horse, Piggies, Pretending, Old Love, Badge, Wonderful Tonight

Disc 2 (79:21): Got My Mind Set On You, Cloud Nine, Here Comes The Sun, My Sweet Lord, All Those Years Ago, Cheer Down, Devil’s Radio, Isn’t It A Pity, While My Guitar Gently Weeps - encore, Roll Over Beethoven - encore, percussion solo, Roll Over Beethoven (reprise), message, announcement, concert information, goods information

BONUS DISC (53:56): Concert Information 1, SE 1, SE 2, SE 3, Announcement 1, SE 4, Announcement 2, Concert Information 2, SE 5, Opening Buzzer, seconds blank, Announcement/Outside, Go to the station, Unofficial stands, Suidobashi Station, In Sohbu-Sen

Legends In The Material World is the second new tape source for the final show of the George Harrison and Eric Clapton Legends Tour of Japan in December, 1991. Along with the tapes found on Third Night @ Big Egg on Front Page and His Majesty, this is another excellent DAT recording of the event, recorded, according to the liner notes, from arena A4 block No. 92 of the Tokyo Dome. It is as good as the others, but this new tape is good at picking up the audience response to the music occurring on stage producing a more authentic live experience.

This was the final night of Harrison’s final tour and was supplemented by friend Eric Clapton and Clapton’s early nineties band including Nathan East on bass, Steve Ferrone on drums, Chuck Leavell on keyboards, Greg Phillinganes on keyboards, Ray Cooper on percussion, Andy Fairweather Low on guitar, and backing vocals provided by Katie Kissoon and Tessa Niles. And even though Harrison had a hit album Cloud 9 four years before, the set list is very conservative both in song selection and arrangements. The first three numbers all date from the Beatles era including two of this three songs from Revolver flanking the rare B-side of “The Ballad Of John And Yoko,” “Old Brown Shoe.”

Before “Taxman” he complains about not being able to see anyone in the audience. The renditions performed are updated for the early nineties by including George Bush and Boris Yeltsin in the lyrics. The excellent “Give Me Love (Give Me Peace On Earth)” is the only song from the underrated Living In The Material World LP. “If I Need Someone” from Rubber Soul is the only Harrison written song to be played by the Beatles. This version features his vocals more prominent than in 1966 (where it was sung in harmony with Lennon and McCartney), and the both Harrison and Clapton take longer guitar solos between the verses. ”Something” sounds sublime in the live arena and is followed by excellent versions of “What Is Life” and “Dark Horse.”

“Piggies” ends Harrison’s first set and the omitted third verse is restored in these concerts (”Yeah, everywhere there’s lot of piggies / Playing piggy pranks / and you can see them on their trotters / down at the piggy bands / paying piggy thanks / to thee pig brother”). Clapton’s twenty-minute set is a reiteration of his tour of Japan the previous year. Chuck Leavell plays “Sweet Home Chicago” on the piano as an introduction to “Pretending.” “Old Love” is another song from Journeyman and is played before the Harrison and Clapton written “Badge” and a very slow a sweet arrangement of “Wonderful Tonight.” Two of Clapton’s songs, plus “Something,” were all inspired by the same muse and one wonders why “Layla” wasn’t included.

The second half continues with two recent Harrison hits with “Got My Mind Set On You” and “Cloud 9.” “Cheer Down” from the Lethal Weapon II soundtrack and one of the best of his compositions. The final song of the set is “Isn’t It A Pity,” a slow and morose way to end the show. the first encore is “While My Guitar Gently Weeps” with Clapton duplicating The Beatles solo and at the end Harrison says, “Eric Clapton, psycho guitar!” The final “Roll Over Beethoven” lasts fifteen minutes and includes Ray Cooper playing is percussion tricks with the audience, all in good fun. “Thank you to Eric for making me come to Japan” is George’s parting comment.

