Archive

The Beatles

Beatles 64 65 Ed Sullivan S.JPG

Beatles 64 65 Ed Sullivan S b

USA: 2nd half of 1980

Going out with a bang: Melvin’s 5th release ED’s REALLY BIG BEATLE BLASTS was one of their – if not the – best, offering an upgraded to the artificially extended versions of the songs from the 1964 Ed Sullivan Show on RENAISSANCE MINSTRELS volume I.

According to the book WAY BEYOND COMPARE, this album contains their complete second appearance on the show on February 16th (although not in chronological order), leaving “Twist And Shout” and “Please Please Me”, which were not performed on the ’64 Ed Sullivan Shows unaccounted for. Leave a comment if you have a copy of this album and know where they were sourced from.

The last track on side 1 and the first on side 2 are from their third broadcast on the show, which was recorded first and then held until February 23rd, giving the USA three solid weeks of total Beatles immersion.

HOTWACKS’ quality rating of “Exm” was an upgrade from its first inclusion on this 1973 Contraband title:

Beatles POM large

 

Shout 45 frontSHOUT! MM 6-2,3. b

SHOUT! MM 6-2,3. lbl 1

SHOUT! MM 6-2,3. lbl 2

USA: ?

Melvin’s numbering system becomes a bit hard to follow at this point. If I am missing any of their 7″ releases, please leave a comment.

One topic were bootleg producers and Beatles fans always saw eye to eye was the desire for rare unreleased tracks and this 45 aimed to hit that spot.

The Beatles’ cover of the Isley Brothers 1959 first gold single Shout! was included in their TV special Around The Beatles on April 19, 1964. John’s introduction during the rehearsal was “a number we haven’t recorded … and we’re not likely to.” but that was not used in the broadcast version, in which they mimed to the pre-recorded songs to ensure a degree of control over the audio quality.

“While Shout! begins with a trio of B7 guitar chords on the broadcast version, the master tape must have been damaged in the intervening years, as all bootlegged versions only contain the last two of these. even Anthology 1, which went back to the multi-tracks, had to use fakery by repeating the second chord (listen for Paul’s two identical intakes of breath)! That’s hardly the extent of the oafish butchering done to the Anthology version, which makes The Beatles sound incapable of performing a simple repeating two-chord ostinato.” (Way Beyond Compare, Winn, p. 182)

This Melvin 45 was at the least the fourth time this track had been made available to the Beatles’ bootlegs buying public:

1971:

beatles-last-album

1975 on King Kong/Contraband (1020) – it closes side 2 here:

Beatles First US Performance 80s

1976 on Wizardo’s Around The Beatles (wrmb 349):

Beatles ATB 349

 

***

The country number “I Forgot to Remember to Forget” written by Stan Kesler and Charlie Feathers is most well known in the Elvis Presley version recorded in 1955, released as a single and also included on his first LP. George Harrison / The Beatles picked it for their third appearance on their From Us To You radio program, recorded May 1st, 1964. After the broadcast on Whit Monday bank holiday, May 18th, it was forgotten until 1972 when the BBC radio The Beatles Story series included about a minute of the surviving mediocre quality recording but misidentified the lead vocalist as Paul.

A tape of the documentary found its way to the US and the excerpt was promptly included in the line up of this Contraband LP (# 3624), released in February of 1973:

Beatles Have You Heard The Word

Five years later, there was an upgrade on Audifön’s Youngblood album, which had located an almost complete copy of the track.

Beatles Youngblood b

 

 

;

You will recognize the silly “NOT FOR SAIL” comment as also found on their Visit To Minneapolis EP.

USA: ?

“In the late Seventies, the programme Top Of The Pops was independently rereleased by two different manufacturers on 7″ EPs. One of these versions, in excellent quality, was on matrix 45×45000/45001 and bore fake “Capitol” P-9431 labels; the other one, from Brown Cloud Records (a name for a Melvin Records issue), had worse sound.” (from: “A History of the Beatles’ BBC Bootleg Releases”)

Above; The better sounding (and looking) Top Of The Pops EP, released ca. 1978

Having survived on an overseas BBC Transcription Disc that was part of a series labeled Top Of The Pops, excerpts of The Beatles appearance on the radio series Top Gear # 1, recorded 14 July ’64 and transmitted on the 17th, have been included on Beatles bootlegs since 1971’s The Beatles Last Album, shown below. So, that explains why all these bootlegs are called Top Of The Pops.

