50 Years Ago: EMI Prepares for Release of First Beatles Single – beatle.net by dvt | posted in: 50 Years Ago , Trivia | 0 In mid-September 1962, EMI scheduled the release of the Beatles first single for October 5. By this time George Martin had determined that a Lennon-McCartney original, “Love Me Do,” would be the group’s debut disc. Although EMI initially pressed only a few thousand copies of the single for distribution to record stores, the company devoted a full page of its weekly two-page new releases ad to the disc in the September 27, 1962, Record Retailer (shown above). This unprecedented move was most likely done to curry favor with Beatles manager Brian Epstein, who was an important customer of EMI through his NEMS record stores. While EMI was not willing to risk the cost of a large press run on an untested group, the full-page trade magazine ad, complete with pictures of the members of the group, was a way for EMI to demonstrate to Brian its support of the Beatles without incurring additional expenses.

EMI prepared approximately 250 promotional copies of the Beatles first single for pre-release distribution to selected media and radio stations. This so-called demonstration record has white labels with black print and a large red A on the Love Me Do side. The arrival of the disc at Brian’s NEMS office should have been a red-letter day for the aspiring manager, but instead Brian exploded in red-faced rage when he noticed that Paul’s last name was misspelled in the songwriters credit as “McArtney.” When he called EMI to complain about the error, he was told that the labels of the commercial copies would have the correct spelling. This failed to calm him down and he curtly replied, “Not the point, journalists and producers and deejays have the wrong name on their copies.” While Brian was understandably upset over the spelling error, the mistake made what was destined to be a highly collectible disc even more desirable. Not willing to rely entirely on EMI to promote the Beatles, Brian hired a Liverpool native who wrote liner notes for a major record company to prepare a press kit for the Beatles. This individual also wrote record reviews for a Liverpool newspaper. This week’s trivia questions are about this person.

Who did Brian Epstein hire to prepare the first Beatles press kit? What record company did this person write liner notes for? What newspaper did this person write record reviews for? What pen name did he use for his Off The Record column in the newspaper? 1962 - Early Beatles Songs Early Beatles Songs 1962 The first day of the year brought the most important single session the Beatles had yet attended... RECORDING: decca studios, london, january 1, 1962 The Beatles’ Decca audition saw them run through some 15 songs, all of which were recorded on tape for the benefit of A&R man, Dick Rowe.

The audition set is worth looking at, since it reveals the type of material the group were performing, as well as their reticence when it came to pushing their own original songs: Like Dreamers Do (Lennon-McCartney) Money (That’s What I Want) Till There Was You To Know Her Is To Love Her Take Good Care Of My Baby Memphis Tennessee Sure To Fall (In Love With You) Hello Little Girl (Lennon-McCartney) Love Of The Loved (Lennon-McCartney) September In The Rain Besame Mucho Searchin’ The tracks have since been released semi-officially without the three group originals. As is often the case, it is the bootleg versions which are complete, containing the otherwise unavailable “Love Of The Loved” in its true context. Although Dick Rowe and Decca famously turned them down, Epstein was not deterred and had these tapes transferred onto a pile of discs, during an eventful London visit soon after. It was these records which first opened a door at EMI.

Epstein actually sat in George Martin’s office briefly on February 13 and played him “Hello Little Girl” – although the producer was reportedly nonplussed by the group with a strange name and their own songs to sing. As a working stage act, the Beatles were gigging non-stop through 1962, with the Cavern the main focus of events. From this period, we can identify two new numbers in the expanding Lennon-McCartney songbook: [41] pinwheel twist (mccartney) The ‘twist’ craze had broken out in 1962, and it seems McCartney fancied writing one of his own twist songs. According to local performer Earl Preston, “Pinwheel Twist” was written off-the-cuff on March 22 at the Cavern. That night there happened to be a twist act supporting the Beatles, and McCartney supposedly wrote “Pinwheel Twist” in the ‘bandroom’ (what passed for backstage in the cellar), premiering it to the audience that very night. The result was reputedly mediocre (as one might expect) with an incongruous waltz section in the middle. Nevertheless, it endured for a little while.

