Yesterday | The Beatles Yesterday, all my troubles seemed so far away, Now it looks as though they're here to stay, Oh, I believe in yesterday Suddenly, I'm not half the man I used to be There's a shadow hanging over me Oh, yesterday came suddenly Why she had to go I don't know, she wouldn't say I said something wrong, now I long for yesterday Yesterday, love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday Why she had to go I don't know, she wouldn't say I said something wrong, now I long for yesterday Yesterday, love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday, Mm mm mm mm mm. "Yesterday" "Back in the U.S.S.R." (UK-1976) "Yesterday" is a song originally recorded by the Beatles for their 1965 album Help!. Although credited to "Lennon–McCartney", the song was written solely by Paul McCartney. It remains popular today with more than 2,200 cover versions, and is one of the most covered songs in the history of recorded music.

At the time of its first appearance the song was released by the Beatles' record company as a single in the United States but not in the United Kingdom (for further details see below). Consequently, whilst it topped the American chart in 1965 the song first hit the British top 10 three months after the release of Help! in a cover version by Matt Monro. "Yesterday" was voted the best song of the 20th century in a 1999 BBC Radio 2 poll of music experts and listeners and was also voted the No. 1 Pop song of all time by MTV and Rolling Stone magazine the following year. In 1997, the song was inducted into the Grammy Hall of Fame. Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone. "Yesterday" is a melancholy acoustic guitar ballad about the break-up of a relationship. McCartney is the only Beatle to appear on the recording, and it was the first official recording by the Beatles that relied upon a performance by a single member of the band. He was accompanied by a string quartet.

The final recording was so different from other works by the Beatles that the band members vetoed the release of the song as a single in the United Kingdom. (However, it was issued as a single there in 1976.) In 2000 McCartney asked Yoko Ono if she would agree to change the credit on the song to read "McCartney–Lennon" in the The Beatles Anthology, but she refused. Please note the text from Wikipedia is imported without editing or authentication. The Beatles — Ticket to Ride — Listen, watch, download and discover music for free at Last.fm british "Ticket to Ride" is a song by The Beatles from their 1965 album, Help!. It was recorded 15 February 1965 at Abbey Road Studios and released two months later. In 2004, this song was ranked number 384 on Rolling Stone magazine's list of the 500 greatest songs of all time. The song was written primarily by John Lennon (credited to Lennon/McCartney), with Paul McCartney's contributions in dispute.

Lennon said that McCartney's contribution was limited to "the way Ringo played… read more Similar Tracks A Ticket to Ride: Musical Moments in 1965 | Humanities Texas A Ticket to Ride: Musical Moments in 1965 Michael L. Gillette August 2015 Your first thought is the Beatles, right? The fact that we instantly associate the words "ticket to ride" with the Beatles’ song illustrates the band’s pervasive, enduring impact. After half a century, almost every word of every song is familiar to us. Each note of their music is imprinted on our minds so indelibly that we can detect the slightest variations played by cover bands. Even our children, born decades after the records were released, know the Beatles canon as well as we do. While the music that accompanied our coming of age in the 1960s was an eclectic mix of rock, pop, country, rhythm and blues, and folk songs, the Beatles—with twenty-one #1 records—dominated the soundtrack of our lives year after year.1 Their music was never stagnant, but evolved throughout that decade of change. Their infectious lyrics became increasingly elegant and thought-provoking; their melodies more intricate with experience and experimentation.

The arrival of each new album held the attention of its listeners’ minds as well as their ears. The Beatles captured our generation's feelings and influenced its sensibilities. Their fame in the U.S. soared overnight—February 9, 1964—when they performed on The Ed Sullivan Show. An estimated seventy-four million viewers, the largest television audience on record at the time, watched the program that night. Unfortunately, I was not one of them, because my parents never allowed us to watch television on school nights. The next morning at my high school, the word "beetles" was on everyone's lips. My first reaction: "Why this sudden obsession with Volkswagens?" ("Beetle" was our nickname for the loveable though homely VW sedan.) It didn't take long, however, to discover the source of my schoolmates' fervor. Within two months, the Beatles’ hits would occupy the top five spots on the Billboard Hot 100 chart.2 By 1965, Beatlemania had reached epidemic proportions. Moreover, the band spearheaded a full-scale British invasion.