Legends In The Material Worldcomes is an interesting bonus disc. The taper of this show, named “Crypton,” bought a DAT recorder and decided to record, not only the show, but also the pre-show announcements, conversations between him and his friends, and his trip through the Tokyo subway station. The tape was left rolling for all of this which provides a unique perspective on the concert going experience, although the bonus disc is something that won’t be listened to on a regular bases. The packaging as usual is very nice. It comes in a tri-fold color glossy gatefold sleeve with various photos of the artists and venue and included is a special little poster of Harrison in action on stage. For another tape source of an excellent show, this is another beautiful sounding and looking title from Tarantura, who are one of the few labels who find never circulated tapes.

http://www.collectorsmusicreviews.com/tarantura-label/george-harrison-eric-clapton-lege...

The Beatles
Japanese EP Collection
Wax Masters-WM-EP001-1/2

Japanese EP Collection (Wax Masters-WM-EP001-1/2) that collectors togther all of The Beatles’s EPs released in Japan onto two discs. Wax Masters is a new label manufactured by Dragonfly, the same group who do Vintage Masters, Blue Cafe, and a multitude of the low class CDR labels flooding the market. Their silver releases are basic but good and this might be an interesting release.

http://www.collectorsmusicreviews.com/announcements/news-and-new-releases-8/

...êòî áû åùå èõ âûëîæèë äëÿ ñêà÷èâàíèÿ....

Ïîäðîáíîñòè î ðåëèçå George Harrison "All Things Must Pass" US Stereo:

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All Things Must Pass(US stereo) (Dr. Ebbetts STCH 639)

Disc 1 (76:11): I’d Have Your Anytime, My Sweet Lord, My Sweet Lord, Wah-Wah, Isn’t It A Pity, What Is Life, If Not For You, Behind That Locked Door, Behind That Locked Door, Let It Down, Run Of The Mill, Beware Of Darkness, Apple Scruffs, Ballad Of Sir Frankie Crisp (Let It Roll), Awaiting On You All, All Things Must Pass, I Dig Love, Art Of Dying, Isn’t It A Pity, Hear Me Lord

Disc 2 (29 04): Out Of The Blue, It’s Johnny’s Birthday, Plug Me In, I Remember Jeep, Thanks For The Pepperoni


There have been countless pressings of “All Things Must Pass”: Millennium Remasters (EAS 67107/67109), Dr. Ebbetts (STCH 639), Torn and Frayed Production (UDCD 1129), EMI (CDS 7 46688/CDS 7 46689), and Capitol/GnRecords (CDP 7243 5 30474 2 9).

The reviews of “All Things Must Pass” are legendary. The sessions have generated a plethora of phenomenal sounding box sets. The Dr. Ebbetts “All Things Must Pass” (US Stereo) STCH 639 was released in 2005 to rave reviews with most favoring this version over the “All Things Must Pass” - 30th Anniversary Edition from Capitol/GnRecords which sported additional tracks: “I Live For You”, “Beware Of Darkness”, “Let It Down”, “What Is Life”, and “My Sweet Lord” (2000) and featuring a 20 page booklet with rare photographs and newly written liner notes by George Harrison with exquisite packaging to boot.

Reviewers commented that Dr. Ebbetts STCH 639 released in 2005 boasted a fantastic needle drop transfer, sounding warmer without the massive amounts of horrible noise reduction that reportedly plagued the Capitol/GnRecords 30th Anniversary Edition.

I have not heard the Dr. Ebbetts 2005 release but was really disappointed with my first listen of Dr. Ebbetts STCH 639 (Digital Remastering Summer 2008) release. The gain is significantly lacking compared to the latest domestic release and sounds much less dynamic with not nearly enough punch on the low end and the overall sound is quite constricted; a tunnel hollow-like effect. One does not, however, experience any “listening fatigue” taking in this latest Dr. Ebbetts version. I await the release of the “definitive” version of “All Things Must Pass” that will incorporate the best of elements from the supposed warm but incomplete Dr. Ebbetts needle drop with the necessary gain/boost offered to an extreme with the above 30th Anniversary Edition.

All things considered, the packaging on the latest domestic reissue is far superior to the basic and elegant packaging with Dr. Ebbetts and the latter does not boast the 5 additional bonus tracks either. I would recommend that anyone interested in these historic and and mind blowing sessions to minimally invest in the Capitol/GnRecords 30th Anniversary Edition if just for the bonus tracks and gorgeous packaging.

