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“YELLOW SUBMARINE”: 50th ANNIVERSARY 7″ PICTURE DISC

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The Beatles’ announced the release of a limited edition, “Yellow Submarine” 7″ picture disc. The vinyl release, coming July 6, features the title song b/w “Eleanor Rigby.”

The news is related to the return of the beloved animated film, Yellow Submarine, which will arrive in theaters this summer for the 50th anniversary of the film’s original release. (The original Jan. 15 announcement only mentioned the U.K. and Ireland for a July 8 showing in “glorious surround sound” and “stunningly remastered” 4k. Since then, markets around the world will be screening the film for a limited run.)

The images on the 7″ picture disc are taken from the high resolution 4k restoration of the film. Pre-order the 7″ in the U.S. here;  in the U.K. here.
On its release in 1968, Yellow Submarine was instantly recognised as a landmark achievement. The film combined pioneering animation techniques, dazzling visual invention, witty dialogue and of course glorious music.

The film announcement noted the “big-screen revival will give generations of audiences the golden opportunity to revisit Pepperland.”
The film was originally released on July 18, 1968. It had its world premiere in London’s Piccadilly Circus the night before, with all four Beatles in attendance. The one-day theatrical release will undoubtedly mean that the remastered title will also be released on DVD and Blu-ray.
As the story goes: “Once upon a time … or maybe twice, there was an unearthly paradise called Pepperland. 80,000 leagues beneath the sea it lay, or lie, I’m not too sure.”

From the Jan. 15 announcement: “Directed by George Dunning, and written by Lee Minoff, Al Brodax, Jack Mendelsohn and Erich Segal, Yellow Submarine began its voyage to the screen when Brodax, who had previously produced nearly 40 episodes of ABC-TV’s animated Beatles TV series, approached The Beatles’ manager Brian Epstein with a unique vision for a full-length animated feature. “Yellow Submarine, based upon a song by John Lennon and Paul McCartney, is a fantastic tale brimming with peace, love, and hope, propelled by Beatles songs, including “Eleanor Rigby,” “When I’m Sixty-Four,” “Lucy in the Sky With Diamonds,” “All You Need Is Love,” and “It’s All Too Much.” When the film debuted in 1968, it was instantly recognised as a landmark achievement, revolutionising a genre by integrating the freestyle approach of the era with innovative animation techniques.

“Inspired by the generation’s new trends in art, the film resides with the dazzling Pop Art styles of Andy Warhol, Martin Sharp, Alan Aldridge and Peter Blake. With art direction and production design by Heinz Edelmann, Yellow Submarine is a classic of animated cinema, featuring the creative work of animation directors Robert Balser and Jack Stokes with a team of animators and technical artists.”
“I thought from the very beginning that the film should be a series of interconnected shorts” remembers Edelmann. “The style should vary every five minutes or so to keep the interest going until the end.” These styles included melding live-action photography with animation, 3-dimensional sequences and kaleidoscopic “rotoscoping” where film is traced frame by frame into drawings. The entire process took nearly two years, 14 different scripts, 40 animators and 140 technical artists, ultimately producing a groundbreaking triumph of animation.

YELLOWSUBMARINE ” 7″ PICTURE DISC.  ORDER HERE:

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YELLOW SUBMARINE BACK ON THE BIG SCREEN TICKETS NOW ON SALE

By Posted on 0 4

Tickets are now on sale for Yellow Submarine as it sails back to US theaters this July!

To find your nearest theater and to get tickets visit www.yellowsubmarine.film/#tickets
If tickets are not available for your event just yet, please check back shortly.

On its release in 1968, Yellow Submarine was instantly recognised as a landmark achievement. The film combined pioneering animation techniques, dazzling visual invention, witty dialogue and of course glorious music, including “Eleanor Rigby,” “When I’m Sixty-Four,” “Lucy in the Sky With Diamonds,” “All You Need Is Love,” and “It’s All Too Much”.

Now restored in full 4K digital resolution, Yellow Submarine is back again.

Embark with us 80,000 leagues under the sea, to a place where beauty, happiness, and music reign supreme.

TOM MURRAY’S MAD DAY OUT PHOTOGRAPHING THE BEATLES

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Rare photographs of the Fab Four, taken on a freewheeling day in London in 1968, are on display at Soho Contemporary Art

In 1968. As The British photographer Tom Murray tells it, Don McCullin—a distinguished war photographer and a Sunday Times colleague—asked Murray if he’d drive him around while he photographed a musical group. “I knew more about music than he did,” Murray recalled. “I thought I might get a few snaps, so I grabbed a Nikon and two rolls of Ektachrome.” When they arrived at the Times, Murray said, he heard someone playing ‘Lady Madonna’ on a piano. “We went in, and there were the Beatles, and I said, ‘Oh, shit.’ Don said, ‘Didn’t I tell you?’ ”