VtMinn-3

VtMinn-2

VtMinn-1

VtMinneapolis S2 lbl

USA: 1979

“In 1979, Melvin Records released a bootleg EP entitled Visit To Minneapolis, which claimed to contain three songs from The Beatles’1965 Minneapolis concert. Closer inspection proved them to be excerpts of a Houston performance…” (Way Beyond Compare, Winn, p. 370)

If I could interview Eddie from Melvin, questions about this release would be at the top of my list. were they given these tapes and told this was all from Minneapolis? Or was this an “in house” joke? … Fact is that the three song fragments were altered to sound much worse than their originals in order to obscure that they really came from the Houston performances on August 19th ’65 and a Beatles bootleg sensation since their 1978 release on audifön:

Beatles LftSamHoustonC b

Analysis:

  • The Minneapolis press conference excerpt – 4:51

The Beatles are closely miked but the reporter questions spoken into a mic that’s passed around are sometimes hard to hear.

http://www.beatlesinterviews.org/db1965.0821.beatles.html

The clip found on YouTube includes material not found on the EP and vice versa. Over 26 minutes exist from a broadcast on WDGY-A covering more topics

 

  • She’s A Woman – Someone was trying hard to emulate the windswept sound of an outdoor stadium while working with a soundboard recording  2:51
  • Twist And Shout – Paul’s shout at the end is clearly the same as during the afternoon concert in Houston on August 19 ’65, as is the mix/ambiance of the Houston soundboard tapes  1:34
  • The interview that gave the EP its title, the interview with police inspector Donald R. Dwyer – 4:06 (while the YouTube clip is longer it is also out of sequence with the proper start being at 2:44)

“Police Inspector Donald R. Dwyer did not mince words expressing his disdain for the mop tops, calling them a “typical traveling troupe,” akin to circus performers.  He claimed he’d found a girl in Paul’s room and charged him with making a “false hotel reservation.” Fortunately, the girl was able to prove that she was 21 (and from Cleveland). Dwyer told the Minneapolis Star that “Those people are the worst I have ever seen visit this city,” and in a press conference said “if they did not come [back] it would be too soon for me.”

But [Bill[ Diehl [of WDGY who MC’d the show] says that he was up there with the Beatles, and that there was no way that, with all the money invested in them, that Brian Epstein would allow them to be involved with the scandal of having girls in their rooms, and that the police lied about what went on.  Diehl said that the whole thing was blown completely out of proportion, and when the Beatles said they’d never come back to Minneapolis, Bill said he didn’t blame them.”

While the Beatles never did make a return visit to Minneapolis, as someone in their touring party stated (Neil Aspinall?) the guilty party here, Paul, has returned three times (1876 with Wings and 1993 + 2014 as a solo act).

  • Everybody’s Trying to Be My Baby (2:32) – the introduction was edited from the afternoon show in Houston

Ironically, an audience recording was made that night at Metropolitan stadium – sounding nothing like the fake tracks on this EP – finally surfaced in 2002 and disproving the forgeries even more as “Twist And shout” had not even been performed that night (likely to give John’s throat a rest). By the way, with just under 30,000 out of 40,000 tickets sold, Minneapolis was the only tour stop on their 1965 North American tour that was not a sell out.

Their lowest stage set up since early 1963?

***

All you would ever want to read about their visit to Minneapolis:

http://www.startribune.com/how-an-intern-got-into-the-beatles-mpls-hotel-room/322435992/

http://blog.thecurrent.org/2015/08/it-was-50-years-ago-today-that-the-beatles-played-in-minnesota/

https://bobbonis.com/product/the-beatles-in-minnesota-a-photographic-history-of-the-only-concert-the-beatles-ever-played-in-minnesota/

http://twincitiesmusichighlights.net/beatlesinmpls/

Beatles vs Don Ho

Based on Vee-Jay records August 1964 cash in attempt (it didn’t really work as they ended up selling fewer than 20,000 copies):

beatles-vs-the-four-seasons

Beatles vs Don Ho b

 

beatles-vs-the-four-seasons-back

Beatles vs Don Ho b detail

Beatles vs Don Ho lbl 2

USA: 1979

Melvin holding on to their “hodgepodge” concept of dishing out rare Beatles tracks not connected by recording date or a common theme, reminiscent of early CBM and Wizardo Records Beatles titles.

Side one:

“…the disc itself opened with a tape of the bootlegger legitimately attempting (and failing) to give away a free copy of the LP over the phone.” (source: Reference Library: The History of Beatles Bootlegs)  1 min. 48 sec.

