Beatles US Labels - Variations THE CAPITOL ï¿½ APPLE LABEL DISCOGRAPHY In early 1964, Capitol Records became the primary U.S. manufacturer of The Beatles major releases. When Apple Records was formed by the Beatles in 1968, Capitol still maintained production and distribution control over the Beatles records. When Apple was dissolved in 1975, the entire Beatles catalog, including solo releases, reverted back to Capitol. In the early 1990ï¿½s, all The Beatles/solo Capitol product was reissued on the Apple label. The Beatles, collectively and individually, have also appeared on several other labels over the years. However, most of these releases failed to stay in production long enough to experience significant label design changes. The relatively few that did, are thoroughly identified in their respective sections. The Beatles' Apple Records: 40 Years Later : NPR Under the iconic Apple Records logo, The Beatles envisioned not only a record label, but also a place for any creative ideas to be produced. hide caption toggle caption As part of NPR's occasional series, Echoes of 1968 , we look back at that year's long-term impact.

It was 40 years ago today that The Beatles launched Apple Records. The label's trademark green Apple logo appeared on albums by The Beatles and other artists the band helped discover. It didn't take the group long to show that it was better at making music than running a business, but Apple did hint at what was to come. The Beatles introduced Apple Records at a press conference in New York City on May 14, 1968. Avoiding the Tax Man "It's a business concerning records, films and electronics," John Lennon said at the time. "We want to set up a system whereby people who just want to make a film about anything don't have to go on their knees in somebody's office. Probably yours." Lennon described Apple Records and its parent company, Apple Corps, as a place where anybody with a good idea could get funding. If that sounds like a questionable business plan, keep in mind that The Beatles were making a lot of money in 1968. "As far as I can tell, the idea behind Apple was a tax dodge," music journalist Douglas Wolk says. "The top tax rate in England at that time was enormous. And John Lennon said something to the effect of, 'We talked to our accountants.

We realized we could either give the money to the government or we could put it into a business.'" Article continues after sponsorship The band's advisers reportedly recommended Beatles greeting cards or investing in real estate. The Beatles rejected those ideas. Just three months after it launched, Apple Records released its first single, "Hey Jude." From the beginning, The Beatles' members used Apple to put out records by other artists they liked, as Lennon and Paul McCartney explained in a 1968 television interview. "We hope to make a thing that's free, where people can come and do and record," Lennon said. "It'll be big, I think," McCartney added. "It's like a top. We're gonna set it going and hope for the best." Apple put out three other singles on the same day it released "Hey Jude," including "Those Were the Days" by Welsh singer Mary Hopkin. That song also topped the charts. The Daily Grind Apple Records wasn't the first label founded by musicians, but like most things The Beatles did, it attracted a lot of attention. The Apple Corps offices in London's Saville Row became a magnet for assorted freaks. B.P.

Fallon was 21 when The Beatles' publicist hired him to write biographical notes about Apple recording artists, including a then-unknown singer the label had signed named James Taylor. Fallon says that wasn't all he did. "One of my jobs at Apple was to make sure that Paul McCartney's grass was of sufficiently good quality," Fallon says. "Which meant that one had to dutifully test out the samples of all these eager-beaver hash dealers. He never once complained about my choice." Fallon insists that work did get done at Apple, but despite a string of initial hits, the company was a financial disaster. The film, electronics and clothing divisions didn't work out. And after The Beatles broke up, Apple seemed to exist mostly to sue people. It took its distributors, EMI and Capitol Records, to court over unpaid royalties. It sued Apple Computer over trademark violations. Comparing Apples with Apples According to Bruce Spizer — the author of The Beatles on Apple Records — it's Apple Computer and its ubiquitous iPod that seem closer today to what The Beatles were trying to do back in 1968.

"Everything that John had envisioned — this thing that was going to be records, films and electronics — and 40 years later, we've got music, videos and computer all tied together," Spizer says. "And one of the companies that's exploiting this is Apple. Although it's not The Beatles' Apple that's doing it now." Arguably, the real influence of Apple Records is symbolic. Before Apple, Wolk says, most artist-run labels were just vanity projects. "After Apple Records, there's this idea floating around that the musical genius' genius doesn't extend to their own work," Wolk says. "That they can spot genius in other people, that they can promote other people's work." It's an idea that gained currency in the 1980s and '90s, as musicians showed that they could successfully run record labels, too. Today, artists are taking on even more of the responsibilities that used to fall on the suits at record labels. In a story Thursday, we'll explore how.

Related NPR Stories The Capitol 6000 website - Beatles Different Record Labels Beatles Different Record Labels Developed by Serge Pelletier with help from Piers Hemmingsen and Fred Young 33 RPM Albums Black Rainbow The first label variation on which Beatles records were pressed was the classic black label with a rainbow color band. This variation of the Black Rainbow label was first issued in the early sixties (T-6018) and has a glossy label. The perimeter print shows the word CANADA without brackets. This label variation was kept until 1966 where Capitol Records of Canada was re-incorporated to Capitol Records (Canada). Labels then had the CANADA in brackets, making it easier to differentiate early sixties pressings from late sixties repressings. This label was used for Beatles records until 1968 where they switched to their own label called Apple Reords. Two plants pressed Beatles records, the indentation ring found on the labels allows us to easily identify which plant pressed a record. RCA had a deep circular groove etched in the label as Compo only had a small ring around the spindle hole. Some occasional records have a ring resembling a Columbia pressing in some way.