I would avoid inclusion of the latest Dr. Ebbetts release as there are a good number of other options that will surely appease: The Making Of “All Things Must Pass” [Playmen Music - PM005/006/007CD] 3 CD

“All Things Must Surface” [Repro-Man 2001/RPM 107 -108] 2 CD
“Art Of Darkness” [Mid Valley 427/428/429/430] 4 CD
“A Quiet Storm” [Mid Valley 431] 6 CD

All of the above listed box sets offer alternate “All Things Must Pass” demos, sessions, remixes, and isolated tracks to varying degrees with outstanding and uncompromising fidelity that will offer hours of sheer listening enjoyment!

http://www.collectorsmusicreviews.com/beatles/dr-ebbett/george-harrison-all-things-must...

Áðàçèëüñêèé äàóí-ìèêñ èç ñòåðåî.

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George Harrison
All Things Must Pass (mono)
Mid Valley 425/426

Disc 1 (75:45): I’d Have Your Anytime, My Sweet Lord, My Sweet Lord, Wah-Wah, Isn’t It A Pity, What Is Life, If Not For You, Behind That Locked Door, Let It Down, Run Of The Mill, Beware Of Darkness, Apple Scruffs, Ballad Of Sir Frankie Crisp (Let It Roll), Awaiting On You All, All Things Must Pass, I Dig Love, Art Of Dying, Isn’t It A Pity (version two), Hear Me Lord

Disc 2 (41:32), Apple Jams: Out Of The Blue, It’s Johnny’s Birthday, Plug Me In, I Remember Jeep, Thanks For The Pepperoni. Bonus Track: A Conversation With George Harrison A Conversation With George Harrison

In the early sixties The Beatles released their albums in both stereo and mono with the latter being the preferred format. By the end of the decade, with the advancement of technology, stereo became favored as the final two albums, Abbey Road and Let It Be, being issued in stereo only. The exception to this is Brazil, who still maintained that albums be released in mono and this the source for the only mono editions of the later Beatle albums. The same holds true for George Harrison’s first solo album after the break up. All Things Must Pass was recorded and pressed in stereo, but a mono edition was released in Brazil.

On the early Beatle albums there would be interesting differences in the mix between the two formats, but in 1970 no such differences exist. Technically, this is a two channel stereo in what many audiophiles calls “fake mono.” The Brazilian pressing is extremely rare with original vinyl copies going for high prices. Surpisingly the big Beatle needle drop labels like Millenium Remasters and Dr. Ebbetts have all but ignored the mono pressing of All Things Must Pass. Empress Valley’s version is therefore the only available edition on the market. They use a very clean vinyl with a tiny hint of surface noise betraying its orgin.

It has a warm and full quality and it tends to bring into greater focus Phil Spector’s production on the music. Whatever one’s view of the “wall-of-sound,” after almost forty years now it is an intrical part of the music. It is a good alternative the harshness some complain about with the 30th anniversary remaster and the stereo needle drops of which many versions are in circulation.

As a bonus, Mid Valley include the conversation with George Harrison by Chris Carter discussing the 30th anniversary re-release of All Things Must Pass in 2000. This is a promo interview that is also included on All Things Must Surface (Repro-Man RPM 107-108). Among the revelations are that Harrison doesn’t like the reverb on the vocals and that Eric Clapton’s contributions are all over the album, including the opening notes of “I’d Have You Anytime.” His favorite songs are “Run Of The Mill” and “Isn’t It A Pity” in the final year of his life.

This is packaged in a standard double slimline jewel case with the LP labels reproduced in the liner notes and is part of Mid Valley’s fourteen disc definitive set of All Things Must Pass material which also includes the stereo needle drop of All Things Must Pass, The Art Of Darkness and A Quiet Storm. Mid Valley provide an open ended box with the front photo motif to fit around the four discs into one cohesive whole. This is the definitive edition for everything associated with George Harrison’s masterpiece first solo effort.

http://www.collectorsmusicreviews.com/harrison-george/george-harrison-all-things-must-p...