McCullin took a picture that appeared on the cover of Life two months later, and then they all went looking for interesting locations—an adventure known to Beatles scholars as the Mad Day Out. “They were recording ‘The White Album,’ and they hated their publicity photos,” Murray said. “John wanted to be photographed next to Karl Marx’s tomb, but when we got to Highgate Cemetery the gate was locked, so they stood in front of a little house nearby, and we shot them there.” Murray learned later that two young girls inside the house had shouted, “Dad! Dad! It’s the Beatles outside!” But their father hadn’t believed them, and by the time he got to the window they were leaving. “It was a Sunday afternoon, and on Sundays in those days London was shut, literally shut,” Murray said. “If there had been mobile phones, we’d have been surrounded in thirty seconds, but that never happened. George would suggest something, and then Paul would suggest something, and we just drove around. We did cause two slight rear-end accidents, but nobody else noticed.” Murray shot the same things that McCullin shot, but from different angles—including an unforgettable scene of the Beatles sitting next to and leaning over an oldish man seated on a park bench, sound asleep.

Prints of twenty-three of Murray’s Mad Day photographs are currently on display, in two different sizes, at Soho Contemporary Art, near the corner of Bowery and Houston. (The larger ones sell for six thousand dollars; the smaller ones start at three thousand.) “That day was a gift from God,” Murray said, as he signed and numbered a print. “If I’d known who we were going to shoot, I’d have thrown up twice and taken four cameras and a hundred rolls of film.”

A gallery employee carefully lifted the picture he had just signed.

“I don’t want to be rude about it, but most of Don’s pictures from that day are crap,” Murray continued. “Mine are bloody marvellous, though. Gone are the days when I used to say they were O.K. They are the best.”

 

 

 

 

 

source:newyorker

 

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DREAMING THE BEATLES: THE LOVE STORY OF ONE BAND AND THE WHOLE WORLD

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Rob Sheffield’s book Dreaming the Beatles: The Love Story of One Band and the Whole World is a celebration of the band, from the longtime Rolling Stone columnist. It tells the weird saga of how four lads from Liverpool became the world’s biggest pop group, then broke up – yet somehow just kept getting bigger. Dreaming the Beatles, out in paperback on June 19th, follows the ballad of John, Paul, George and Ringo, from their Sixties peaks to their afterlife as a cultural obsession. In this section, Sheffield explores one of the Beatles’ unheard treasures – the May 1968 Esher demos they recorded at George Harrison’s pad, preparing for the White Album, not suspecting their friendship was about to turn upside down.

The end of May, 1968: the Beatles meet up at Kinfauns, George Harrison’s bungalow in Esher. Just back from India, gearing up to go hit Abbey Road and start their next album, the lads bang out some rough acoustic tunes into George’s newfangled Ampex reel-to-reel tape deck. The result is one of their weirdest and loveliest unreleased recordings: the Esher demos. There’s nothing else in their music quite like this. Most of the 27 songs ended up on the White Album, yet there’s none of that record’s tension and dread.

In an excerpt from his new book ‘Dreaming the Beatles,‘ the author looks back at the ups and downs of the former Fab Four adrift in the Seventies.

Fifty years later, the Esher demos remain one of the Beatles’ strangest artifacts. When the boys gathered at George’s pad in the last days of May – nobody’s sure of the exact date – they had excellent reason to feel cocky about their new material. They wrote these songs on retreat with the Maharishi in Rishikesh, India, a place where they had no electric instruments. As John Lennon said years later, “We sat in the mountains eating lousy vegetarian food and writing all these songs. We wrote tons of songs in India.” John, the most distractible Beatle, had the hot streak of his life during his three months in Rishikesh, which is why the White Album is their most John-intensive record.
When the Beatles regrouped in England, they decided to get together and tape home demos on their own turf before stepping into Abbey Road – an innovation they’d never tried before and would never revisit. So they met at George’s hippie bungalow in the Surrey countryside, decorated in the grooviest Indian style. John showed up with 15 tunes, more than Paul (7) or George (5)….

source:rollingstone

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BEATLES BOOKS GUIDE

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The best books about the Beatles rank among the best pop culture writing—and criticism—ever. The following volumes provide the foundation of any Beatles library. These titles offer richly reported history, incisive critical analysis, detailed accounts of the quartet at work, and insider accounts that humanize a band who are still often seen as larger-than-life caricatures. Reading any one of these books will provide insight into a phenomenon that’s often thought of only in the broadest terms.

 

The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years by Mark Lewisohn

Granted unprecedented access to Abbey Road’s vaults and tape logs, Mark Lewisohn wrote The Complete Beatles Recording Sessions as a sequel to The Beatles Live!, a chronicle of all the concerts the Fabs played. That 1986 book splits the difference between fan service and scholarship, but The Complete Beatles Recording Sessions transcends such distinctions by providing a riveting day-by-day account of how the Beatles created their art. Alternate takes are examined in detail, along with overdubs and unreleased songs, many of which wouldn’t make it out of the Abbey Road vaults until the ’90s release of the multi-part Anthology, if ever. Lewisohn’s skills as a documentarian give this book an enthralling narrative: The songs take shape in print as he precisely details them.