It is perhaps a measure of McCartney’s own estimation of the song that it was soon given over to Pete Best for his live vocal spot. Best has since recalled some of the lines, which are all that remains: “Pinwheel twist going round and round / Pinwheel twist going round and round / Pinwheel twist going round and round / Hey, pinwheel twist”. Average it might have been, but when Brian Epstein drew up a list of 30 tracks to take into EMI for the group’s first proper recording session, “Pinwheel Twist” was on it, noted as a McCartney vocal and indicating that Epstein thought it had something going for it (if only by tapping into a fashion). In the end the list of 30 songs was whittled down to four, “Pinwheel Twist” not among them. The track has never been heard since. (That list of 30 songs included seven Lennon-McCartney originals. All have made it to vinyl bar this one.) As a footnote, there was one other significant spin-off from the twist craze: the release of the Isley Brothers’ “Twist and Shout”, which the Beatles incorporated into their live act during the year.

[42] ask me why (lennon) Lennon was inspired to write this after hearing “What’s So Good About Goodbye” by the Miracles. That single was released in February 1962 in the UK, and “Ask Me Why” presumably followed closely. It is thought to be Lennon’s first proper composition for a couple of years, and also follows McCartney’s first song for some time (“Pinwheel Twist”), suggesting he and McCartney were responding to their new manager’s enthusiasm for self-written material. McCartney has claimed to have worked on the song with Lennon, making it a co-write on Lennon’s original model. During the year, the Beatles signed with EMI and “Ask Me Why” was earmarked for possible release. It was taped as early as June in versions now lost, but the definitive recording was made on November 26. It duly appeared as the B-side to “Please Please Me” in 1963. Meantime a version was recorded on stage at the Star Club, Hamburg, which has circulated illicitly. The Beatles made their BBC radio debut at around this point, as Epstein managed to get them booked on the show, Here We Go on March 7.

The group performed live in a studio in Manchester, their set including “Hello Little Girl” as the only original, alongside three cover versions. But while the others were broadcast, “Hello Little Girl” was not! In April, the Beatles were due back in Hamburg for their third prolonged booking. Tragedy struck again, however – on the day the group landed, news arrived that their friend and former band-mate, Stu Sutcliffe, had died. Lennon in particular was said to be shell-shocked, and not for the first time in his life. Nevertheless, the band saw through their bookings, performing another gruelling set of gigs, this time with somewhat better accommodation and remuneration to raise the spirits. It was during this visit that they went back into the recording studio... RECORDING: rahlstedt studio, hamburg, may 24, 1962 This session satisfied Bert Kaempfert’s contract with the Beatles, originating from their June 1961 recordings with Tony Sheridan. It seems that the session was somewhat perfunctory, the lead singer not there and just a few backing tracks laid down. No Beatles originals were recorded.

During this time away, events were taking place in London, unknown to the Beatles, or indeed, Brian Epstein. The circumstances surrounding the signing of the Beatles to Parlophone were never really clear, until Mark Lewisohn’s 2013 epic explained things. During Epstein’s London visit in February, during which he met George Martin, he’d brought the Beatles to the attention of Sid Colman, of Ardmore and Beechwood – EMI’s publishing company. Colman was drawn to the idea of a group writing their own songs, and was impressed with the Decca recording of “Like Dreamers Do”, which he wanted to secure the rights to. It was as a result of Colman’s jockeying that EMI’s record division MD, Len ‘LG’ Wood, consented to getting the group into the studio to cut a few sides. Wood was at this stage on less than glowing terms with George Martin, and knowing that Martin had himself turned his nose up at the Beatles back in February, devilishly told the producer that he would have the privilege of recording the group.

And so, by a circuitous route, and via EMI’s great rivals Decca – whose January recordings made things possible – EMI offered the Beatles a short recording contract. Epstein was elated, and immediately telegrammed the Beatles in Hamburg. McCartney in particular saw this opening as his long-awaited chance of stardom, and set about writing a new song especially for the coming EMI recording sessions. From here, events would move with some pace. [43] ps i love you (mccartney) Composed just after Epstein informed the Beatles that they had been offered a contract with Parlophone, this song is mainly McCartney’s work. Purpose-written, it was immediately short-listed for the group’s imminent recording session, where it was taped with Pete Best on drums (in a version sadly wiped). The song was taken back to the studio for a proper recording in September. After it was released as the group’s first B-side, it was re-recorded a few times for BBC radio, with Starr on drums. One of these versions can be heard on On Air – Live at the BBC Volume 2 (2013), but the original single must be considered definitive, albeit with Andy White sitting in for Starr.

RECORDING: emi studios, abbey road, june 4, 1962 The Beatles returned to England on June 2, and signed contracts with EMI before walking into Studio 2 at Abbey Road for the first time. Here, in front of producer George Martin, they recorded test versions of “Love Me Do”, “Ask Me Why” and the new “PS I Love You” (as well as a cover version of “Besame Mucho”). The fact that three originals featured among the four song choices that day may have had something to do with Sid Colman’s interest in their composing skills, but equally may have reflected a new-found self-confidence on the group’s part. (They’d recorded three originals for Decca as well – but buried in a set list of 15.) The Beatles would have to return to EMI on September 4 to get proper recordings made, and we can date three new songs to this period: [44] won't you please say goodbye (lennon) An elusive number with just enough clues to date it to summer 1962.