These marks are in fact "faulty" RCA pressing rings due to human factors in the pressing process, or to temporary pressing equipment used sporadically. Early sixties RCA pressing without brackets on the left, its COMPO counterpart in the center and the different faulty RCA pressing on the right. Late sixties RCA pressing WITH brackets on the left, its COMPO counterpart in the center and and the different faulty RCA pressing on the right. United Artists When the The Beatles released A Hard Day's Night in North America in 1964, they had a deal with United Artists for the distribution of the soundtrack. Canada had slightly different labels than its US counterpart. All mono albums were issued on the red and silver label as for stereo albums were pressed with black and silver labels. Although, the demand being so high, United Artsits most likely ran out of red labels and used other colored labels for their mono album; black (same as stereo) and blue. They were all pressed at the COrnwall Compo Plant. Although the cover states it was made in Lachine, operations had already moved to Cornwall.

Compo pressings on the regular red label used for MONO records, followed by blue and black labels used when UA was out of red labels due to high demand. Later reissues in Canada saw the album on the tan label and the sunrise label before being turned over to the Capitol purple label. No "orange and pink" or "black and orange" UA labels were used in Canada. Some UA Beatles albums were pressed by MCA and Capitol. This sunrise label is a Capitol pressing from circa 1978. Apple In 1968, The Beatles started their own record label called Apple Records. While still distributed by Capitol, they created their own design which showed a green apple on one side, and a sliced apple on the other side. Canadian labels are glossy with a dark green background and had "MFD by Apple Records inc" on the sliced side of the label. There are no variations with different permimeter prints on Canadian pressings, but labels between 1973 and 1975 had a flat finish and were pressed by Columbia.

Also, no pre-Apple albums were reisued on the Apple label, as it was the case in the USA; instead, Capitol of Canada reissued them on the red target label. The Apple label was used for Apple releases until 1975, where the albums were transfered to the current Capitol label (orange label). The Red and Blue albums had a certain custom version of the label, see CUSTOM entry below for details. Apple Records was revived in the 90s to issue the new Beatles albums, but no vinyl was pressed on Apple in Canada; they only produced CDs and imported the vinyl from the UK. RCA pressing on the left, Compo Pressing in the middle, flip side on the right. Green Target In 1969, Capitol changed their logo to the round target logo; they also created a new target label design for the occasion. This label was lime green and was used until 1971 where it was then replaced by the similar red target label. All the Capitol Beatles albums were reissued on this label, except for The Beatles Story and the three 6000 series albums. Note that this Yesterday and Today pressing is stereo but bears a MONO catalog number.

This mistake also happened on the orange label for this album. These were exceptionally pressed by Keel, maybe as a test for a possible subcontracting contract. On the left is an RCA pressing, a Compo Pressing in the centre, and on the right: the scarce Keel pressing. Red Target In 1971, Capitol changed to the red target label. It is identical to the original lime green label, but with different colors. All the Capitol Beatles albums were reissued on this label, INCLUDING The Beatles Story and the three 6000 series albums, but no Apple album. This label is quite rarely found on Beatles albums in the USA, but is, on the contrary, quite common in Canada. RCA pressing on the left, Compo pressing in the centre and the "faulty" RCA pressing on the right. Orange In 1972, Capitol changed labels again and this time opted for the orange label. The first generation had a "gold-ish" tint perimeter print that states "Capitol Records (Canada)". First generation labels: Here on the left is the RCA pressing, Second label is Compo and the third is a Columbia / CBS pressing.

In 1974, capitol changed for very similar orange labels but had a black perimeter print that stated "Capitol Records - EMI" instead, creating the second generation of orange labels. RCA most likely did not print any albums from then on and transfered their jobs to CBS / Columbia and Compo. Second generation labels: Here on the left is an odd RCA pressing (Compo and Columbia had the contracts for 2nd generation labels). Second label is Compo and the third is a Columbia / CBS pressing. A "third" generation of orange labels from 1976 also exists, and was pressed by Capitol's new pressing facilities before switching over to the purple label. We can see the new Capitol size ring on the label. Possibly, Capitol used up old orange labels to test their new home pressings before switching to the new purple label, but this would need to be confirmed. Source: Gilles Valiquette. The orange label offered stereo versions of the three 6000 series albums for the first time. All Beatles Capitol and Apple albums were issued on this label, from Beatlemania to Let It Be, except for Yellow Submarine.

Purple In 1977, Capitol reverted to a retro look with the comeback of the purple label, featuring once again the old Capitol building logo on the label. This label is similar to the first purple 78 rpm labels. Every Beatles album up to 1983 was issued on this label, all in stereo; making mono pressings of the first 3 albums now unavailable. Once again, three generations of purple labels exist. The first generation is from 1977 and is very similar to US pressings and was made during the transition periode of the new Canadian Capitol pressing plant. This 1st generation is quite scarce as only a small quantity of pressings were made. It is easily recognizable by the Capitol logo in the perimeter print and its darker purple background. The second generation from 1978 is Canadian made and has a softer purple background with no Capitol logo in the perimeter print. The print states "Manufactured in Canada By Capitol Records". Finally, the third generation from 1980 is quite common and actually very similar to the previous 1978 version, but the perimeter print is different as it states "Manufactured in Canada UNDER LICENSE by Capitol Records".

Capitol now owned their own pressing plant so all home-made pressing feature a medium sized ring on the label. first generation purple label with the logo in the perimeter print on the left, the second generation in the center and the third "under license" generation on the right. Green Budget Around the same period, Capitol created the green budget series label; identical to the purple label, but green, intended for low priced albums. The only Beatles albums to be issued on this label were the 2 separate volumes of the Rock'n'Roll Music reissue. These labels were used by both Columbia and RCA on their Dynaflex pressings. Columbia ring on the left, and Dynaflex pressing on the right Retro Rainbow In 1980, Capitol returned yet again to an older label type, bringing back the Black Rainbow label. This time the labels had a matte finish, and featured a white perimeter print on the black part of the label. The text on the label is also white instead of the old silver print over the black label. Rarities and Beatles Ballads used this "new" label in 1980, but the new design was actually only introduced officially in 1983.