Ïîäðîáíîñòè î ðåëèçå Beatles - Japanese EP Collection (Wax Masters WM-EP001-1/2)

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The Beatles
Japanese EP Collection
Wax Masters-WM-EP001-1/2

Disc 1 (59:19): Twist & Shout, Please Please Me, I Want To Hold Your Hand, She Loves You, A Hard Day’s Night, I Should Have Known Better, Please Mr. Postman, And I Love Her, All My Loving, If I Fell, I’m Just Happy Just To Dance With You, Tell Me Why, Long Tall Sally, Matchbox, I Feel Fine, Slow Down, Rock And Roll Music, Eight Days A Week, Mr. Moonlight, Kansas City, Help!, Ticket To Ride, I’m Down, Dizzy Miss Lizzy

Disc 2 (60:30): You’re Going To Lose That Girl, The Night Before, Act Naturally, Yesterday, Anna (Go To Him), Boys, Sie Liebt Dich, You’ve Got To Hide Your Love Away, Michelle, Girl, Nowhere Man, What Goes On, Paperback Writer, Norwegian Wood, We Can Work It Out, Drive My Car, Yellow Submarine, Taxman, Here There Everywhere, And Your Bird Can Sing, Bad Boy, Strawberry Fields Forever, Penny Lane, Good Day Sunshine

Japan has the distinction, between releasing UK, US, singles and EPs all with multiple pressings, to be the country with the most Beatle records. Japanese EP Collection is a two disc set on the new Wax Masters silver pressed label, made by the same people who produced Vintage Masters Premium among many other CDR labels. They collect together the first twelve Odeon four song EPs released in Japan in the early to mid sixties. As such, they skip over the Polydor EP “My Bonnie,” “Why,” “Ain’t She Sweet” and “Cry For A Shadow” (Polydor SLKP-1087) released in September 1965 and also omit the final Odeon six track EP Magical Mystery Tour released in March, 1968 as well as the Apple EPs later in the decade.

Odeon Recordswas a German record label who, after the war, became a subsidiary of EMI and handled Beatle releases in non English speaking countries including Japan. The Japanese pressings were done in either black or red vinyl, depending upon the material available at the plant. Generally today the red vinyl pressings are much more rare and command higher prices on the collectors market. The packaging was also unique for the time. Included also were lyric sheets with words printed in English and in Japanese translation. Sgt. Peace at Speed Of Sound Lab did the remastering and was able to faithfully reproduce the warmth of the vinyl without any hints of its origin.

The EPs transferred are:

The first EP on Odeon (OP-4016) contained “Twist & Shout,” “Please Please Me,” “I Want To Hold Your Hand” and “She Loves You” on August 5th, 1964. The tracks are in stereo except for ”She Loves You” which is in simulated stereo.

EP#2 Odeon (OP-4036) was issued on January 5th, 1965 and has has “A Hard Day’s Night,” “I Should Have Known Better,” “Please Mr. Postman,” “And I Love Her.” All tracks are in stereo.

EP#3 Odeon (OP-4044) was released on March 5th, 1965 with “All My Loving,” “If I Fell,” “I’m Just Happy Just To Dance With You,” and “Tell Me Why.” All tracks are in stereo.

EP#4 Odeon (OP-4055) was issued on May 5th, 1965 with “Long Tall Sally,” “Matchbox,” “I Feel Fine,” and “Slow Down,” all in stereo.

EP#5 Odeon (OP-4061) came out in June 5th, 1965 with “Rock And Roll Music,” “Eight Days A Week,” “Mr. Moonlight,” and “Kansas City” in stereo.

EP#6 Odeon (OP-4110) released on December 5th, 1965 in stereo with “Help!,” “Ticket To Ride,” “I’m Down,” and “Dizzy Miss Lizzy.”

EP#7 Odeon (OP-4113) was released on January 5th, 1966 with “You’re Going To Lose That Girl,” “The Night Before,” “Act Naturally,” and “Yesterday” in stereo.

EP#8 Odeon (OP-4118) was issued on March 5th, 1966 with “Anna (Go To Him),” “Boys,” surprisingly “Sie Liebt Dich,” and “You’ve Got To Hide Your Love Away” all in stereo. It’s interesting that the German version of “She Loves You” was released in Japan but the German version of “I Want To Hold Your Hand” wasn’t.