  • Too Much Monkey Business – Out of the four times that the Beatles recorded their cover of this Chuck Berry 1956 original for the BBC, only their last taping, recorded 3 September ’63 for Pop Go The Beatles # 13 had surfaced by ’79 on 1978’s YOUNGBLOOD Audifön release and was copied from there. 1:46
  • Red Hot – after MM04, the second time that Melvin included this short excerpt from the History Of The Beatles Earth Radio News ’78 series.  0:59
  • A Hard Day’s Night Promo Spot – radio ad  0:56
  • Sitar play and discussion wInterview withith George Harrison – George came to New York in November of 1971 to promote the film Raga and the upcoming Concert For Bangla Desh record release. This appearance on the David Frost show was filmed November 24 ’71 and broadcast on December 3rd.  2:58
  • Interview with John & Paul – supposedly from Los Angeles, August 1965  2:01
  • I’ll be On My Way – rec. 4th of April ’63 For true obscurity, nothing could top a rare one-sided single pressed late in 1973 which included “I’ll Be On My Way” as taped off the air from BBC Radio’s “Side By Side”. [in fact this is so rare I’ve never seen a copy, nor does a search bring up one] Contraband were the first to copy this on an LP on Soldier Of Love (CBM 1022) in the summer of 1974, followed by Wizardo in ’76 on # 345, known as Happy Birthday.   1:56
  • Help! Promo spot – see MM04  1:03
  • All You Need Is Love worldwide telecast – Our World broadcast, 25 June ’67. Previously available on Contraband’s 1973 release L.S. Bumble Bee (CBM 3626)  6:10
  • Beatles Christmas message –  1963  0:38
  • short Think For Yourself – from the Yellow Submarine film soundtrack  0:09
  • A Quick One While He’s Away –  the Beatles jamming on the riff of this Who number that was performed in The Rock’n Roll Circus unreleased TV project, which also featured John & Yoko. This follows George walking out on them, with nobody knowing if he’ll be back. A dramatic low point in the Get Back sessions, captured on January 10th ’69 at Twickenham studios and first released in May of 1977 on the Watching Rainbows album (where it’s almost a minute longer).  2:47
  • Beyond the Valley of A Day In The Life – San Francisco avant-garde band the Residents released 500 numbered copy of this montage, visualizing how the last Sgt. Pepper track could have continued, in August of 1977.  4:12

Residents 45

“Closing side one was a bit of “Strawberry Fields Forever” with somebody mumbling “I buried Joel” – a dig at “Paul-is-dead” theorist Joel Glazier.”   0:16

Side two:

  • Give Peace A Chance – rehearsal: John on solo acoustic guitar with some plaintive choral backing and featuring Murray The ‘K’. Recorded 31st of May 1969 in rooms 1738-1742 at the Queen Elizabeth Hotel in Montreal. Finally, a Melvin Records Exclusive!  2:15
  • interview (not listed on cover) – John, Paul, George and Jimmy Nicol interviewed June 5 ’64 on Dutch TV, also taken from wrmb 501.  1:34
  • Twist And Shout – live from KB Hallen in Copenhagen, 4th of June ’64, taken from the 1976 Wizardo Records LP JOHN, PAUL, GEORGE AND JIMMY (wrmb 501)  3:20
  • Carol  2:36 and
  • Lend Me Your Comb – both recorded July 2 ’63 for Pop Go The Beatles # 5. Wrongly attributed here to a Radio Luxembourg broadcast and first released on Contraband’s Peace Of Mind LP (CBM 3670) in 1973.  1:46
  • Everybody’s Trying To Be My Baby – recorded November 17 ’64 for BBC’s Top Gear.  Included on the BBC radio documentary The Beatles Story in 1972. The attribution to “BBC radio” on the Melvin cover indicates that this was not copied from 1978’s Dec. 63  LP (ODD 4), where the track was overdubbed with screaming to pretend this was a rare live recording.  3:04
  • Soldier of Love –  around since 1974 as a poor recording via Contraband’s soldier of love (CBM 1022), taken from a broadcast on Phoenix radio station KRIZ-AM.  1976 saw its appearance on wrmb 345, aka Happy Birthday  2:00
  • Mellotron Music (aka The Bus) – Magical Mystery Tour soundtrack  0:48
  • Interview with Ringo (not listed on cover) / Maxwell’s Silver Hammer –  taken from the Get Back sessions at Twickenham  2:15
  • Honey Don’t “vocal by John”-  recorded August 1 ’63 for Pop Go The Beatles # 12. First heard on TMOQ’s Outakes 2 (71049) in summer of 1972.  2:15
  • Talking Guitar Blues – taken from the documentary What’s Happening! The Beatles In The USA. It’s just George strumming an out of tune acoustic guitar at the Deauville Hotel in Miami on February 21 ’64.  1:04
  • I’m Down –  from their August 30 ’65 Hollywood Bowl performance. Good quality but obviously incomplete, taken from a radio broadcast with narration.  1:19
  • Tiny Bubbles (by Don Ho) – with additional sound effects by the Beatles. Not listed on cover.  2:15
  • Outro by Paul McCartney – not listed on cover  0:09