All Beatles albums were reissued on this label, except for The Early Beatles (to be confirmed), Rock'n'Roll Music, Love Songs and Reel Music. in 1987, Capitol reissued the UK albums on the retro rainbow, these had a Parlophone logo added to the label. Capitol still operated their pressing facilities, so some early pressings feature a medium sized ring on the label, while others have a large Columbia ring. Some rare 1983 pressings were also made by Cinram. Retro Rainbow with mid-sized ring on the left, with large ring in th middle and with the added Parlophone logo on the right. Custom Some albums featured special custom labels made specifically for the album. They were all issued in the late 70s and early 80s. Albums with custom labels were: Rock'n'Roll Music, Live At The Hollywood Bowl, Love Songs and Reel Music. The different custom labels.

The red and blue albums also were, in a way, custom labels as three variations are color-derived versions of regular labels; they use the current label form the period they were issued in (apple, orange or purple/colored vinyl) and changed the colors to red and blue. The retro rainbow version was not customized. The different custom labels. Promo Canadian promo albums were not specially labelled, except for one early 80s sampler called Chartbusters in-store sampler. Yellow MGM This MGM Canadian label was the old US format. The album was pressed by Quality Records and had a large circular groove similar to RCA pressings. Black and Silver ATCO This label design is the old US format and was pressed by Compo. Red Polydor Two different label variations were used for two different Beatles album, the regular label and the Polydor Special label and was pressed by Compo. Black and White METRO One album was issued by METRO and had their black and white label and was pressed by Quality. 45 RPM singles Black and Silver Decca Only one single was pressed on this label resembling the old US Decca format. No colorbands label was issued in Canada as it was in the USA.

Also, beware of counterfeit singles that use the Canadian label; but instead of COMPO written in the perimeter print, we can read USA. The fake single resembles the canadian single because counterfeiters used the USA pink promo label as a template (this promo used the old Decca label - which Canada still used. Orange / Yellow Swirl The first label variation on which Beatles 45 rpm records were pressed was the classic orange / yellow swirl. This variation was first issued in the early sixties (72016) and has a glossy label. The perimeter print shows the word CANADA without brackets. This label variation was kept until 1966 where Capitol Records of Canada was re-incorporated to Capitol Records (Canada). Labels then had the CANADA in brackets, making it easier to differentiate early sixties pressings from late sixties repressings. This label was used for Beatles records until 1968 where they switched to their own label called Apple Reords. RCA pressing on the left and Compo pressing on the right. RCA pressing on the left and Compo pressing on the right. Yellow MGM Like the Decca label, this MGM Canadian label was the old US format.

Two singles and no promos were pressed in Canada on this label. Black and Silver ATCO Unlike the USA, only one single was pressed on this label; once again, this label design is the old US format. Blue Green Only the EP "Four By The Beatles" was issued on this label in Canada. Apple In 1968, The Beatles started their own record label called Apple Records, while still distributed by Capitol, they created their own design which showed a green apple on one side, and a sliced apple on the other side. Canadian labels are glossy with a dark green background and had "MFD by Apple Records inc" on the sliced side of the label. The sliced side of single is made sideways to have more space to write the song info, unlike US pressings that are vertical. There are no variations with different permimeter prints on Canadian pressings. Also, no pre-Apple records were reissued on the Apple label, as it was the case in the USA; instead, Capitol of Canada reissued them on the target labels. The Apple label was used for Apple releases until 1975, where the company stopped issuing records and reissues were then transfered to the orange label.

RCA pressing on the left, Compo pressing in the middle and flip side on the right. Target with Dome Logo The first Canadian 45 target series from 1969 were issued with the oval Capitol dome logo between February and June of 1969. These are very rare 45s as they were issued in small quantities by Compo in Cornwall when reissues were competing with NEW Beatles product and there was little demand for them. Only Lady Madonna and Help! have been confirmed on this rare variation. Target with Round logo The second series of 45 issued on the target 45 label were pressed with the round target logo with a white center. No round logos with a full center has been spotted yet, unlike the US pressings. All the US format Capitol 45s have been pressed on this label in Canada. Up to now, only two Beatles singles from the 72000 series have been confirmed: Twist and Shout and All My Loving. Some of these labels were pressed on a glossy label (Compo) while others on a matte label (RCA), depending on the plant they came from. No Apple single was issued on this label.

Orange In 1972, Capitol changed labels again and this time opted for the orange label. The singles as well saw 3 different generations of this label. But each generation seems to have been pressed by one specific plant only; Compo pressed the first generation, while CBS pressed the second (to be confirmed) and Capitol the third. Source: Gilles Valiquette. The first generation had a "gold" perimeter print that states "Capitol Records (Canada)". In 1974, Capitol changed for very similar orange labels, but with a black perimeter print that stated "Capitol Records - EMI" instead. The third generation was made by Capitol and is easily identifiable by its bumpy ridge. Some labels had a flat finish and some were glossy; usually, first genereations are found more glossy than later generations, as all 3rd generations are flat. Capitol sold their thrid generations with a series of special sleeves called "Beatles Forever", although the sleeves ended up being used with older labels (even target labels were found in the Beatles Foerever sleeves). All the Beatles singles were pressed on this label, from I Want To Hold Your Hand to "Julia".