EP#9 Odeon (OP-4160) was released on May 15th, 1966 with “Michelle,” “Girl,” “Nowhere Man,” and “What Goes On” in stereo.

EP#10 Odeon (OP-4198) was released on December 5th, 1966 with “Paperback Writer,” “Norwegian Wood,” “We Can Work It Out,” and “Drive My Car.” The EP is in stereo except for “Paperback Writer,” which is in simulated stereo.

EP#11 Odeon (OP-4206) as also released on December 5th, 1966 with “Yellow Submarine,” “Taxman,” “Here There Everywhere,” and “And Your Bird Can” all in stereo.

EP#12 Odeon (OP-4251) is the final one included in this collection. It was released on May 15th, 1967 with “Bad Boy,” “Strawberry Fields Forever,” “Penny Lane,” and “Good Day Sunshine.” This EP is in stereo except for ”Strawberry Fields Forever” and “Penny Lane” which are in simulated stereo.

Wax Masters utilize a fatboy double jewel case with reproductions of the EP covers on the inside. It is being marketed for nostalgia for these rare items and although the actual mixes don’t sound different than the UK and US counterparts, works well as a single collection of Beatle songs. Hopefully they will issue a second volume of the EP collections continuing on with the final Odeon EP and the Apples that came out much later.

http://www.collectorsmusicreviews.com/beatles/beatles-japanese-ep-collection-wax-master...

George Harrison - All Things Must Pass (US stereo) (MVR Limited Sampler)

Disc 1 (76:11): I’d Have Your Anytime, My Sweet Lord, My Sweet Lord, Wah-Wah, Isn’t It A Pity, What Is Life, If Not For You, Behind That Locked Door, Behind That Locked Door, Let It Down, Run Of The Mill, Beware Of Darkness, Apple Scruffs, Ballad Of Sir Frankie Crisp (Let It Roll), Awaiting On You All, All Things Must Pass, I Dig Love, Art Of Dying, Isn’t It A Pity, Hear Me Lord

Disc 2 (29:04): Out Of The Blue, It’s Johnny’s Birthday, Plug Me In, I Remember Jeep, Thanks For The Pepperoni

Mid Valley released the needle drop of the stereo All Things Must Pass several months ago using the well known Dr. Ebbett transfer. This is identical to the silver pressed Dr. Ebbett released in sound quality and track times. The only difference is that Mid Valley utilize much better artwork. The insert is an eight page booklet with photos of the LP labels from the original release, much like the mono transfer where they duplicated the Brazilian labels. This is for those who want the stereo with great artwork and to complete the Mid Valley All Things Must Pass boxset which also includes the mono, A Quiet Storm and The Art Of Darkness.

Many collectors complain that the 30th anniversary edition, while much louder, is taxing to get through and one can suffer from “listener’s fatigue.” Spector produced the LP to be a massive wall of sound with multitudes of instruments doubling one another so that much of the music is felt rather than heard. The officially remastered edition, by bringing up the volume and fidelity, is an onslaught of music and it’s hard to determine what to focus your attention.

Another valid concern is the addition of bonus tracks on both discs disrupt the flow of the original sequence. And the “apple jams” on disc three were rearranged to follow the more ”proper” sequence. Contrary to the review of the other Dr. Ebbett pressed release, this is an excellent transfer worth having. The Dr. Ebbett is more faithful to the original vinyl in sound and sequence and is no wonder it has received praises from collectors since it was released. This release by Mid Valley is recommended for the artwork, but either this or the more affordable Dr. Ebbett silver release, since they are equal in sound quality, are recommended to collectors.

Author Nicholas Schaffner, in his masterpiece The Beatles Forever, writes:

“All Things Must Pass has been characterized by Melody Maker’s Richard Williams as ‘the rock equivalent of the shock felt by pre-war moviegoers when Garbo first opened her mouth in a talkie: Garbo talks! — Harrison is free!’ It was certainly a thrilling occasion not only for the quiet Beatle, but also for fans who, having long placed their bets on the dark horse of the group, were at last being shown the jackpot.