The only remaining evidence of the song comes via the Get Back tapes of 1969 , when it was dredged up shortly before the group broke for lunch on January 3. Having just refreshed their memories of a clutch of very old oldies (including “One After 909”, “I’ll Wait ’Til Tomorrow”, “Because I Know You Love Me So” and “Thinking Of Linking”), Lennon and McCartney go through a rough and ready version of this song lasting less than a minute. It comes across as a slow but spirited group number with vocal harmonies, and has something of the shape of “Baby’s In Black” about it. Significantly, Lennon remarks that it was cribbed from “Bring It On Home To Me” by Sam Cooke, and it’s on this basis – which he felt the need to explain – that we ascribe it to him, and also date it to this summer; Cooke’s single was released in May 1962. Note: the resemblance to “Baby’s In Black” has led some commentators to suggest that the 1964 song was devised from this earlier one.

(Walter Everett for example, says “The bridge has its origins in the Quarry Men (sic) number, ‘Won’t You Please Say Goodbye’”.) Although the resemblance is clear, it’s by no means obvious that “Baby’s In Black” is a derivative. [45] please please me (lennon) A song which needs little introduction. A couple of days after the Beatles had first showcased their talents for George Martin, and galvanised by the prospect of returning to EMI for more recording, Lennon devised this one with its sexual innuendo and Orbison-like tempo. The song was written at Menlove Avenue then polished up with McCartney at Forthlin Road, probably that same night. The track eventually became the Beatles’ second single, and came out in January 1963 to reach the top of several charts, although in the ‘official’ Record Retailer listing it peaked at number 2. Nevertheless it was a major breakthrough, and was used as the title track to the Beatles’ first LP. Several versions are known – but there is only one recording to listen to.

(An initially unused recording with Andy White on drums has appeared on Anthology 1.) [46] tip of my tongue (mccartney) As Lennon had, McCartney left the group’s first EMI session in June with a personal goal of writing something great for their impending return. While Lennon succeeded with “Please Please Me”, McCartney’s offering was weak, and failed to impress the EMI staff on September 4. Lennon played maracas, and in pre-EMI “rehearsals” on the Cavern stage, the group tended to muck about (according to Mark Lewisohn, inserting “yabadoos” into the lyric for fun). All in, not much to take forward into an important recording session. Walter Everett states that a “demo” was recorded at a later EMI session (November 26, the day that “Please Please Me” was finally captured) but Lewisohn disagrees. Assuming Lewisohn to be correct (and there is no Beatles version extant), a demo must have been taped privately at some other point, since a copy was given to Brian Epstein’s Tommy Quickly in July 1963.

He rattled off a version which was put out as a single at the end of the month, to general disinterest and in truth, the song wasn’t up to scratch, its author later stating that he was “ashamed” to have written it. On June 11, the Beatles made their second radio appearance, again for the BBC’s Here We Go slot. This time they showcased Lennon’s “Ask Me Why”, long before it was ever released on disc. But other events were casting a shadow over this otherwise positive period. The Beatles were aware that George Martin had not been satisfied with Pete Best’s drumming in June, and anticipating their return to Abbey Road in September, they took an important decision which, in truth, had been brewing for quite some time. On August 16, Epstein had to deliver the news to Pete Best that the group wanted him out. Best had never really gelled with the others and moreover, they had a camaraderie with a certain Ringo Starr – a better drummer, without doubt – who was at once brought into the fold.

Meantime, Epstein had been busy on the group’s behalf, and just six days after Best was sacked, Granada TV turned up to film the Beatles at the Cavern – with Starr now in place. This is the earliest proper footage of the group, and we hear them running through “Some Other Guy” on stage. Next stop, Abbey Road... RECORDING: emi studios, abbey road, september 4, 1962 The group went back for their second EMI session with Starr now embedded in the act. Six tracks were rehearsed before the recordings began (probably including “Love Me Do”, “PS I Love You”, “Please Please Me”, “Ask Me Why” and “Tip Of My Tongue”). Something good came of these run-throughs: George Martin noticed “Please Please Me” and advised Lennon and McCartney that if they speeded it up, it was a possible hit. Of the songs taken into the recording studio that day, only one was actually taped: “Love Me Do”, with Starr drumming. But so was the song “How Do You Do It”, at George Martin’s insistence, which for a while would hang over their heads as a possible single which they didn’t want to release.