Joining the Beatles on the American charts were the Rolling Stones, Herman's Hermits, the Hollies, Gerry and the Pacemakers, the Kinks, the Troggs, the Who, the Yardbirds, and the Zombies. James Bond conquered a succession of diabolical fiends and movie box offices. British sports cars Jaguar, MG, Triumph, and Austin-Healy became popular in the American market, while imported fashions sported labels bearing the Union Jack. Then, on August 19, 1965, the Beatles came to Houston. Local AM radio station KILT sponsored afternoon and evening performances at the Sam Houston Coliseum. Since crazed fans had mobbed the Beatles in Dallas the previous September, Houston officials hoped to prevent a recurrence of the melee.3 They did not succeed. KILT sponsors tried to keep the arrival information about the Beatles' charter flight under wraps in the hope of preventing a mob scene at the airport. A rival radio station, however, broadcast the 1:05 a.m. arrival time, inspiring some 2,000 teenagers to descend on the airport.

Life imitated art, as teenage girls sang "We Love You, Beatles, Oh Yes We Do," adapted from the musical Bye, Bye, Birdie. Some of the youths managed to elude the small police contingent and climb onto the wings of the plane to bang on its windows. A larger crowd mobbed the mobile stairway, preventing the Beatles from exiting the plane. Officials ultimately had to extricate the band members and their managers atop a service truck used for unloading luggage. The Sheraton-Lincoln Hotel where the Beatles were staying was also under siege. Some young fans dressed as maids in an imaginative but futile effort to gain access to their idols' hotel rooms. Other teens managed to secure press credentials to attend the band's afternoon news conference in the hotel. In fact, the assembled press corps was so youthful that a KILT official felt compelled to warn the “reporters” at the outset that if there were any sobbing or shrieking, the offenders would be ejected by police. Throughout the press conference, one star-struck young journalist repeatedly wrote only one word on her notepad: "Ringo." The news conference revealed the genuine fear that the Beatles felt when they confronted out-of-control mobs of admirers.

Asked his impression of Texas, John Lennon replied that they hadn't seen much of the state. "We've only seen Dallas and here. We nearly got killed both times." Paul McCartney later reflected that the Houston airport scene was a recurring hazard: [Local officials] "sent about twenty-five cops to take care of five thousand kids. In every town, they think 'our kids are different; they have common sense.'"4 Sharon Bennett, my girlfriend at the time, procured four tickets to the evening performance so our friends Woody Butler and Mary Catherine Stewart (now Butler) could accompany us. We sat in an upper row near the rear of the Coliseum. After the last of several warm-up bands played, the Beatles came on, clad in their identical dark suits. The only deviation in their wardrobe was John Lennon's Greek fisherman's cap. The band opened with a raucous, high-energy rendition of "Twist and Shout" that sent the audience into a screaming hysteria.

The twelve-song set included "Dizzy Miss Lizzy," "Ticket to Ride," "Can't Buy Me Love," "A Hard Day's Night," and their latest hit, "Help!" Although the Beatles performed for thirty-five minutes, when they concluded with "I'm Down," the time seemed to have flown by.5 What most impressed me about the Beatles' performance was the tremendous energy that their live music exuded, more breathless and raw than their recordings. I was also struck by the band's extraordinary command over the adoring audience. The slightest flourish, gesture, or head-shake by any of the four would trigger a spontaneous chorus of shrieks. It was miraculous that we managed to hear the singing above the screams. Barely a month after the Beatles' appearance in Houston, another remarkable live performance came to Texas. Bob Dylan, who had profoundly influenced the Beatles, played concerts in Austin and Dallas at a pivotal moment in his own career. Although I bought the tickets this time—two at four dollars each—I was only vaguely aware of the controversy that his recent appearances had sparked. Folk purists at the 1965 Newport Jazz Festival had booed Dylan when he performed with an electric guitar in July.

Subsequent live audiences continued to express their disapproval even as the younger rock generation eagerly bought up copies of his first all-electric album, Highway 61 Revisited, when it was released that August. After Angus Wynne III, a twenty-one year old Texas promoter, listened to Dylan's hit "Like a Rolling Stone," he cold-called the singer's manager in New York and brokered an agreement for the two Texas appearances. Nine days before the September 24th Austin date, Dylan flew to Toronto to rehearse with a Canadian band, the Hawks. The group consisted of Rick Danko, bass guitarist; Mark Levon Helm, drummer6; Garth Hudson, organist; Richard Manuel, pianist; and James "Robbie" Robertson, guitarist. The Austin event would be the first time for Bob Dylan to perform with the Hawks, who would soon become immortalized as The Band. Dylan was late for his performance. The audience sat waiting in the Municipal Auditorium for a full thirty minutes after the program's scheduled starting time. When he finally appeared on stage, he projected little warmth or rapport with the crowd. Perhaps he anticipated boos.

