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The Beatles
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Guitar tablature songbook 1
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The Beatles

First released: 1968, November 22

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Guitar tablature songbook 1 at Sheetmusicplus.com
Guitar tablature songbook 2 at Sheetmusicplus.com
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Additional information
Label Apple / Parlophone
Catalogue No. PCS 7067/8 (Stereo)
PMC 7067/8 (Mono)
CDP 746 443 8 (CD)
CDP 496 895 2 (Special Edition)
Release date 22nd November 1968
16 January 1979 (White Vinyl)
24th August 1987 (CD)
23rd November 1998 (CD Special Edition)
Total time 93:09
U.K. Album Chart Detail Entry Date: 7th December 1968
Highest Position: 1 ... for 7 weeks from 7th December 1968 + 1 week from 1st February 1969
Weeks in Chart: 22 + 2 from 5th September 1987 (CD release ... reached number 18 !)

Songs recording date and information:

  1. Back in the USSR - Recorded 22nd August 1968 - 5 takes. Overdubs 23rd August 1968 onto take 5, creating take 6. Final mix - take 6
  2. Dear Prudence - Recorded 28th August 1968 in 1 take ... with overdubs on the next two days. Final mix - take 1
  3. Glass Onion - Recorded 11th September 1968 - 34 takes. Overdubs 12/13/16th September 1968 onto take 33. Final overdubs 10th October 1968 onto take 33. Final mix - take 33
  4. Ob-La-Di Ob-La-Da - Recorded 3rd July 1968 - 7 takes. Vocal overdubs 4th July 1968 onto take 4 creating "new" take 5. Overdubs 5th July 1968 onto take 5. Re-make 8th July 1968 - 13 takes (1-13). Re-Re-make 9th July 1968 - 2 takes (20-21). Then take 13 returned to, and overdubbed to become take 22! Overdubs 11th July 1968 onto take 22 creating takes 23 & 24. New lead vocal 15th July 1968 onto take 23. Final mix - take 23
  5. Wild Honey Pie - Recorded 20th August 1968 - 1 take. Final mix - take 1
  6. The Continuing Story of Bungalow Bill - Recorded 8th October 1968 - 3 takes. Final mix - take 3
  7. While My Guitar Gently Weeps - Recorded 25th July 1968 - 1 take (Demo acoustic version). Recorded 16th August 1968 - 15 takes (1-15). Overdubs 3rd September 1968 creating take 16 ... this version scrapped. New version recorded 5th September 1968 - 28 takes (17-44). Eric Clapton's overdub 6th September 1968 onto take 25. Final mix - take 25
  8. Happiness is a Warm Gun - Recorded 23rd September 1968 - 45 takes (backing tracks only). Recording 24th September 1968 - 25 takes (46-70) (still backing tracks only!) Vocal overdubs 25th September 1968 onto takes 53 & 65 combined (known as "take 65") Final mix - take 65
  9. Martha My Dear - Recorded 4th October 1968 - 1 take. Overdubs 5th October 1968 onto take 1. Final mix - take 1
  10. I'm So Tired - Recorded 8th October 1968 - 14 takes. Final mix - take 14
  11. Blackbird - Recorded 11th June 1968 in 32 takes. Final mix - take 32
  12. Piggies - Recorded 19th September 1968 - 11 takes (backing track only). Vocal overdubs 20th September 1968 creating take 12. Final overdubs 10th October 1968 onto take 12. Final mix - take 12
  13. Rocky Raccoon - Recorded 15th August 1968 in 10 takes. Final mix - take 10
  14. Don't Pass Me By - Recorded 5th June 1968 - 6 takes. Overdubs 6th June 1968 onto take 5 creating take 7. Overdubs 12th July 1968 onto take 7. Starting edit piece recorded 22nd July 1968. Final mix - take 7 + start edit piece
  15. Why Don't We Do It in the Road - Recorded 9th October 1968 - 5 takes. Overdubs 10th October 1968 onto take 5 creating take 6. Final mix - take 6
  16. I Will - Recorded 16th September 1968 - 67 takes. Take 19 - included "Can You Take Me Back Where I Came From". Take 35 - included "Step Inside Love", "Los Paranoious", and "The Way You Look Tonight". Take 65 was overdubbed to take 68. Overdubbed 17th September 1968 onto take 68. Final mix - take 68
  17. Julia - Recorded 13th October 1968 - 3 takes. Final mix - take 3
  18. Birthday - Recorded 18th September 1968 - 22 takes. Final mix - take 22
  19. Yer Blues - Recorded 13th August 1968 - 17 takes. Overdubs 14th August onto takes 16/17. Final mix - takes 16/17
  20. Mother Nature's Son - Recorded 9th August 1968 - 25 takes. Overdubs 20th August 1968 onto take 24 creating take 26. Final mix - take 26
  21. Everybody's Got Something to Hide Except for Me and My Monkey - Recorded 27th June 1968 - 8 takes. Overdubs 1st July 1968 onto take 8 creating takes 9 & 10. Overdubs onto take 10 creating takes 11 & 12. Final mix - take 12
  22. Sexy Sadie - Recorded 19th July 1968 - 21 takes. Remade 24th July 1968 - 23 takes (25-47). Re-remade 13th August 1968 12 takes (numbered 100-111!). Overdubs 21st August 1968 onto take 107, creating takes 112-117. Final mix - take 117
  23. Helter Skelter - Recorded 18th July 1968 - 3 takes. Re-make 9th September 1968 - 18 takes (4-21). Overdubs 10th September 1968 onto take 21. Final mix - take 21
  24. Long, Long, Long - Recorded 7th October 1968 - 67 takes. Overdubs 8th October 1968 onto take 67. Overdubs 9th October 1968 onto take 67. Final mix - take 67
  25. Revolution 1 - The first track recorded for the album. Recorded 30th May 1968 - 16 takes (numbered 1-10, & 13-18). Overdubs 31st May 1968 onto take 18 creating take 19. Overdubs 4th June 1968 onto take 19 creating take 20. Overdubs 21st June 1968 from take 20 creating takes 21 & 22. Final mix - take 22
  26. Honey Pie - Recorded 1st October 1968 - 1 take. Overdubs 2nd October 1968 onto take 1. Overdubs 4th October 1968 onto take 1. Final mix - take 1
  27. Savoy Truffle - Recorded 3rd October 1968 - 1 take. Vocal overdub 5th October 1968 onto take 1. Overdubs 11th October 1968 onto take 1. Final mix - take 1
  28. Cry Baby Cry - Recorded 16th July 1968 - 12 takes. Overdubs 18th July 1968 onto take 12. Final mix - take 12
  29. Revolution 9 - Bits extracted from Take 18 of "Revolution 1". 6th June 1968 - more creative add-ins. 10th June 1968 - more creative add-ins. 11th June 1968 - more creative add-ins. 20th June 1968 - final creative add-ins. 25th June 1968 - Completed. The timing of 8:47, reflects 27 seconds of "Can You Take Me Back", plus 8:20
  30. Good Night - Recorded 28th June 1968 - 5 takes. Recorded 2nd July 1968 10 takes (6-15). Remade 22nd July 1968 in 12 takes (23-34). Final mix - take 34