So far, George Martin only had these two recordings to use, but when it came to scheduling them for release, he ran into a brick wall. Mitch Murray, writer of “How Do You Do It” would not authorise his potential hit coming out as a B-side – so “Love Me Do” would have to take that relegated position. But Sid Colman, who hustled for the group in the first place, insisted that a Lennon-McCartney song had to appear on their first A-side. There was only one solution... RECORDING: emi studios, abbey road, september 11, 1962 Back they went on September 11 to record yet more material. That day they captured “PS I Love You”, “Please Please Me” and “Love Me Do” (again!), all with session man Andy White in Starr’s place (to his eternal dismay). “Please Please Me” was now rocking, but it was “Love Me Do” and “PS I Love You” – with Andy White on – which were lined up for the first single, which came out on October 5.

Oddly, and possibly by mistake, it was the September 4 version of “Love Me Do” – the one with Starr on – which was pressed up. There are a trio of new songs which date to October time: [47] do you want to know a secret (lennon) Written mainly by Lennon under the impetus of the group’s recording activities with EMI, plus Lennon-McCartney’s new drive to present themselves as professional songwriters, this number has its roots in a few lines from the Disney film, Snow White, which Lennon remembered from childhood. (McCartney, incidentally, has since claimed it as a 50-50 co-write.) By the time the group took it into the studio in sessions for their first album in 1963, the song had been assigned to George Harrison for his vocal spot, and was thereby secured in the Beatles’ repertoire and in Lennon-McCartney’s song catalogue. [48] hold me tight (lennon-mccartney) This song seems to have been written by Lennon and McCartney together at Forthlin Road, at around the time “Love Me Do” was released (early October).

McCartney was apparently the main force behind it, having in mind the creation of new song to serve as a follow-up single. In the event, it was trumped by “Please Please Me” and was instead recorded for the group’s first album in 1963. However it wasn’t used, leading them to record it once again on September 12, 1963, in a definitive version for With The Beatles. [49] i saw her standing there (mccartney) It is difficult to pin down the starting date for many early Beatles songs, but this one is known exactly. McCartney devised the melody in his head while driving on October 22, 1962, then worked out the chords and opening line when he was next able to pick up a guitar. The song had virtually no other lyrics at this point, but in the next day or two, McCartney went down to London with his girlfriend, Celia Mortimer, and in her account, McCartney had the song on his brain all day.

He would keep singing it as they walked around town, asking for suggestions and opinions as the lyric gradually came to him, so that by the end of the day it was close to completion. There it seems to have rested, with the provisional title “Seventeen”, until Lennon helped him complete it at Forthlin Road, sometime in late-November or early-December. The song was taped for the first time on a Hamburg stage (see below) but was recorded properly at EMI on February 11, 1963, to become the lead-off track on their first LP. More radio appearances took place on October 8, October 25 and November 16. Between these there were television films made, as the group continued their relentless live schedule, which took them back to Hamburg yet again, between November 1 and November 14, where they shared the bill at the Star Club with Little Richard. “Love Me Do” was in the charts when they returned, and George Martin still had “How Do You Do It” up his sleeve for a follow-up – but at the end of November, the Beatles returned to EMI to record some new material...

RECORDING: emi studios, abbey road, november 26, 1962 During this fourth EMI session, “Please Please Me” and “Ask Me Why” were taped. Already aware of the potential of the former, George Martin was excited by its sizzling new arrangement, which was obviously now going to usurp “How Do You Do It” as the group’s next single – and thereafter, popular music was never going to be the same! RECORDING: cavern club, november/december 1962 At the Cavern, the Beatles recorded a rehearsal session some time in late-November or early-December. The tracks recorded that day are as follows, and these versions of “Catswalk” are the best in existence: I Saw Her Standing There One After 909 (version 1) One After 909 (version 2) Catswalk (version 1) Catswalk (version 2) This tape has been mis-dated by bootleggers, but since “I Saw Her Standing There” was not complete until mid-November, we must date it to some time after that.