 

***

I do remember this version titled Silver Lining being a lot more common around 1980 than the Melvin original. One explanation I found for this is this: “While the metal parts were at the pressing plant, they were used surreptitiously to press up extra copies, which were made with Midwest Music labels and a new cover and title.”

Silver L-1

Does it look familiar? It should.

Beatles Indian Rope Trick

beatles-silver-lining

The back was copied from the 1964 US Tour book:

64 US tour book

beatles-mm08-ab

 

Beatles MM06

I have identified three different versions based on colors, the one shown above, then an all blue one:

Beatles MM06 blu

And a black  & white one with a tan label:

Beatles New 21 tan

Beatles The New 21 b

All of these images used on the back cover were shot by celebrated English portrait and fashion photographer Norman Parkinson while the Beatles recorded “Hold Me Tight” and “Don’t Bother Me” on the 12th of September 1963. Many of them were compiled into a magazine for the US Beatles fans, which was reissued in a smaller format in the second half of the ’70’s.

Norm Parkinson

USA: Late 1978

Eddie from Melvin Records likely assumed that very few Beatles collectors outside of South Carolina owned the early Melvin Records title, as many were reused for their sixth release. Although, would you not anticipate that many in your target group owned the Deccagone 45’s and “it-was-news-seven-years-ago” BBC tracks?

Side 1:

  • Three Cool Cats (Decca Audition, 01 January ’62. Previously included on MM04 ‘When It Says Beatles Beatles Beatles On The Label Label Label You Will Love It On Your Turntable Turntable Turntable’
  • How Do You Do It – taken from Joe Pope’s 45 first released in 1976 for the Boston Beatles convention. Although difficult to impossible to do, I love to trace back how a recording may have been ‘leaked’. As stated before on this blog, the theory that this track was played on RKO radio that year or prior and taped is incorrect, as the series in question – From Liverpool To Legend – was only broadcast in 1977. Another theory has John Lennon trade an acetate for (Contraband’s) Sweden 1963 LP. I doubt even John would give away his only hard copy for something even he knew to be a mass produced item but the final word on this is the fact that the source for the bootleg single was clearly not an acetate.
  • Like Dreamers Do – another Joe Pope Deccagone 45 copied by Melvin
  • Lucille – Eddie & Fred really seem to have taken to the BBC recording of this Little Richard number as this is the third time they have included one of the two available performances on a Melvin album.
  • Glad All Over – continuing with the original ’21’ (MM02) focus on BBC recordings, this track from Pop Go The Beatles # 10 (rec. 16 July ’63) makes its Melvin debut but had been available since TMOQ’s Yellow Matter Custard, which was heavily mined by Melvin.
  • Hello Little Girl – B-side of Deccagone single “Three Cool Cats”, already used on MM04.
  • Nothin’ Shakin (But The Leaves On The Trees) – Recorded for Pop Go The Beatles # 6 on 10 July ’63 and previously out on – you guessed it – Yellow Matter Custard.
  • Lonesome Tears In My Eyes – ditto
  • The Honeymoon Song – ditto, except taped for episode # 8 and the date was 16 July ’63
  • Spiritual Regeneration – see MM04, side 1, track 3
  • “The Abduction” – This is the music played over the end credits of their second movie Help!. Although Mozart wrote a piece with that title this is actually the overture form Rossini’s “Barber of Seville” with the Beatles hamming it up vocally but not adding any instruments.

Side 2:

  • Watching Rainbows – the Fab Four as a trio after George had walked out at Twickenham studios. John on electric piano and Paul on lead guitar, trying out a couple of John’s new compositions and this improvisation on 14 January, 1969. Available in poor quality since the summer of 1977 on Dragonfly’s Indian Rope Trick and then the multi-color EP of that same name.