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As Time Goes By by Derek Taylor

Derek Taylor was one of the great non-musical figures of ’60s rock’n’roll. He served as the Beatles press agent twice, once during Beatlemania and once after the 1967 death of the band’s manager, Brian Epstein—before returning to helm the press office of Apple Corps, the doomed multimedia conglomerate the band established in 1968. He also spent the middle of the Swinging Sixties in California, where he worked with the Byrds, organized the Monterey Pop Festival, and was unsuccessfully wooed by Hollywood icon Mae West. Taylor attracted these luminaries because he was there during the heat of Beatlemania, but the wondrous thing about his memoir, As Time Goes By, is how he’s as much an observer as he is a participant in the chaos. Already in his 30s when he discovered the Beatles, Taylor’s life was transformed by the Fabs. The book was written in 1973, when the group were all alive and all thorns in his side, but he was keen to capture just how wondrous their moment in time was.

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Dreaming the Beatles: The Love Story of One Band and the Whole World by Rob Sheffield (2017)

Nearly every book about the Beatles is a historical document of some sort, attempting to capture the group within the confines of the ’60s. Rob Sheffield turns this concept on its head with Dreaming the Beatles, choosing instead to interpret what they meant as an evolving cultural institution in the decades following their breakup.
This isn’t to say Sheffield dismisses history. As a music critic who grew up with the Beatles as a constant in his life, he’s absorbed countless books and articles about the band, which frees him to draw fresh, surprising insights about their music, including the stacks of records the Fab Four released as solo artists.
Dreaming the Beatles is the only book to acknowledge the interconnectivity (the music he made as a Beatle/solo) and it’s also filled with sharp criticism that challenges conventional wisdom. Once you know the history by heart, this is the place to understand what the Beatles mean now.

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Tune In: The Beatles: All These Years, Volume 1 by Mark Lewisohn

Tune In—the first (and, to date, only) installment in a planned three-part biography from eminent Beatles scholar Mark Lewisohn, he intentionally recreates the rise of the Beatles at a pace so unhurried, it gives the illusion that events are unfolding in real time. Perhaps such deliberateness is the inexorable result of a lifetime spent researching the Beatles, but the remarkable achievement of Tune In is how it makes the group’s first act, which runs from before the band’s formation until the end of 1962, seem like their most exciting era.

All of this is due to to Lewisohn’s decision to start his research from scratch. In doing so, he finds that printing the legend has obscured the truth: Such worn stories like Decca Records refusing to sign the Beatles, how George Martin received his assignment to produce the group, and John choosing which parent to live with simply didn’t happen the way scores of books say they did. These revelations, combined with Lewisohn’s knack at illustrating how the Beatles’ rise was not inevitable—time and time again, they hit limits on their respective circuits, and Lennon and McCartney went years without writing originals—gives Tune In a corrective punch. If Lewisohn never completes the other two volumes, at least he set the record straight for what is perhaps the murkiest period of the Beatles.

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source:pitchfork

DEMAND FOR BEATLES FOOTAGE IN 1966 REFUSED IN HIGH COURT

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Footage of The Beatles filmed in 1966 during their only Japanese tour will remain in the Tokyo metropolitan government vaults after a high court upheld a ruling dismissing a Nagoya-based citizens’ group’s demand for its release.

“Joho Kokai Shimin Center” (Information disclosure citizen center) headed by lawyer Satoshi Shinkai, a longtime Beatles fan, had appealed the earlier district court ruling.
At the Tokyo High Court on May 23, presiding Judge Hiroshi Noyama supported the lower court’s verdict that the Tokyo Metropolitan Police Department’s decision to not disclose some of the footage was “reasonable.”
About 35 minutes of footage was taken by the Tokyo Metropolitan Police Department from June 29, 1966, through July 3, 1966, as part of a security operation for the British band that implemented strict measures to protect its four members, John Lennon, Paul McCartney, George Harrison and Ringo Starr. The film is currently in police storage.

The “holy grail” of Beatles memorabilia became widely known after media reports in 2014 revealed the existence of the footage, most of which has never been made public.
Seeking its release on grounds the footage is a “historical document,” Shinkai submitted an information disclosure request to the Tokyo Metropolitan Police Department in February 2015.
In response, Tokyo police proposed releasing some of the footage after blurring the images of ordinary citizens’ faces for privacy reasons.
But Shinkai argued back that it would be almost impossible to identify individuals in the footage taken more than 50 years ago.
In January 2017, Shinkai filed a lawsuit with the Tokyo District Court demanding the release of the footage in its entirety. But in December, the district court rejected Shinkai’s request on grounds that unedited clear footage offered the possibility of identifying certain individuals.

source:asahi.com