With little time for reflection, the Beatles returned to the Star Club for the last time, in their firth German residency (December 18 - December 31). With events in England coming thick and fast, the group saw this visit as a step backwards, although it did have one beneficial spin-off: RECORDING: star club, hamburg, late-december 1962 One night around Christmas, the Beatles were recorded on stage, performing upwards of 30 songs. It is fascinating that even here, on the cusp of stardom, there are only two original numbers in the set (or, to be precise, only two on the tape): “Ask Me Why” and the very recent “I Saw Her Standing There”. This unique tape has been widely bootlegged and released many times. Just as Lennon and the Quarry Men were recorded on the day McCartney met the group, so this tape captures a poignant moment – the end of the Beatles’ early phase. Our coverage largely ends here. The rest, as they say, is history, but before we close, we need to include two more songs which are associated with late-1962, although in both cases the details are vague.

[50] don't pass me by (starr) To hear Starr discuss the song, and McCartney 'sing' it in 1964, move the video on to 1:05 Apparently enthused by his band-mates’ songwriting activities after he joined the group, Starr came up with the basics of “Don’t Pass Me By”, showing it to Lennon and McCartney in late-1962, to dismissive response. The song was inspired by the track “Pass Me By” by Ernest Tubb, released in 1960. Although the other Beatles laughed at the song, Starr stuck with it, promoting it to the group throughout the 1960s and even bringing it up as a possible recording on BBC radio in 1964. It eventually found a home on the Beatles’ eclectic and lengthy White Album, as Starr’s first composition for the Beatles. Harrison later reported back to him that the Band thought it the best track on the album! It is interesting in retrospect that Starr, new to the Beatles, brought in a self-composed song prior to Harrison ever doing likewise (so far as is known).

[51] there's a place (lennon-mccartney) It has been suggested with some justification, eg by Walter Everett, that this Lennon-McCartney original may have been written in 1962. Its inclusion on the group’s Please Please Me does imply as much; of the seven other originals on the LP, no fewer than six pre-date 1963. (Just “Misery” is known to have been written after the New Year.) The theme of the narrative is unmistakably Lennon-esque, prequelling his 1966-8 material which explored his inner thoughts and dreams. Conversely, the contrasting section (“In my mind there’s no sorrow...”) seems very much McCartney in its free melody and optimism – making this a co-write. Given the uncertainty over the date it was written (and the two separate parts could have arrived at different points), we list it here with reservation.

Proudly powered by Weebly 50 Years Ago: EMI Releases First Beatles Single – beatle.net by dvt | posted in: 50 Years Ago , Trivia | 0 EMI Releases First Beatles Single Next Friday, October 5th, 2012, will be an important day for faithful followers of THE BEATLES. Fifty years ago, on October 5, 1962, EMI released the Beatles first single, Love Me Do c/w P.S. I Love You. A review in the October 4 British trade magazine Record Retailer noted the single’s sales potential in a brief review: “A new group from the Liverpool area. Their first record but they already have a strong following and this seems to be the strongest outsider of the week.” The Beatles would not remain “outsiders” for long. Love Me Do entered the Britain’s Top 50 chart published by Record Retailer at number 49 on October 11, 1962, eventually peaking at number 17, first on December 27, 1962, and then on January 10, 1963.

Other British magazines charted the single, with Melody Maker reporting the disc at number 21, New Musical Express at 27, Disc Weekly at 24 and New Record Mirror at 17. The latter publication reviewed the single in its October 13 issue, noting the group’s peculiar name and commenting on the song’s unusual vocal combinations. The reviewer thought the song dragged in the middle and characterized the B-side as poorly arranged. Not surprisingly, the group’s debut disc was met with more enthusiasm in Liverpool, where the city’s largest evening newspaper, The Liverpool Echo, ran the following review under the headline BIG DATE FOR THE BEATLES: “Next Friday, October 5th, will be an important day for that talented Liverpool group THE BEATLES and thousands of young Merseysiders who have become their faithful followers. Parlophone will be issuing the quartet’s debut single on that day.

“On the A side lead vocalists John Lennon and Paul McCartney chant out their self-written lyrics of ‘Love Me Do’, an infectious medium-paced ballad with an exceptionally haunting harmonica accompaniment which smacks home the simple tune and gives the whole deck that extra slab of impact and atmosphere so essential to the construction of a Top Twenty smasher. “There’s nothing startlingly distinguished about the simple, repetitive lyrics but a disc like ‘Love Me Do’ relies more upon punchy, ear-catching presentation and on this score The Beatles come out with flying colours. “Flip ‘Love Me Do’ to hear another, slightly faster Lennon/McCartney number entitled ‘P.S. I Love You’. This bright ditty has a tingling Latin taste to it. “There’s a refreshing do-it-yourself approach to this single by The Beatles. They have written their own material and provided their own vocal performance. I wish these four go-ahead young men the very best of good fortune with their initial Parlophone release.” The above review appeared in the newspaper’s Off The Record column by Disker, a pen name used by Tony Barrow, who would soon by hired by Beatles manager Brian Epstein to serve as press and publicity officer for Epstein’s NEMS Enterprises.