only three of the 72000 Beatles singles were confirmed on this label: She Loves You, All My Loving and Twist And Shout. NOTE: The Canadian "Yes It Is / This Boy" single on the orange label was the first true stereo release of This Boy worldwide. Original Gold perimeter print on the left, black print in the middle and 3rd generation Capitol pressing with bumpy ridge on the right. Purple In 1978, Capitol reverted to a retro look with the comeback of the purple label, featuring once again the old Capitol building logo on the label. This label is similar to the first purple 78 rpm labels. No perimeter print variations exist on this label as it is the case in the USA. All the USA format Capitol and Apple singles up until 1983 were pressed on this label. With the exception of the Sgt Pepper single from 1978, little or no Beatles singles at all were pressed on this label before 1980 as they were still selling the Beatles forever series. To date, only one Beatles single from the 72000 series is known to have been pressed on this label: Twist and Shout (72146).

No others 72000 Beatles title has been confirmed yet, but it is suspected that 72144 has also been pressed as it has been reissued on the later retro rainbow label. source: Gilles Valiquette. Retro Rainbow In 1983, Capitol returned yet again to an older label type, bringing back the Black Rainbow label. This time the labels had a matte finish, and featured a white perimeter print on the black part of the label. The text on the label is silver print over the black label. Almost all the Beatles singles were pressed on this reissue label. Exceptions are: The Canadian format of Love Me Do, Do You Want To Know A Secret, Sie Liebt Dich, I'll Cry Instead, Matchbox and I Feel Fine. All My Loving had a special picture sleeve unique to Canada. A special Canada only single was also issued on this label with a picture sleeve as part of the 72 000 series: A Hard Day's Night / Things We Said Today.

Retro Swirl Only two single were pressed on this retro swirl label; the 20th anniversary single for Love Me Do, and the 1982 reissue single of I Want To Hold Your Hand, both pressed on conjuction with the 20 Greatest Hits Album. Promo Some promo singles were pressed with a special white label, from 1967 to the 80s. Starline Canada issued 4 different singles on the olive green Starline label: Love Me Do, Please Please Me, Twist And Shout and Kansas City. Some later singles were pressed on the beige starline label. Three variations exist on this label: with an round target Capitol logo, with an oval dome Capitol logo and with the later 80s "star" starline logo. No blue starline was issued in Canada. Custom Only one single was pressed with a custom label: The Beatles Movie Medley which had a label similar to the custom album label. Singles for other custom label albums were pressed on the regular stock orange, purple or retro rainbow labels.

Copyright © 1999 - 2016 Beatles UK Contract Pressings - Record Info pages at select45rpm 1967: EMI pressings. Contract: "Hello, Goodbye" on Decca (fairly common) and French Pathe 'Made In France' 1968 Parlophone: EMI pressings only. Odd looking 'DP' numbered ones are not UK product, if no country shown they are likely Singapore pressings. 1968 Apple: EMI pressings. Contract: Philips (more usual), Decca, Pye, CBS (these are all very rare & listed in rarity as noted by our findings, CBS being the rarest) 1969: EMI pressings only. "Hey Jude" exists with an unusual later EMI pressing, still with 'Sold In UK' legend but with a ridged centre & an odd soft vinyl that wears badly. Same sort of vinyl is on the Hot Chocolate Band Apple 45 too. After 1969, EMI pressings only until the early 1990s picture sleeve issues.

These 1990s pressings have very flat vinyl with no serrated edge but have more modern looking labels to the 70s-80s repressings. All Demos are EMI product. Beware of fake Beatles demos. Fake Demos or "Repro Demos" are simply a scanned original label glued onto a common issue copy. We see buyers paying £80-100 for these. They are absolutely of no value as just home made! THIS WAS NOT COMMON KNOWLEDGE UNTIL WE CLARIFIED IT FOR FREE TO THE WORLD IN 2004 !! IF YOU ARE BEING TOLD A 1964 BEATLES RECORD IS AN "ORIOLE CONTRACT PRESS", THEN YOU ARE BEING QUOTED OUR INFORMATION WE GAVE TO THE WORLD IN 2004! CBS PRESS ==THIS IS OUR ORIGINAL RESEARCH!== late 60s, earlier AAG CBS were made by PHILIPS group. UK CBS bought Oriole in late 1964 to get their pressing plant mainly, so CBS from 1966 still look pretty like Orioles. CBS generally did not do many contract pressings in the 60s.

They can have textured or smooth labels. Knife edge vinyl, squashed looking serrated label edge. CBS mainly used push out centres, but by the later 60s solid centres were often used on bigger selling items, as with EMI, see below DECCA PRESS same as LONDON, VOCALION etc. HELLO GOODBYE by THE BEATLES as DECCA is fairly common in terms of Beatles contracts. Centre cutouts usually have a wider gap, see below for a rare Decca variant we discovered, vinyl flat edged, ridge next to centre cut out on centre. Decca were always made with the Push Out centre in the 50s & 60s, though you do find unfinished untrimmed-edge test pressings with the centre prongs uncut, as well as solid centre Demos in the 50s, alternating between Tri & solid centre at random & even within the pair of 1 sided Demos even as we've found. Some 70s Decca have solid centres.