“The very fact that the Beatles had kept George’s flowering talents so under wraps proved to be his secret weapon. By mid-1970 he had accumulated enough material to fill no mere double album, but a triple — rock’s first elegantly boxed three-record set. The final disc, containing superstar jam sessions revolving around the usual three chords, may have been dispensable; but on the two main L.P.’s Harrison generally sustains the high standard set by his compositions on the White Album and Abbey Road — even if much of All Things Must Pass would have seemed out of place on those Beatle albums. One can hardly picture John and Paul Hare Krishna-ing along with ‘My Sweet Lord.’

“George painted his masterpiece at a time when both he and his audience still believed music could change the world. If Lennon’s studio was his soap-box, then Harrison’s was his pulpit. Though increasingly jaded rock critics sometimes found tart words for his sermons, George’s music, at least, seemed to indicate that his mystical explorations had unlocked creative resources that only three years earlier few of his fans could have imagined existed.

“All Things Must Pass consists primarily of Hindu scripture set to music, and each of the major tenets of the philosophy get at least a passing mention. ‘All Things Must Pass’ advises a resigned attitude toward external events, and ‘Beware Of Darkness’ warns against maya, the material world’s wonderwall of illusion. The two most eloquent songs on the album, musically as well as lyrically, have mysterious, seductive melodies, over which faded strings and horns hover like Blue Jay Way fog.

“There is an essay on karma, ‘Run Of the Mill’ (‘it’s you that decides… your own made end’) and one on reincarnation, ‘The Art Of Dying.’ For George, like the adherents of most Hindu sects, the ultimate goal is to break the endless cycle of rebirth by attaining oneness with God. According to the Bhagavad Gita: ‘He… who is spurred by desire, being attached to the fruit of action, is firmly bound.’ In ‘Awaiting On You All,’ Harrison seems to agree with his friends in the Krishna movement that the best way to avoid distraction by such fruit is ‘chanting the names of the Lord.’ (On ‘My Sweet Lord’ George did just that, and was rewarded with a Number One single all over the world.)

“None of this allows for many light or witty moments; according to Ben Gerson, who reviewed All Things Must Pass for Rolling Stone: ‘His words sometimes try too hard; he’s taking himself or the subject too seriously, or, if the subject is impossible to take seriously, he doesn’t always possess the means to convey that impression convincingly.’ The same critic, however, hailed the sheer sound as ‘Wagnerian, Brucknerian, the music of mountain tops and vast horizons,’ and summed the album up as an ‘extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the War and Peace of rock’n'roll.’

“This miracle would not have been possible without Phil Spector and his sublime walls of sound. Instead of superimposing these on two-minute throwaways such as ‘Da Doo Run Run,’ Spector was at last working with a talent comparable to his own. The producer’s cosmic sound proved a perfect complement to the artist’s cosmic vision.

“For All Things Must Pass, Harrison and Spector assembled a rock orchestra of almost symphonic proportions, whose credits read like a Who’s Who of the music scene. Ringo; Procol Harum’s Gary Brooker, Gary Wright, and Billy Preston (all on keyboards); Dave Mason and Eric Clapton (electric guitars); and dozens more. George himself painstakingly overdubbed his voice dozens of times, and credited the result to the ‘George O’Hara-Smith Singers.’ Apple house band Badfinger was assigned the task of strumming four acoustic guitars, usually buried deep in the mix in keeping with Spector’s credo that some instruments should be ‘felt but not heard.’

“‘Isn’t It a Pity’ starts out, like many of the selections, as a plaintive dirge, with a backdrop consisting of brooding strings, the steady clanging of chimes, and the shimmering harmonics of Badfinger’s guitars. At the signal of the first cosmic thud of Ringo’s foot against the bass drum pedal, however, instruments begin to break out out of their metronomic straitjacket to attain an almost ecstatic release. Strings burst into thunderous crescendos; gently weeping guitars start to soar. Like ‘Hey Jude,’ which it strongly resembles, ‘Isn’t It a Pity’ is a work of towering simplicity with few and basic chord changes and an almost endlessly repetitive fade-out that somehow manages to be hypnotic instead of boring. ‘Isn’t It a Pity’ even clocked in one second shy of ‘Jude’’s seven minutes and eleven seconds.