He simply began singing and playing his acoustic guitar and a harmonica, which was mounted on a hands-free bracket in front of his mouth. This first set consisted of "Gates of Eden;" "It's All Over Now, Baby Blue;" “Desolation Row,” and "Mr. Tambourine Man." As Dylan concluded the acoustic set, he muttered something about returning in a few minutes as the curtain came down. When the curtain rose again, there stood Dylan with a Fender Jazzmaster electric guitar and behind him was the band. They played powerful renditions of "Tombstone Blues;" "It Ain't Me, Babe;" and "Like a Rolling Stone," among other songs. No one booed. "It was like being knocked over by this huge burst of sound," Angus Wynne recalled. Another member of the small audience that night, Stephanie Chernikowski, captured my own reaction perfectly: "It never entered my mind—or heart—not to love the electric stuff. Dylan and The Band were stunning. There were moments that you felt like you were the only person in the room with them."7 The auditorium itself contributed to the sensation she felt.

With a seating capacity of only four thousand, the Austin venue was much smaller and more intimate than the Houston Coliseum. Was Bob Dylan a poet, a philosopher, or merely a talented musician in the 1960s? Although he modestly said that "it's all music; nothing more, nothing less," his songs spoke to our generation as many of society's tightly-bound assumptions were unraveling. Like the Beatles, his popularity and influence have endured a half-century. Even before the '60s drew to a close, its music had turned dark and leaden, reflecting the period's anger, despair, and drug-induced escapism. My own tastes remained hopelessly mired in the decade's earlier hopeful, buoyant sounds. By 1969, I was a VISTA volunteer, working in the inner-city neighborhoods of Worcester, Massachusetts. One hot Friday afternoon that August, three of my fellow volunteers invited me to join them on a 120-mile road trip to camp out and listen to live music. The thought of music sounded appealing, but not the camping. I had sworn off camping trips long ago after a few miserable outings as a Cub Scout, so I declined. Bad decision.

I missed the signature cultural phenomenon of my generation: Woodstock. But in a span of less than forty days in 1965, I had witnessed two memorable musical moments. M. L. G. What are your musical memories of the 1960s? Email them to us at editor@humanitiestexas.org . Be sure to catch the LBJ Presidential Library’s current exhibition Ladies and Gentlemen . . . The Beatles! on display through January 10, 2016.

1The Beatles' #1 records are as follows: "I Want To Hold Your Hand"; "She Loves You"; "Can't Buy Me Love"; "Love Me Do"; "A Hard Day's Night"; "I Feel Fine"; "Eight Days A Week"; "Ticket To Ride"; "Help!"; "Yesterday"; "We Can Work It Out"; "Paperback Writer"; "Penny Lane"; "All You Need is Love"; "Hello Goodbye"; "Hey Jude"; "Get Back"; "Come Together"; "Something" "Let It Be"; "The Long and Winding Road." 2For the week of April 4, 1964, the top five songs were "Can’t Buy Me Love"; "Twist and Shout"; "She Loves You"; "I Want to Hold Your Hand"; and "Please Please Me." 3The Beatles performed in Dallas on September 18, 1964. A large contingent of fans had gathered at the Cabana Motor Hotel in Dallas when the Beatles arrived there. As the band members walked from their car to the building's rear entrance, the jostling of the crowd caused George Harrison and Ringo Starr to fall.

4The Houston Post, August 20 and 21, 1965. A video segment of the Houston press conference can be found on YouTube . 5KILT's soundboard audio recording of the performance may be found on YouTube . The set list for both performances is as follows: "Twist and Shout"; "She’s a Woman"; "I Feel Fine"; "Dizzy Miss Lizzy"; "Ticket to Ride"; "Everybody’s Trying to be My Baby"; "Can’t Buy Me Love"; "Baby’s In Black"; "I Wanna Be Your Man"; "A Hard Day’s Night"; "Help!"; "I’m Down." 6Helm left the group after two months. Mickey Jones of Dallas ultimately became The Band’s drummer. 7For the quotations, see Michael Corcoran's excellent article published in the Austin American-Statesman, September 25, 2005. Mike Gillette’s personal ticket stub from the 1965 Beatles concert at Sam Houston Coliseum. Little girl watching The Beatles on The Ed Sullivan Show, 1964.

