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BEATLES WHITE ALBUM 50TH ANNIVERSARY EDITION

SONS

BEATLES SINGLES COLLECTION 45 TRACKS

THE BEATLES GET BACK TO LET IT BE WITH SPECIAL EDITION RELEASES

Let It Be Presented with New Mixes in Stereo, 5.1 Surround, and Dolby Atmos;
Expanded with Never Before Released Session Recordings, Rehearsals & Studio Jams; And the Previously Unreleased 1969 Get Back LP Mix by Glyn Johns

London – August 26, 2021 – This fall, The Beatles invite everyone everywhere to get back to the chart-topping 1970 album, Let It Be, with a range of beautifully presented Special Edition packages to be released worldwide on October 15 by Apple Corps Ltd./Capitol/UMe.

Three tracks from the newly remixed and expanded edition make their digital release debuts with today’s preorder launch: “Let It Be” (2021 Stereo Mix), “Don’t Let Me Down” (first rooftop performance), and “For You Blue” (Get Back LP Mix).

The Let It Be album has been newly mixed by producer Giles Martin and engineer Sam Okell in stereo, 5.1 surround DTS, and Dolby Atmos. The album’s sweeping new Special Edition follows the universally acclaimed remixed and expanded anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (‘White Album’) (2018), and Abbey Road (2019).

All the new Let It Be releases feature the new stereo mix of the album as guided by the original “reproduced for disc” version by Phil Spector and sourced directly from the original session and rooftop performance eight-track tapes. The physical and digital Super Deluxe collections also feature 27 previously unreleased session recordings, a four-track Let It Be EP, and the never before released 14-track Get Back stereo LP mix compiled by engineer Glyn Johns in May 1969.

On January 2, 1969, John Lennon, Paul McCartney, George Harrison, and Ringo Starr kickstarted the new year together on a cavernous soundstage at Twickenham Film Studios in London. The Beatles jumped into rehearsals for a project envisioned to get them back to where they once belonged: onstage. For 21 days, cameras and tape recorders documented almost every moment: first at Twickenham and then at The Beatles’ own Apple Studio, where Billy Preston joined them on keyboards. Together they rehearsed brand new originals and jammed on older songs, all captured live and unvarnished.

On January 30, the cameras and recorders were rolling as The Beatles, with Preston, staged what was to be their final concert on the chilly rooftop of their Savile Row Apple Corps headquarters before a small assembly of family and friends, and any others who were within wind-carried range of their amps. The midday performance brought London’s West End to a halt as necks craned skyward from the streets and the windows of neighboring buildings were flung open for better vantage. A flurry of noise complaints drew police officers to the rooftop, shutting the concert down after 42 minutes.

Work to compile an album to be called “Get Back” was carried out in April and May by Glyn Johns, who, for his version, included false starts, banter between songs, early takes rather than later, more polished performances, and even “I’ve Got A Feeling” falling apart with John explaining, “I cocked it up trying to get loud.” The Beatles, however, decided to shelve the project’s copious tapes, film reels, and photos, in order to record and release their LP masterpiece, Abbey Road. Drawn from the tapes made in January 1969, plus some sessions which preceded and followed those recordings, The Beatles’ final album, Let It Be, was eventually issued on May 8, 1970 (May 18 in the U.S.) to accompany the release of the Let It Be film.

The sessions that brought about the Let It Be album and film represent the only time in The Beatles’ career that they were documented at such great length while creating music in the studio. More than 60 hours of unreleased film footage, more than 150 hours of unreleased audio recordings, and hundreds of unpublished photographs have been newly explored and meticulously restored for three complementary and definitive Beatles releases this fall: a feast for the senses spanning the entire archival treasure. The new Let It Be Special Edition is joined by “The Beatles: Get Back”, the hotly-anticipated documentary series directed by three-time Oscar®-winning filmmaker Peter Jackson, and a beautiful new hardcover book also titled The Beatles: Get Back. The raw sources explored for the new projects have revealed that a more joyous, benevolent spirit imbued the sessions than was conveyed in the 1970 Let It Be film’s 80 minutes.

“I had always thought the original film Let It Be was pretty sad as it dealt with the break-up of our band, but the new film shows the camaraderie and love the four of us had between us,” writes Paul McCartney in his foreword for the Let It Be Special Edition book. “It also shows the wonderful times we had together, and combined with the newly remastered Let It Be album, stands as a powerful reminder of this time. It’s how I want to remember The Beatles.”