Liverpool’s music newspaper, Mersey Beat, charted Love Me Do at number one in its October 18, 1962, issue. Although a writer described the song as “rather monotonous,” he recognized it was “the type of number which grows on you,” stating that while he was disappointed when he first heard it, he enjoyed it more and more with each play. Reviews of later Beatles releases often contained similar expressions of initial disappointment replaced by admiration after repeated listens. This was due in part to the higher and higher expectations for each new record issued by the group. Despite respectable chart action, EMI was disappointed with the initial sales of the single, which stood at about 17,000 units by the end of 1962. After the group’s popularity spread beyond Liverpool with each successive release, Love Me Do sold an additional 100,000 units before its deletion from the EMI catalog in the mid-sixties. EMI issued a 20th anniversary edition of the Love Me Do single with red labels in 1982.

The reissue disc is easily distinguishable from the original as the labels have ‘A’ SIDE and ‘B’ SIDE designations at nine o’clock. The 1982 anniversary edition of Love Me Do sold an impressive 165,000 copies, which was considerably more than it sold in the sixties. The above ad appeared in issue No. 6 of Pop Weekly magazine (cover dated October 6, 1962). To mark the 50th anniversary of the release of Love Me Do, EMI is issuing a limited edition red label vinyl pressing of the single packaged in the same “beach towel” sleeve that the disc originally appeared in. The record is easily distinguishable from the original single as it has a solid center with a small center hole. It is sure to sell out quickly and become a collector’s item. The record is currently available from the website for The Fest for Beatles Fans . Today’s trivia question covers other songs that were popular in Great Britain at the time Love Me Do was released. The Beatles single was number one on the Merseyside Tops chart published by Mersey Beat magazine in its October 18, 1962, issue.

Name the songs occupying the next four spots of the chart. If you want some hints, here they are: The number 2 song was an instrumental by a British group that topped the U.S. charts. The number 3 and 4 songs were both co-written by Carole King. The number 5 song was by someone who would soon share a concert bill with the Beatles and later be an opening act at their first U.S. concert. Additional hints: The number 2 song was named after a communications satellite. The number 3 song was a dance song sung by Carole King’s baby sitter. The number 4 song has a month in its title. The number 5 song has a Buddy Holly sound to it. In honor of the 50th anniversary of the release of the Beatles first single on Parlophone, the book BEATLES FOR SALE ON PARLOPHONE RECORDS is on sale for $50 for the entire month of October. In addition, clearance copies of the book, which have scuffed covers but perfect interior pages, are available for just $30. If you’ve put off buying the Parlophone book or want a second “reading” copy, now is the perfect time to buy the book.

You’ll learn the stories behind not only the Beatles first record, but also all of the records released in the U.K. from 1962 – 1970. Love Me Do | The Beatles "There's a Place" "Twist and Shout" "Love Me Do" is the Beatles' first single, backed by "P.S. I Love You" and released on 5 October 1962. When the single was originally released in the United Kingdom, it peaked at number seventeen; in 1982 it was re-promoted (not re-issued, retaining the same catalogue number) and reached number four. In the United States the single was a number one hit in 1964. In 2012, the song became Public Domain in Europe. There are currently law proposals to extend the copyright another 20 years. Please note the text from Wikipedia is imported without editing or authentication. * The Guitar That Launched The Beatles The Guitar That Launched The Beatles Andrew Vaughan | 08.02.2016 “Love Me Do,” The Beatles’ first-ever single, announced a revolution in rock and roll.

The fresh-faced Liverpudlians — Lennon, McCartney, Harrison and Starr — sounded like nothing else on British radio in October 1962. As Harrison remembered in The Beatles Anthology: “First hearing 'Love Me Do' on the radio sent me shivery all over. It was the best buzz of all time. We knew it was going to be on Radio Luxembourg at something like 7:30 on a Thursday night. I was in my house in Speke and we all listened in.” With its Everly-inspired harmonies, strident bass and thumping drums and that distinctive, bluesy harmonica riff, “Love Me Do” stood out amidst a sea of early ’60s British pop mediocrity. And high in the mix is Lennon’s chiming acoustic guitar, played on his new and highly prized Gibson J-160E. 1962 was a crucial year in Beatles history. Liverpool businessman Brian Epstein signed on as manager in January, Lennon’s art-school pal and the band’s original bass player, Stu Sutcliffe, died in April and, after being turned down by pretty much every label in town, they finally signed a record deal in June with Parlophone.