There have been quite a few Solid Centre 1950s pressings especially on Gold London around, these are with rough unfinished edges & are reject or sample pressings someone trimmed with a pair of scissors to play it. We've seen some & if not worn out by bad stylus, they look strangely unreal, not like the proper item. MORE DECCA INFO BELOW... OUR 100% EXCLUSIVE!! Confirmed 14-10-2008 There is an ALTERNATE & PREVIOUSLY unknown DECCA press of a BEATLES 45 we've been able to positively identify & found a regular DECCA issue to match it with. We sold it on ebay on 10 Nov 2008 so we can now give the facts here & prove it's our exclusive, so parasites beware! THIS IS A DECCA PRESSING. This unusual sort of cut-out centre actually appeared first in 1960 with the round centre Decca pressings & has been spotted up to 1967 and as with anything, look for this type on usual Decca 45s & you'll find plenty.

The vinyl is the same as a regular Decca press, it's just the centre cut-outs that have confused some. See our main Decca & London listings for many regular ones to compare to. Remember there are no Contract Pressings of any Decca product. ORIOLE PRESSING ==THIS IS OUR ORIGINAL RESEARCH!== This is the one mistaken as a PYE press due to vague info in RC as KINKS Tired of waiting turns up as an ORIOLE press occasionally. Having (at last) found one again, we can see that Oriole recut the master making the vinyl 'all theirs', ie not using the Pye stampers so it shows Oriole type matrix lettering. Oriole custom pressed quite a few big EMI hits. The Beatles 1964 ones on Oriole are more 'common' than the Decca ones, by about 2x. Overall for the sales they still are only a small percentage. Thicker vinyl with a knife edge and often a rough textured label, if not always by 1963.

Oriole owned EMBASSY, a budget-priced cover-version 45s/EPs/LPs label sold by Woolworths shops, that ended the same time Oriole did when CBS (UK) bought it out on 21 Sept 1964. This explains why no further Oriole Beatles 45s exist. All Embassy were pressed by Oriole and no contracts of Oriole product exist. EMI 45s from 1964 all had the 4 prong push-out centre Oriole Records were generally Push Out Centres though 1960-62 ones can be found with Solid Centres as can Embassy ones. The 1964 Beatles Oriole pressings with Solid Centres are perhaps Factory Rejects as we assume EMI would have wanted Push Out Centres on it's Outsourced Pressings to match it's product. Or maybe just a batch that didn't get the cut-outs & nothing special at all. Naturally some sellers are trying to get ridiculous prices, ie £200-500 for a Solid Centre pressing, if you believe the bids are genuine.

The Collector's World of Minutae once only in Coin Collecting is sadly getting into Records & means a tiny few will pay huge prices only realising Few Really Care about the Contract Pressings in The Real World, to get £40 for the 1964 Oriole & Deccas now is hard even for a Mint copy as they aren't as Rare as more turn up. The 1965 & Apple Contracts are Rarer to find. It's up to buyers how much of The Hype they believe, you need only look on ebay for mad prices, but think too they may not always be all they seem... The Solid Centre Oriole Contracts seem to be turning up quite often, supposed £200+ prices but as with the Contract scene the price gets more found & realised. It appears the Solid Centre ones are not as rare after all, beware overpaying folks! The push out centre Orioles barely sell for £40 for a Mint one thesedays (2013). Oriole generally were all made with push out centres though a small minority with solid centres exist around 1962 for some reason.

Demos of Oriole exist on the Black design with a silver 'A' on the centre being the only difference. By late 1964 the Demos were the more usual white with red 'A' type. As a note, Embassy records are finally becoming collectables with initial interest in the quality Bud Ashton instrumental covers, some were actually great versions in their own right, ie Move It, Rave On & Baby Please Don't Go. The later beat era 45s are particularly collectable and some versions are worthy of a listen in the idea of they are a rare but good cover version. Plenty Embassy covers were average at best, the funniest one is the 'Rocking Goose' cover, the backing band is good, but the 'goose' sounds like paper over a comb & is quite hilarious! PHILIPS GROUP PRESSING Typical late 60s 3 prong centre. Contract pressings were usually made with a small spindle centre, many Philips pressed standard labels 1967 on were made as large centre. 'Hey Jude' as Philips press turns up often on ebay as it's the easiest identifiable and is relatively common of type. The other 'Hey Jude' contracts are very rare.

Thin vinyl with mildly raised vinyl edge. These usually had push out centres. Some Philips c1962-65 had solid centres though this was not the norm, Starting in 1967 a cheaper pressing method using the USA style large centre hole began, these were originally sold with the skinny 3 prong adapter, not the jukebox operators thicker swirl one. This continued until about 1972 when the even cheaper (& easily snapped!) moulded labels began. These were based on European countries using this cheap pressing method from c.1968. A contract of Jethro Tull 'Living In The Past' hit is so far the only Contract we've seen with the big centre. Philips was initially a Dutch electronics company founded in 1950 and in 1962 they became part of the Phonogram group with Deutsche Grammophon and later combined with Polydor as Polygram in the 1970s (?). As Philips is the label UK collectors are familiar with, so Philips is the easiest name to use.

They pressed many UK labels: Philips, Fontana, Polydor, Mercury (1964 on), CBS (to 1964), Track, Reaction & lots of smaller labels. If you see the typical line of stamped numbers in the matrix, the other way up on the curve of the dead wax area to eg Decca & EMI, then it's a Philips press. You even see Jamaican Studio 1 mid 60s that were mastered in the UK by them. PYE PRESSING ==THIS IS OUR ORIGINAL RESEARCH!== Generally 60s PYE presses are scarcer. The only BEATLES Pye press we've seen is this very rare 1968 one. And now a Pye 1965 press of an EP! No BEATLES 45 on 1964 PARLOPHONE were ever pressed by PYE! Only flat-earthers still believe that together with Phrenology! See ORIOLE. Amazingly some 'dealers' still state this obviously really an Oriole press is still Pye. Tiresome isn't it. Pye from 1964 era is a quite thin record unlike the thick ORIOLE vinyl.