BEEN WAITING FOR THIS!!!

50 years following the release of his self-titled first solo album McCartney, featuring Paul playing every instrument and writing and recording every song, Paul McCartney will release McCartney III on December 18th. Paul hadn’t planned to release an album in 2020, but in the isolation of “Rockdown,” he soon found himself fleshing out some existing musical sketches and creating even more new ones. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped-back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II. Recorded earlier this year in Sussex (UK), McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. atop that foundation. McCartney III spans a vast and intimate range of modes and moods, from soul-searching to wistful, from playful to raucous and all points between — captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. And Paul's array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley's original trio's double bass alongside Paul's own iconic Hofner violin bass, and a mellotron from Abbey Road Studios used on Beatles recordings, to name but a few. Just as McCartney’s 1970 release marked Paul’s return to basics in the wake of the biggest band break-up in musical history, and the 1980 avant-garde masterpiece McCartney II rose from the ashes of Wings, McCartney III finds Paul back on his own, turning unexpected circumstances into a personal snapshot of a timeless artist at a unique point in history.

Did Lennon & McCartney write all the music played in their songs, including the parts played by George and Ringo? If not, why don't George and Ringo get co-writing credit?

Answered March 27, 2021

BY SOMEONEWHO IS NOT ME

Excellent question. As best I can tell, at the time, the writers of the lyrics and melody were given all the writing (and monetary) credits. George contributed most of the guitar/sitar solos, incredible and original as they were, as well as vocal harmonies (I am guessing some of the harmonies, but not all, were coached by John or Paul), but never got any writing (or monetary) credit for songs credited to Lennon/McCartney. George complained about this after the Beatles breakup (maybe before, too), particularly when George was having financial problems, mostly due to his failed endeavors in the movie business. George sang lead (melody) on two Lennon/McCartney songs- “Happy Just to Dance With You”, and “Do You Want to Know a Secret”. He did receive singing credit on album covers, but I am not sure if he ever received any financial compensation for those, probably not. Ringo mostly played on his own, with some suggestions from John and Paul, but not a lot. Ringo’s contribution’s were unique and immensely important to their success, as recognized by both John and Paul, but never received any writing or monetary credit for it that I know of.

ALL THINGS MUST PASS 50TH ANNIVERSARY EDITION 70 TRACKS

WE ARE JUST STARTING TO GET INTO THIS PAGE WHICH, IN THE FUTURE, WILL HAVE MOST BEATLE ALBUMS, SOME BOOTS AND SOME BEATLE RELATED RARITIES AND SOLO WORKS.  

GEORGE HARRISON ALL THINGS MUST PASS 50TH ANNIVERSARY 2021

BELOW IS THE OFFICIAL TRAILER AND ALBUM

BEATLES THE LOST ALBUM 14 CDS COMPLETE BELOW

BEATLES THE LOVE ALBUM

Love is a soundtrack remix album of music recorded by the Beatles, released in November 2006. It features music compiled and remixed as a mashup for the Cirque du Soleil show of the same name. The album was produced by George Martin and his son Giles Martin, who said, "What people will be hearing on the album is a new experience, a way of re-living the whole Beatles musical lifespan in a very condensed period."[1]

The album was also George Martin's final album as a producer before his death in 2016.

LET IT BE CD 1

BEATLES REVOLVER SUPER DELUXE 2022 63 TRACKS

BEATLES LET IT BE SUPER DELUXE 2021

'Zoom In' was recorded at Ringo Starr's home studio from April-October 2020. The 5 new songs "Here's To The Nights," "Zoom In Zoom Out," "Teach Me To Tango," "Waiting for the Tide to Turn" & "Not Enough Love In the World" include contributions from Paul McCartney, Joe Walsh, Ben Harper, Dave Grohl, Sheryl Crow, Chris Stapleton, Steve Lukather, Jenny Lewis, Lenny Kravitz, Corinne Bailey Rae, Eric Burton, Yola, FINNEAS, Benmont Tench, Robbie Krieger, Sam Hollander, Bruce Sugar & more.

LET IT BE "THE LAST SESSIONS"

THE RELEASE OF WHAT WE HAVE GOTTEN OF LET IT BE HAS BEEN ADDED TO OUR WEBSITE AND IS FURTHER DOWN ON THIS PAGE!!!

RINGO STARR THE GOLD COLLECTION (BOOT) 2012

RINGO STARR'S JUST RELEASED ZOOM IN EP 2021