“Besides Spector, another presence is strongly felt on George’s album, in spirit if not in person. Harrison had developed a close musical rapport with Bob Dylan over the previous year; in June they even recorded together, though the result has yet to see the light of day. The Dylanesque numbers, if a minority on All Things Must Pass and somewhat overshadowed by their Spectorian counterparts, have a distinct character of their own and are far more intimate, both musically and lyrically, than the rest of the album. They include Dylan’s own ‘If Not For You’ from New Morning, ‘I’d Have You Any Time,’ based on a lyric Bob gave George to set to music, and ‘Sir Frankie Crisp,’ an olde English ballad dedicated to the man who built Friar Park, George’s 17th-century castle. (On the album cover, George is seen in the Friar Park garden with part of Sir Frankie’s collection of stone dwarfs.) ‘Apple Scruffs’ — complete with blasts of harmonica, the most Dylanesque of the lot — is George’s tribute to those fanatical Beatlemaniacs who literally lived on the steps of Apple. New York Post writer Al Aronowitz, who was with George for many of the All Things Must Pass sessions, reported: ‘Outside the studio door, whether it rained or not, there was always a handful of Apple Scruffs, one of them a girl all the way from Texas. Sometimes George would record from 7 p.m. to 7 a.m. and there would be, waiting through the night, beggars for a sign of recognition on his way in and out. In the morning they’d go off to their jobs and in the evening they’d be back outside the studio door again.’

“All Things Must Pass was phenomenally successful, quickly reaching Number One on both sides of the Atlantic, staying there for many weeks, and ultimately outselling many of the Beatles’ albums — no mean achievement at $13.98. ‘My Sweet Lord’ fared even better in the singles sweepstakes, and remains not only the best-seller among all the ex-Beatles’ solo singles, but also the only one to reach Number One in Britain (where the fragments of the Fab Four have generally been received with less awe than in America). Oddly enough, George originally gave his biggest hit away to Billy Preston, who released ‘My Sweet Lord the previous summer, and went nowhere with it.

“‘My Sweet Lord’’s resemblance to the early Sixties Chiffons hit ‘He’s So Fine’ did not escape the notice of the latter’s publisher, Bright Tunes, and in late 1976 a judge ruled George guilty of ‘unconscious plagiarism’ and ordered him to fork over a portion of the Harrisong’s accumulated royalties. These were doubtless considerable; as John Lennon said in late 1970: ‘Every time I put the radio on it’s ‘oh my Lord’ — I’m beginning to think there must be a God!’

“All Things Must Pass first appeared on the Billboard chart on December 19, 1970, reaching #1 and spending a total of 38 weeks.”

http://www.collectorsmusicreviews.com/harrison-george/george-harrison-all-things-must-p...

George Harrison and Splinter Hari+Splinter’s Dark Horse (GR332) is one of the more interesting projects to surface recently. This contains the first Splinter LP The Place I Love which was produced by Harrison for the Dark Horse label. Harrison and pals also play on every track as well, so for all intents and purposes this is a long-lost Harrison solo album, never been pressed to silver before.

http://www.collectorsmusicreviews.com/announcements/news-and-new-releases-9/

The Beatles Paris Landing June 20, 1965 (GR333) contains the soundboard recording for both the early and late shows.

http://www.collectorsmusicreviews.com/announcements/news-and-new-releases-9/

Two new Beatles titles surfaced recently. The manufacturers seem to be following the same path as the silver pressed Dr Ebbetts label by pressing popular titles from the fan based Purple Chick label onto silver. Purple Chick are one of the better Beatle labels around and other labels such as Misterclaudel and Piccadilly Circus have been copying their work for years.

The first two silver Purple Chick titles are two live compilations:

Convention Hall Wisdom (PC-167/168) with material from September 1964 to April 1965 including: Philadelphia 9/2/64, Indianapolis 9/3/64, Chicago 9/5/64, Detroit 9/6/64, Toronto 9/7/64, Montreal 9/8/64, Boston 9/12/64, New Orleans 9/16/64, Shindig 10/3/64, Plymouth 10/29/64, and London 4/11/65

http://www.collectorsmusicreviews.com/announcements/new-beatles-on-silver/