They made their first test recordings with George Martin in June. In August, Lennon got married and The Beatles finally became The Fab Four when, Ringo Starr joined the holy trinity of John, Paul and George. With Pete Best still on drums, the group had gone to Abbey Road for some test recordings in June and had been told a few home truths by the studio engineers and Mr. Martin. Engineer Norman Smith told Mark Lewisohn in The Complete Beatles Recording Sessions that the band were given “a long lecture about their equipment and what would have to be done about it if they were to become recording artists.” Taking the recording studio advice to heart, George Harrison and John Lennon, remembering Tony Sheridan’s impressive Gibson ES-175, decided they needed some Gibson power and finesse of their own and both fancied a J-160E acoustic. The only problem with that was the price. England, in 1962, was still recovering from two World Wars. The economy was still precarious and the average yearly wage was only £800. The Gibson J-160Es cost a cool £161 apiece, a steep price for even a successful live band of the time.

Fortunately, The Beatles had a relatively wealthy manager in Brian Epstein and he co-signed for their payment plan at Rushworh's music store in Liverpool. But even Epstein took a year to pay off the guitars! The famous old music store was one of a select few Liverpool stores for U.S. guitars, which were still tough to acquire in England in 1962. It was the store where Paul McCartney’s father bought the 14-year-old Macca his first guitar. The Beatles purchased a lot of their early band instruments from Hessy’s music store in Liverpool, but their tab had passed £200 when Epstein came into the picture and he had to pay off the debt with a personal check. So Rushworth's it was for the Gibsons. A photo-op ceremony was set up from Bill Harry’s Merseybeat paper, and John and George were both presented with their prized sunburst Gibson J-160Es by James Rushworth.

Peter Kaye took pictures for Merseybeat and the shot was printed in the paper with the caption, “John Lennon and George Harrison of The Beatles, seen at Rushworth’s when they received their Gibson guitars--the only ones of their type in the country--which were specially flown to England by jet from America.” The J-160Es arrived just in time for the historic London recording sessions the next day, September 11, when at EMI Abbey Road Studio Two London, Lennon played his brand spanking new Gibson J-160E on the sessions for The Beatles' first single. Their record was released just three weeks later, on October 5th, 1962, on the Parlophone label. “Love Me Do” made it to #17 on the U.K singles chart. The Beatles had arrived. Lennon used his Gibson J-160E extensively over the next year for recordings, radio and TV appearances and live shows. But in December 1963, just after Epstein had made his final payment for the guitar, the 160E was stolen and never found again.

It was, in fact, George Harrisons’ J-160E that Lennon played in scenes in A Hard Day’s Night. Later in 1964, Lennon picked up a replacement Gibson J-160E, almost the same but with double white rings around the sound hole. This is the guitar he took with him on their historic visit to America in 1964, the beginning of the British Invasion. 50 Years Ago Today: The Beatles Released Their Debut Single, 'Love Me Do' - Rolling Stone 50 Years Ago Today: The Beatles Released Their Debut Single, 'Love Me Do' 50 Years Ago Today: The Beatles Released Their Debut Single, 'Love Me Do' The surprise hit helped kick-start Beatlemania Ringo Starr, George Harrison, John Lennon and Paul McCartney of The Beatles. Credit: Harry Hammond/V&A Images/Getty Images All Stories Exactly 50 years ago today, on October 5th, 1962, a new single titled "Love Me Do" hit record stores all over England.

It was the debut 45 by the Beatles – though, at the time, that name didn't mean much to many English fans outside of Manchester and their native Liverpool. (The band's frequent performances at the Star Club in Hamburg had already won them a devoted following in Germany, however.) The song was a surprise hit, rising to Number 17 on one of the many weekly charts around the U.K., a strong enough showing to convince EMI they had made a smart bet in signing the Beatles. More News All Stories Paul McCartney began writing "Love Me Do" a few years earlier, in 1958, when he was playing hooky from school at age 16. Soon afterwards, he sat down with John Lennon to flesh it out. "It was completely co-written," McCartney later said. "It might have been my original idea, but some of them really were 50-50s, and I think that one was. It was just Lennon and McCartney sitting down without either of us having a particularly original idea." Lennon had a slightly different recollection of events. "'Love Me Do' is Paul's song," he said in 1980. "Let me think.