 

A massive out-pouring of Beatles recordings: 30 in one double set. This was that the Beatles wanted - and they were in charge. But George Martin probably wished that he still held the upper hand. "With the 'White Album' they'd come back from India with 32 songs and they wanted to record every one of them. I listened to them all and there were some which I didn't think were that great. But a split had already taken place and they were wanting to do their own things, so the whole of the album, because there was so much to do, became fragmented, with two - sometimes three - studios in use at any one time. I almost became Executive Producer, running from one studio to another and handling one particular thing while the Beatles and Chris Thomas got on with other things.

"I really didn't think that a lot of the songs were worthy of release, and I told them so. I said 'I don't want a double-album. I think you ought to cut out some of these, concentrate on the really good ones and have yourself a really super album. Let's whittle them down to 14 or 16 tutkes and concentrate on those.'"

The Beatles, obviously, chose to ignore this advice. One frequently aired explanation for the great quantity of the songs on The Beatles and for the way that they were recorded, several being entirely solo efforts, is best summed up in George Harrison's own words "[by 1968] the rot had already set in". Another is that with John and Paul as prodigious as ever, and with George - and even Ringo - writing more then ever, there was certainly much material to be pooled, yet none of the four seemed prepared to sacrifice his own interests. George Martin even thinks that in releasing 30 songs in one batch, the Beatles may have been attempting to partly fulfil, in as quick a manner as possible, a pre-set song quota in the group's nine-year recording contract, signed with EMI in January 1967.

But whether The Beatles is viewed as the Beatles' ninth album of new material, or as merely a collection of solo material, it must be the music by which the set is finally judged. And in that department it was a winner, a very enjoyable product and an enormous seller all around the world. Te annual collection of facts and feats, The Guinness Book Of Records , still quotes The Beatl as having sold "nearly two million" copies in its first week of US release.

After the amazing sleeve for Sgt. Pepper's Lonely Hearts Club Band , it seemed in 1968 that some people were awaiting the cover of The Beatles as anxiously as the records inside. It did not disappoint, being a stark white sleeve, conceived by influential "fine artist" Richard Hamilton, as the perfect minimalist antidote to the scores of increasingly garish Sgt. Pepper imitations flooding the market by late 1968. The only markings on the sleeve of The Beatles were the embossed title and an individual serial number. But inside the record wallets were the free goodies: a poster with a fascinating Richard Hamilton collage of personal Beatles photographs and ephemera, and four individual colour shots of the Beatles taken in late 1968 by John Kelly. (It is interesting to note that this was not always the concept. In June, shortly after beginning sessions for the double-album, the Beatles commissioned various designers and printers to come up with sleeve ideas, one being a transparent cover which would reveal a colour photograph as the record was pulled out of the wallet. And The Beatles was not always going to be the title. At one point the double-album was going to be A Doll's House , after Henrik Ibsen's 19th century masterpiece.)

- Mark Lewishon "The Beatles Recording Sessions"