  • Mama You’ve Been On My Mind – recorded 9 January ’69 at Twickenham during the Get Back sessions and brought to you first by Contraband on Sweet Apple Trax
  • “I’m ready” aka “Rocker” – (listed as Ready, Willing And Able (Instrumental) ) and
  • Save The Last Dance For Me- both recorded 22 January ’69 at Saville Row in their basement studios 

and only available on the multi-track tape shown here:

Glyn John’s third compilation attempt from May of ’69 created the definite version of the Get Back album and was slated for release no less than three times. It made use of this multi-track reel shown here. Both “I’m ready” and “Save The Last Dance For me” are very short.This third version had the same track listing as the second one but there are a few instances of different dialog and, more importantly, different edits of “Get Back” (now lacking the coda) and “Dig It” (cut by a minute). In addition, the third version was never broadcast on the radio.

Although it was not broadcast like the first two compilations, this compilation surfaced in the 1970s from both an acetate and, according to Doug Sulpy, a tape source. While the acetate and the tape source are the same compilation, there are two minor differences between the two. For reasons unknown, the tape source is missing the first second or two of “One After 909” and the chat heard at the end of “For You Blue”. This appears to be a banding oddity and not an actual compilation variant. I have been unable to determine exactly when the two individual sources first surfaced but this compilation has been a mainstay in The Beatles’ bootleg canon since it first appeared in the 1970s.” [source: http://www.beatlesource.com/bs/mains/audio/GetBack/comp3/comp3.html%5D

Now, where this was first released is where it gets complicated. The beatlesource website claims this was in 1974 on TMOQ’s Get Back Sessions and shows the mid-70’s reissue with the S-2xx added annotation on the insert. However, this album was first released in September of 1971 (matrix: BGB 111 A-R1 / BGB 111B-R1).

Back to the third compilation, it can also be found in slightly edited form with “One After 909” shifted to the end of side 1, likely done by the bootleggers who must have felt it flowed better this way (on Wizardo’s WRMB 315 versions, ca. late ’75/early ’76):

Plus also on the 2LP version of this  confusing Wizardo release:

Beatles Get Back Sessions 320 2LP v

The auction text for this 2 LP version read:

“Beatles Get Back Sessions, WIZARDO 2 LP, WRMB 320

The Beatles, Get Back Sessions, Studio Out-takes.

Believed circa 1975 Wizardo double LP set, both LPs on black vinyl. One LP has a red label with deep groove similar to that used on early USA Blue Note and UK Decca pressings. The other LP has a blue label and features a much less indented groove in the same area.

Dead wax/run-off markings red label: WRMB 352 A / WRMB 352 B; blue label: WRMB 315 A / WRMB 315 B. These are all etched and not stamped.

Note that the numbers on the LP differ from that on the cover slick, although both LPs appear to contain the tracks from the Get Back/Let It Be sessions, and so this set is possibly a repackage or coupling of two earlier separate LPs.”

For the single LP copies, we have the following confirmation: “# wrmb 320, vinyl matrix #352” and a different set list:

Side A: One after 909 / The walk / Don’t let me down / Dig a pony / I’ve got a feeling / Get back

Side B: For you blue / Teddy boy / Two of us / Dig it / Let it be

Apparently, the quality is rather poor.

Several months later, this reappeared on no less than three of Ken’s labels. ZAP 7866:

the surprisingly hard to find TKRWM 1995 – according to beatlesource.com, sourced directly from the acetate:

plus also as one LP of the double set Renaissance on Toasted Records (# 2S911).

***

  • Shake, Rattle And Roll – recorded 26 January ’69, as the band broke up rehearsing “Let it be”over and over and slide into an inspired medley of rock’n roll 50’s & 60’s standards. Part of this was used in the Let It Be film (taken from the Nagra reels) and first appeared on bootleg on Contraband’s Peace Of Mind (CBM 3670) in the late spring of 1973 and in the following year again as part of their first volume of the Cinelogue series (CBM 4020).

A 24 minute one sided acetate containing much of the medley and sourced from Glyn John’s multi-track compilation numbered E69742 has appeared and been sold at auction but I doubt any bootlegger had access to this:

I’ve Got A Feeling
Dig It
Shake Rattle and Roll
Kansas City,Miss Ann, Lawdy Miss Clawdy
Blue Suede Shoes
You Really Got A Hold On Me

Many of us looking for Beatles bootlegs in the 1980’s also remember this song from the File Under bootleg, which, despite the mediocre sound was a real “greater than the sum of its parts” experience.