The Beatles and their manager are transported in a service truck at Houston’s International Airport after a crowd of screaming fans broke police lines and prohibited them from coming down the plane’s steps during their arrival early morning in Houston, 1965. AP Images. The Beatles at the KILT press conference in advance of the 1965 concert in Houston. The Beatles perform at Sam Houston Coliseum on August 19, 1965. Houston Chronicle photo. Fans in the audience of the Beatles concert in Houston on August 19, 1965. Houston Chronicle photo. Newspaper clipping promoting the 1965 Bob Dylan concert at Austin Municipal Auditorium. Austin Municipal Auditorium, c. 1965. Prior to the Austin concert, Bob Dylan gave an interview at the Villa Capri. PICA 34381 Austin History Center, Austin Public Library. Blackpool Night Out (Beatles Live in Blackpool in 1965) - YouTube Blackpool Night Out (Beatles Live in Blackpool in 1965) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on May 7, 2014 The Beatles made just one television appearance in Britain to promote the Help! album; other shows had to run pre-recorded clips instead. Blackpool Night Out was made by ABC TV, and was filmed at the ABC Theatre in Blackpool. It was shown by all but one of the ITV companies across the UK, in a live broadcast between 9.10pm and 10.05pm. The Beatles performed I Feel Fine, I'm Down, Act Naturally and Ticket To Ride, before Paul McCartney sang Yesterday on his own. It was the first time the song had been performed on British television. The group closed with Help!, following John Lennon's tongue-in-cheek announcement to McCartney: "Thank you Ringo, that was wonderful". The other guests on the show were Pearl Carr and Teddy Johnson, Johnny Hart, and Lionel Blair. The compères were Mike and Bernie Winters. After the show Ringo Starr and Brian Epstein flew back to London, while the other Beatles were driven in their Rolls-Royce.

Epstein's decision to grant just one UK television appearance to promote the Help! single drew much criticism in the press. The Beatles had steadily reduced the amount of promotion undertaken throughout 1964 and 1965. Four songs from Blackpool Night Out -- I Feel Fine, Ticket To Ride, Yesterday and Help! -- appeared on Anthology 2 in 1996. - Credit Beatle Bible. August 6: The Beatles released “Help!” in 1965 | Born To Listen August 6: The Beatles released “Help!” in 1965 Posted on by Egil Mosbron .. a big step forward, exploring doubt, loneliness, alienation, adult sexual longing, acoustic guitars, electric piano, bongos, castanets, and the finest George songs known to man. … Help! was utterly ruined in its U.S. version, which cut half the songs and added worthless orchestral soundtrack filler, so it’s always been underrated. But Help!

is the first chapter in the astounding creative takeoff the Beatles were just beginning: the soulful bereavement of “Ticket to Ride,” the impossibly erotic gentleness of “Tell Me What You See,” the desperate falsetto and electric punch of “You’re Going to Lose That Girl.” ~ rollingstone.com …. the album’s masterpiece is McCartney’s brooding, deceptively simple chamber-pop ballad “Yesterday.” … it’s compositionally complex, one of the first major pop songs to draw directly from classical music, juxtaposing acoustic guitar with a string quartet, shifting from minor to major chords. It set the stage for one of the most groundbreaking and innovative periods in The Beatles’ career, not to mention pop music in general. Help! – from a 6-song set filmed for British television in August of 1965: From Wikipedia: 15–19 February, 13 April, 10 May& 14–17 June 1965, EMI Studios, London Producer George Martin Help! is the title of the fifth British and tenth North American album by The Beatles, and the soundtrack from their film of the same name.

Produced by George Martin for EMI’s Parlophone Records, it contains fourteen songs in its original British form, of which seven appeared in the film. These songs took up the first side of the vinyl album and included the singles “Help!” and “Ticket to Ride”. The second side contained seven other releases including one of the most-covered songs ever written, “Yesterday”. The American release was a true soundtrack album, mixing the first seven songs with orchestral material from the film. Of the other seven songs that were on the British release, two were released on the US version of the next Beatles album, Rubber Soul, two were back-to-back on the next US single and then appeared on Yesterday and Today, and three had already been on Beatles VI. In 2012, Help! was voted 331st on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”. When “Help!” came out in ’65, I was actually crying out for help. Most people think it’s just a fast rock-‘n’-roll song. I didn’t realize it at the time; I just wrote the song because I was commissioned to write it for the movie.