Many indies used PYE to contract press. A harder one to spot if you don't know UK vinyl, it has the centre ridge like a DECCA but the serrated edge matching will confirm. The record edge is rounded off unlike a Decca. Pye always have a small scratched number (usually 1) on the runout at the right when the matrix is at the bottom. They smell different to other vinyl too! Pye were mostly pressed with push out centres, though we've seen as early as 1960 with a Lonnie Donegan with a solid centre. Through the 60s you find solid & push out centres used at random, the push out being used more for jukebox use. See below for 4 different types of 1964 Pye pressing, Pye itself & 3 other Contracts. More Beatles Contract photos. First 3 are Oriole Contract, then French Contract and 5th is a Decca Contract. The FROM ME TO YOU here is actually the FIRST PRESSING that experts haven't noticed, with different type & on matt paper. Watch them copy us!!

Most copies are on the typical 'She Loves You' upper-lower Parl text, showing this style didn't last for long, maybe only a few months after the Red label was discontinued. It's not particularly rare, we've had half as many copies of it as the usual one, so don't think it's a big money oddity, sold an EX for £15 in 2010. As a note, Irish pressings of From Me To You still used the old Red design. Irish vinyl is generally pretty rare & mostly found in low grade. PYE LABEL 1964 PRESSING as VARIOUS CONTRACT PRESSINGS if proof of Pye Beatles Parlophone being wrong is still needed... Apple Records | The Beatles Wiki | Fandom powered by Wikia Edit Apple Records was founded in 1968 as a sub-division of the Beatles' Apple Corps project, which in practice was established as a small group of companies (Apple Retail, Apple Publishing, Apple Films and so on). At this time, the Beatles were contracted to Parlophone in the United Kingdom and Capitol Records in the United States.

In a new recording deal, EMI and Capitol agreed to distribute Apple Records until 1975, although EMI retained ownership of the Beatles' recordings. Although they were issued on the Apple label, they carried Parlophone R-prefixed catalogue numbers. Apple Records owns the rights to all of the Beatles' videos and movie clips, however, and to the recordings of other artistes signed to the label. Initially, Apple Records and Apple Publishing signed a number of acts whom the Beatles personally discovered or supported, and in most cases one or more of the Beatles would be involved in the recording sessions. Several notable artistes were signed in the first year including Mary Hopkin, Billy Preston, the Modern Jazz Quartet and The Iveys (who later became Badfinger). In 1969, the Beatles were in need of financial and managerial direction and Lennon was introduced to Allen Klein through Mick Jagger, as Klein was managing The Rolling Stones at the time. Klein went on to manage Apple, by virtue of his three-to-one support from the Beatles, Paul McCartney the only group member opposed to his involvement.

(McCartney had suggested his then new father-in-law Lee Eastman for the job.) After Klein took control of Apple, several sub-divisions, including Apple Electronics, were shut down, and some of Apple Records' artistic roster effectively dropped. Thereafter, new signings were not so numerous, and tended to arrive through the individual actions of The (ex-)Beatles, with the formal approval of the others. (e.g., Elephant's Memory were recruited through John Lennon, Ravi Shankar through George Harrison, etc.) Paul McCartney had little input into Apple Records' roster after 1970. During the 1974 proceedings dissolving the Beatles as an entity, a court ruling decreed that eighty percent of all profits from Beatles albums (as a group) would accrue to Apple Records, and five percent would go to each of the four members. Mostly through continued issues of old Beatles records, the label consistently made a profit until 1984, after which it lost money for several years. Standard Apple album and single labels displayed a bright green Granny Smith apple on the A-side, while the flipside displayed the midsection of the apple cut in half.

The bright green apple returned for Beatles CDs releases in the 1990s, following initial CD releases on Parlophone . However, on the U.S. issue of the Beatles' Let It Be album, the Granny Smith apple was red. The reason was that in the United States that album, being the soundtrack to the movie of the same name, was, for contractual reasons, being manufactured and distributed by United Artists Records and not Capitol Records, so the red apple was used to mark the difference. In the late 70s, Capitol's parent company EMI later purchased United Artists Records and Capitol gained the American rights to the Let It Be soundtrack album (along with the America rights to another, earlier, UA Beatles movie soundtrack LP, 1964's A Hard Day's Night ). Original U.K. versions of all standard Beatles albums were released worldwide on CD in 1987 and 1988 on the Parlophone label with no Apple logo, even including albums originally released on Apple. Previously, Abbey Road had been issued on CD by the EMI-Odeon label in Japan in the early 1980s.

Although this was a legitimate release, it was not authorized by the Beatles, the main EMI company or Apple Corps. As a result, very few were made. It was not until the BBC sessions and the Anthology series that Apple labels started appearing on the CDs. Subsequent releases have been on the familiar Apple label or at least had the Apple logo. In 2006 the label was again newsworthy, as the long-running dispute between Apple Records' parent company and Apple Inc. went to the High Court (see Apple Corps v Apple Computer ). In 2007, the company settled a dispute with EMI over royalties, and announced that long term chief executive Neil Aspinall had retired and been replaced by American music industry executive Jeff Jones . These changes lead to speculation that the Apple Records catalogue — and most importantly The Beatles discography — would soon appear on Apple Inc.'s iTunes online music store, and that a remastering and reissue program of The Beatles' CDs might be forthcoming (Jones having worked on reissues at Sony). On July 1, 2010, it was reported that Capitol Records was planning a re-release strategy for most of Apple's back catalogue.