  • The Walk – recorded 27 January ’69. Sandwiched between takes of “I’ve Got a Feeling”, they launched into this song originally written and recorded by Jimmy McCracklin in 1957:

51 seconds of the Beatles’ version of “The Walk” ended up being selected for the reference mixes Glyn Johns compiled starting on January 27th with acetates cut on January 30th.

Tape copies of these acetates were played on US radio stations in the summer and fall of 1969, leading to the first ever Beatles bootleg appearing in January of 1970:

  • “Commonwealth” – recorded at Twickenham on 9 January ’69 and first heard on Contraband’s Sweet Apple Trax volumes
  • “Enoch Powell” / “Get Off” (listed here as “Whitepower Promenade (Parts 1 And 2)”) – ditto
  • Honey Hush (Joe Turner) – ditto
  • Youngblood (Leiber / Stoller, originally recorded by the Coasters in 1957) – MM06 ends with another BBC recording. The Beatles’ only recording from 1st of June 1963 had just made its debut in 1978 on the Audifön bootleg of the same name, unfortunately incomplete and sounding poor. It probably did not sound any better here.

****

Hard work

I must admit, I did not expect the Melvin label to be so tough going but there is a lot to look up for all these different sources! This title may just be the most work intensive one ever or at least in the top 3. On top of that, my ISP cut my line last week – not because I hadn’t paid the bill but because of left hand/right hand, and I only had emergency internet for five solid days.

Beatles Ed's Really Big Beatles Blast blu

Beatles Ed's Really Big Beatles Blast blu b

 

 

Beatles Ed's Really Big Beatles Blast

Beatles Ed's Really Big Beatles Blast b

 

The blue version seems to be less common than the black one. On a good day, this title can achieve $75 at auction but it has achieved significantly less as well.

USA: 1978

This release marked the change from a small time “boutique” bootleg label selling out of one record store to a nationally and finally internationally known label with matching production volumes.

Matrix (Run-out Side A, etched): MM-05-1
Matrix (Run-out Side B, etched): MM05-2

The 1964 Ed Sullivan Shows had first appeared on the first volume of the Renaissance Minstrels series in 1970  and in 1973 was copied on one side of Contraband’s Abbey Road Revisited in worse quality (CBM 3907). The whole series, which turned into pure pirate releases presenting only officially released 45’s on vols. 3 & 4, was copied and repressed so many times by other labels including major players TMOQ and Wizardo, it’s almost impossible to keep track.

Beatles Ren Minst 725

Beatles Ren Minst 725 b

Bearing the number ‘#725’ on the insert, it appears to be a WCF product, except that the number clashes with their later release LEON RUSSELL – Live At Anaheim Calif

Russell Anaheim

The big difference between RENAISSANCE MINSTRELS volume I and the Melvin title is that the earlier album not only mixed up both performances from the 9th and 16th of February, they also artificially extended almost every song by repeating verses in order to make them longer (I assume the bootlegger(s) felt cheap offering an album with only a little over 11 minutes on side one and under 10 for side two).

So in a way, Melvin presents this material for the first time. In addition, the three songs from February 23rd make their debut here.

Ed Sullivan Show, Feb 9 1964:
A1 Ed’s Intro
A2 All My Loving
A3 Till There Was You
A4 She Loves You
A5 Ed’s Intro
A6 I Saw Her Standing There
A7 I Want To Hold Your Hand
A8 Ed’s Outro

Ed Sullivan Show, Feb 16 1964:
A9 She Loves You
A10 This Boy
A11 All My Loving
Side 2 – continued: Ed Sullivan Show, Feb 16 1964:
B1 Ed’s Intro
B2 I Saw Her Standing There
B3 From Me To You
B4 I Want To Hold Your Hand
B5 Ed’s Outro

Ed Sullivan Show, Feb 23 1964:
B6 Ed’s Intro
B7 Twist & Shout
B8 Please Please Me
B9 I Want To Hold Your Hand

 

**

In 1980, as it was simply the only way to obtain the Ed Sullivan material at this time, MM06 was copied as ZAP 0514 under a slightly different title. I used to believe this peculiar looking release with the wrap around insert and one-sided rainbow label was made in Japan but now I’m not so sure anymore.

Beatles EDSSCBSTVST 2

Beatles EDSSCBSTVST

Beatles EDSSCBSTVST b

Beatles EDSSCBSTVST lbl

Beatles EDSSCBSTVST lbl 2