I might have helped with the middle eight, but I couldn't swear to it. I do know he had the song around, in Hamburg, even, way, way before we were songwriters." The 100 Greatest Beatles Songs The Beatles' setlist during the Hamburg days consisted entirely of covers by Ray Charles , Chuck Berry , Little Richard , Bo Diddley and other American rock pioneers. They eventually found the courage to work in their own material, beginning with "Love Me Do." The track worked surprisingly well in their set, and when they first visited Abbey Road studios on June 6th, 1962 for an audition with EMI, they played "Love Me Do" alongside "Besame Mucho," "P.S. I Love You" and "Ask Me Why." Pete Best was still drumming for the Beatles at the time, but producer George Martin was unhappy with his playing. "George Martin was very used to drummers being very 'in time' because all the big-band session drummers he used had a great sense of time," McCartney said. "Now, our Liverpool drummers had a sense of spirit, emotion, economy even, but not a deadly sense of time.

George took us to one side and said, 'I'm really unhappy with the drummer. Would you consider changing him?' We said, 'No, we can't!' It was one of those terrible things you go through as kids. Can we betray him? No. but our careers were on the line. Maybe they were going to cancel our contract." Everybody in the band has a slightly different account of exactly why Pete Best was let go from the band two months after that first EMI session, but when the band returned to Abbey Road on September 4th, 1962 new drummer Ringo Starr was behind the kit. They ran through "Love Me Do" around 15 times, but Martin still wasn't happy with the drum sound. When they returned for another go-round on September 11th, session drummer Andy White was brought into the studio, much to Ringo's shock and horror. "I was devastated that George had his doubts about me," Ringo says in The Beatles Anthology. "I came down ready to roll and heard, 'We've got a professional drummer.' He has apologized several times since, has old George, but it was devastating – I hated the bugger for years.

I still don't let him off the hook!" Martin let Ringo play tambourine during the recording of the song that day, but it hardly made up for the slight. Ringo was vindicated when the "Love Me Do" single came out on October 5th, 1962 – EMI wound up using one of the takes with him on drums. When they re-released it the following April, however, one of the Andy White takes was used. That was also the version that subsequently wound up on Please Please Me in England and Introducing . . . The Beatles in America. Everyone in the band was shocked when "Love Me Do" began climbing the British charts in late 1962. "First hearing 'Love Me Do' on the radio sent me shivery all over," George Harrison said. "It was the best buzz of all-time…After having got to 17, I don't recall what happened to it. It probably went away and died, but what it meant was the next time we went to EMI they were more friendly: 'Oh, hello, lads.

Come in.'" In early January 1963, the band released their second single, "Please Please Me." It shot to the top of the charts all over England, kick-starting Beatlemania throughout the country. It would be another long year, however, until the madness spread to America. Don’t Miss a Story Sign up for our newsletter to receive breaking news directly in your inbox. We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy How we use your email address Trending Ranked on a scale from 1 to 10, the trending score reflects the number of users reading a story in real time. What is this? The Story of the Beatles' First Single, 'Love Me Do' REDDIT Fox Photos, Getty Images Not all cultural revolutions take place overnight. Some begin with little fanfare and take a while to gather steam. That’s exactly what happened on Oct. 5, 1962, when the Beatles released their first single, “Love Me Do,” in the U.K.

Written by John Lennon and Paul McCartney a few years earlier, “Love Me Do” was one of four songs the Beatles performed during their successful audition for George Martin several months earlier and slated for their debut single. However, Martin was dissatisfied with drummer Pete Best, who was subsequently fired. His replacement, Ringo Starr , had barely had time to rehearse with the band by the time of their first session on Sept. 4. Martin asked that they re-record the song a week later with studio musician Andy White on drums. Starr played the tambourine. Still, the version with Starr behind the kit was chosen by their label, EMI, as the single, with White’s version used for the U.S. release in the spring of 1964. Though it hardly ranks as one of their best songs, “Love Me Do” is noted for Lennon’s harmonica part, inspired by Delbert McClinton’s playing on Bruce Channel’s “Hey Baby,” a big hit that summer. It also resulted in an added bonus. With no overdubbing, Lennon’s harmonica playing meant that McCartney had to sing the a capella title line at the end of the verse by himself.

Nerves caused McCartney’s voice to shake, which only made the girls scream even more. “Love Me Do” reached No. 17 on the U.K. charts, an unspectacular but respectable spot for an unknown group from Liverpool. But it was their second single, “Please Please Me,” released in January 1963, that rocketed up the charts and kicked off the phenomenon that became known as Beatlemania. Beatles Albums Ranked Worst to Best Image of

Question: What was the title of The Beatles first single for EMI, released in 1962?
Answer: Love Me Do