This would include re-releases of material by artistes who worked at Apple including Badfinger, James Taylor, Billy Preston and Mary Hopkin. Zapple Records Edit Zapple Records, an Apple Records subsidiary run by Barry Miles, a friend and ultimately biographer of Paul McCartney, was intended as an outlet for the release of spoken word and avant garde records. It was active from October 1968 until June 1969, and only two albums were released on the label, one by John Lennon and Yoko Ono (Unfinished Music No.2: Life With The Lions) and one by George Harrison (Electronic Sound). An album of readings by Richard Brautigan was planned for release as Zapple 3, and acetate copies were pressed, but, said Miles, "The Zapple label was folded by Klein before the record could be released. The first two Zapple records did come out. We just didn't have [Brautigan's record] ready in time before Klein closed it down. None of the Beatles ever heard it." Brautigan's record was eventually released as Listening To Richard Brautigan on Harvest Records, a subsidiary of Apple distributor EMI, in the US only.

According to Miles, a spoken word album by Lawrence Ferlinghetti, which had been recorded and edited, would have been Zapple 4, and a spoken word album by Michael McClure had also been recorded. A planned Zapple release of a UK appearance by comedian Lenny Bruce was never completed. As noted above, Zapple was shut down in June 1969 by Klein, apparently with the backing of John Lennon. Artistes who signed with Apple Records Edit Badfinger (originally known as The Iveys) - Signed to Apple after several demo tapes were brought in by Mal Evans, after getting approval from McCartney, Harrison and Lennon. They had several top 10 hits in the UK and USA, including the Paul McCartney song "Come And Get It", and recorded five albums for Apple. Black Dyke Mills Band (as John Foster & Sons Ltd. Black Dyke Mills Band) - A north of England brass band whom Paul McCartney employed for the one-off "Thingummybob"/"Yellow Submarine" single. It was recorded by McCartney on location near Bradford, where the group were based. Brute Force (Stephen Friedland) - A musical outfit fronted by Stephen Freidland.

George Harrison attempted to have his pre-made track "King of Fuh" released as an Apple single. EMI refused to handle it due to its references to "the Fuh king", but Apple manufactured a small number of copies in-house which were made available to the public. Elastic Oz Band - A one-off single, "God Save Us", was written and produced by John Lennon and Yoko Ono to raise money for a legal battle involving Oz magazine. The A-side of the single was sung by Bill Elliott, later of George Harrison's Dark Horse Records signing Splinter. Elephant's Memory - Recruited as backing band for John Lennon and Yoko Ono, and also released material separately. Chris Hodge - Discovered by Ringo Starr; they shared an interest in UFOs. Hodge only released two singles on Apple, the second not issued in the UK. Mary Hopkin - Discovered after appearing on a UK television talent show. Early recordings were produced by Paul McCartney, including the Lennon-McCartney original "Goodbye" and her hit recording of "Those Were the Days". She also released a Eurovision Song Contest entry on Apple ("Knock Knock, Who's There") and two studio albums.

Hot Chocolate (as Hot Chocolate Band) - Released one single, "Give Peace A Chance", which they recorded and had played to John Lennon, who liked it. Their post-Apple releases as Hot Chocolate were more commercially successful. Jackie Lomax - Liverpudlian singer known via his Brian Epstein connections, he recorded with Harrison, McCartney and Starr at various times. His first single "Sour Milk Sea" features all three and was written by Harrison. Modern Jazz Quartet - Associated with Yoko Ono, and were famous prior to their involvement with Apple. They released two albums for the label. Yoko Ono - Recorded extensively with John Lennon and released several singles and albums herself, with Lennon usually performing, and directing the band. David Peel and the Lower East Side - Political folk singer brought to the label by John Lennon. Billy Preston - Brought in to work with the Beatles in January 1969 on their "Get Back" / "Let It Be" sessions, and signed as a solo artiste. George Harrison worked on some of Preston's recordings which include the hit single "That's The Way God Planned It". Preston's recording of Harrison's "My Sweet Lord" was released on Apple before Harrison's version.

Preston issued two albums on Apple in 1969-70. Radha Krishna Temple, the London Hare Krishna temple - George Harrison brought them to the label and produced a single and album for them. Ravi Shankar (with Ali Akbar Khan) - A classical Indian musician. George Harrison brought him to the label. Ronnie Spector - Married to Phil Spector, who separately worked with the Beatles and solo Beatles around 1970. George Harrison and John Lennon appear on her only Apple single "Try Some Buy Some", which was made with her husband, as an attempt to revive her recording career. The Sundown Playboys - A French-language cajun band from Louisiana. A pre-existing single was brought to the label by Ringo Starr. John Tavener - A classical composer. His brother, a builder, worked on Ringo Starr's house, and Starr took interest in Tavener. James Taylor - Recorded with Paul McCartney, who appears on the Apple LP which launched his career. Trash (originally White Trash) - Brought to Apple by Tony Meehan, formerly of the Shadows.

Their second single was a cover of "Golden Slumbers" and charted on Apple in the UK. Doris Troy - An American soul artiste since the early 1960s, who worked with George Harrison and Billy Preston while the latter was signed to Apple. She recorded one Apple album, and released a few spin-off singles. Lon and Derek Van Eaton - Brought in during 1970s by George Harrison, who worked on their Apple album. Also released were the soundtracks to Come Together and El Topo (in the U.S.), the onetime Philles Records compilation Phil Spector's Christmas Album and the multi-artiste The Concert for Bangla Desh. Cassette and 8-track tape versions of Bangla Desh were marketed by Columbia Records, in a deal that permitted the inclusion of Bob Dylan, a Columbia artiste, on the album. Artistes who went on to have considerable success in the pop and rock world (though in some cases, for their post-Apple work) include Badfinger (originally known as The Iveys), James Taylor, Mary Hopkin, Hot Chocolate, Yoko Ono and Billy Preston.

Artistes who were to appear on the label, but didn't make it, include: McGough and McGear, whose self-titled album was due to be released on Apple, but it was released on Parlophone Records, to which both were signed, as members of The Scaffold; Grapefruit, whose single "Dear Delilah" was issued on RCA Records with Apple Records publishing credit; Focal Point, a Liverpool band who were going to be managed by Brian Epstein before he died, were signed to Apple after chasing Paul McCartney around Hyde Park. John Lennon and Brian Epstein signed them to Apple, and they were the first band signed. Their single "Sycamore Sid" was issued on Deram Records with credit to Apple Publishing on the label. Delaney and Bonnie's Accept No Substitute album was originally meant to be released on Apple in 1969; it was originally commercially released on Elektra Records the same year. Mortimer were a folk-based three-piece, notable for a recording of the Beatles' "Two Of Us". It was planned for release as an Apple single in 1969 (before the Beatles' version was issued) under the title "On Our Way Home", but the release was cancelled.

Slow Dog (Wheels) who were a Cambridge based rock band headed up by Scottish singer/guitarist Dave Kelly. They were the winners of the Apple Records sponsored national talent contest early 1969, organized by Apple A & R head Peter Asher prior to his departure for the USA. The winner of the talent contest was promised a record contract with Apple Records, but the band only recorded demo tracks, due to Asher's departure. However, on the recommendation from Beatles' roadie Mal Evans, Warner Brothers Records in London, headed up by Ian Ralfini, signed Slow Dog to a record contract, changing their name to Wheels. See also Zapple Records section for cancelled releases. The Beatles U.K. Guide LP/Label History Small " 33 1-3 R.P.M. " logo was printed above the PARLOPHONE logo instead of a "33 1/3 R.P.M." logo. NONE ? 4th pressing has dark green apple with "("An E.M.I. Recording")" , without "Sold in U.K ..." label text located on the left. Released by stereo only (maybe).

Very Late 1969 -- Mid-to-late 1970 There were no new Beatles' albums on Parlophone label. 8. May 1970 First Press from Apple Label Sorry, I don't have this label. Black Parlophone label with silver print Type-1: In very late 1969 a new label was made, using silver ink on black, and with EMI, PARLOPHONE logo all in silver. New Beatles' LPs were on Apple label, but the nine older Parlophone LPs were pressed on this label, both in mono and stereo. Notice there is only one "EMI" mark on the label. NONE ? One original Beatles' LPs were issued on their Apple label. Mid-to-late 1970-- There were no new Beatles' albums on Parlophone label. There were no new Beatles' albums on Apple label. NONE This second label, dating from mid-to-late 1970, is identical but with two "EMI" marks , which are white with black print (reversed).

No mono LPs were pressed from the 1970 "two-marks" series with the GRAMOPHONE outer rim. NONE There were no new Beatles' albums on Parlophone label. There were no new Beatles' albums on Apple label. NONE Black/white Parlophone label with silver print Type-4: This 4th label have two "EMI" marks , which are white with black print (reversed). At some point in the mid-1970s the EMI pressing plant at Hayes (just outside London) was closed for refurbishment and EMI contracted their Pathé Marconi subsidiary in France to press LP's for a short time. These LP's were then put into U.K. sleeves and sold in the U.K. No mono LPs were pressed from the 1970 "two-marks" series. NONE These labels were pressed in France during the "Oil Crisis" in the 1970s. The printing type is different, but the layout is similar to the U.K. pressings. 1981 -- late 1982? There were no new Beatles' albums on Parlophone label.

There were no new Beatles' albums on Apple label. NONE Black/white Parlophone label with silver print Type-5: This 5th label have two "EMI" marks , which are white with black print (reversed). These labels have a credit " ALL RIGHTS....MANUFACTURED IN THE UK BY EMI RECORDS LIMITED " around the label and they must come without the word "RENTING" in the circle credit. NONE There were no new Beatles' albums on Parlophone label. There were no new Beatles' albums on Apple label. NONE These labels were the reissued label in 1981. No stereo LPs were pressed. These labels have a credit "ALL RIGHTS....MANUFACTURED IN THE UK BY EMI RECORDS LIMITED" around the label and "MONO" credit on the right upper portion NONE These labels were the reissued label in 1981. No stereo LPs were pressed. The characteristics of the reissued label are; 1) "MONO" credit on the right upper portion 2) slender Sans Serif printing type 3) a credit "An E.M.I.

Recording" in parentheses 4) "Harrisongs Ltd" printed as the music publishing company's name for George's songs and "Startling Mus" printed for a Ringo's songs. late 1982 or 1983?-- 1987? There were no new Beatles' albums on Parlophone label. There were no new Beatles' albums on Apple label. NONE Black/white Parlophone label with silver print Type-6: This 6th label have two "EMI" marks , which are white with black print (reversed). These labels may look almost the same as the previous type but this type has the word "RENTING" in the circle credit. NONE Apple label Type-8: These labels may look almost the same as the previous type, but the only difference is the credit around the label. It was changed in the early 1980s to renew the credit to "Unauthorized copying, hiring, renting, public performance and broadcasting" are prohibited. 1988?-- There were no new Beatles' albums on Parlophone label. There were no new Beatles' albums on Apple label. NONE

Question: What record label did the Beatles establish?
Answer: Apple