But later, I knew I really was crying out for help. It was my fat Elvis period. You see the movie: He — I — is very fat, very insecure, and he’s completely lost himself. And I am singing about when I was so much younger and all the rest, looking back at how easy it was. Now I may be very positive — yes, yes — but I also go through deep depressions where I would like to jump out the window, you know. It becomes easier to deal with as I get older; I don’t know whether you learn control or, when you grow up, you calm down a little. Anyway, I was fat and depressed and I was crying out for help. ~John Lennon 1. “Act Naturally” (Johnny Russell, Voni Morrison) 2. “It’s Only Love” 3. “You Like Me Too Much” (Harrison) 4. “Tell Me What You See” 5. “I’ve Just Seen a Face” 6. “Yesterday” 7. “Dizzy Miss Lizzy” (Larry Williams) – Personnel: According to Mark Lewisohn and Alan W. Pollack.

John Lennon – lead, harmony and background vocals; acoustic (six and twelve-string) and rhythm guitars; electric piano Paul McCartney – lead, harmony and background vocals; lead, acoustic and bass guitars; keyboards (acoustic and electric pianos); güiro George Harrison – lead, harmony and background vocals; acoustic, rhythm and lead guitars Ringo Starr – drums, handclaps and assorted percussion (tambourine, maracas, cowbell, bongos, claves and brushed snare); lead vocals (on “Act Naturally”) Additional musicians Help! | The Beatles Dizzy Miss Lizzy Released on 6th August, 1965, and eight months after Beatles For Sale, the recordings for Help! had actually started in earnest in mid February just one month after the guys had completed a season of 'Another Beatles Christmas Show' at London's Hammersmith Odeon. Within days of the final February session, they were off to the Bahamas to film scenes for the movie, which like 'A Hard Day's Night' was directed by Richard Lester. From the Bahamas, The Beatles headed East to Obertauern, in Austria before heading back to the UK for more filming.

A new single, 'Ticket To Ride' was released on 9th April and this needed to be promoted so various TV performances took place from the end of March to mid April along with an appearance at NME Poll-winners concert. All of these taking place either side of more filming which continued on and off until the middle of June by which time The Beatles had returned to Abbey Road to complete the material for the non-soundtrack side of the forthcoming album. On the 12th June, 1965 it was announced that The Beatles had been awarded MBE's in the Queen's birthday honours list - an accolade previously never given to young pop stars Like A Hard Day's Night, Help! contained the songs from the film on side one of the album with the other side devoted to other new recordings including two covers. Unlike A Hard Day's Night, the two singles released prior to and alongside the album had exclusive B-sides. Help! also marked the return of George Harrison as a songwriter. George contributed one song to each side of the album. The striking album front cover features The Beatles making semaphore signals but these do not spell Help!

The album went immediately to no.1 in the British charts remaining there for a total of nine of its 37 weeks in the Top Twenty. Yet again in the US, things were different. Another soundtrack album was released which contained all the songs from side one of the UK album plus six instrumental pieces scored by Ken Thorne. It resulted in another US # 1 album, which enjoyed a nine week stay during an overall chart run of 42 weeks. The remaining non-film tracks were scattered over three different albums in the U.S. The most famous of these, 'Yesterday' also being released as a single in September and later going on to reach # 1 for a period of four weeks. Ticket To Ride - 1s Preview Ticket To Ride "We were always kind of, you know, a little nervous before each step we went up the ladder, but we always had that confidence and that was the good thing about being four together - we all shared the experience." GEORGE Posing with Eleanor Bron during shooting for the film "Help!" "I think it was largely John's - the actual Ticket To Ride bit. We wrote it together you see, with John and I.

Certain songs would nearly always be the idea of one of us. One of us had actually said, 'Ticket To Ride would be good', the other one would say, 'Okay, that's what we'll write today'." PAUL "I remember Paul playing to me Yesterday and he called it Scrambled Egg. It wasn't until he got the lyric together that we decided to record it - so he went down and sat on a high stool with his acoustic guitar and sang Yesterday." GEOARGE MARTIN "BEATLES' GREATEST U.S. SHOW TO BE FILMED British fans may see the Beatles' most important concert ever - on television. The group will appear before nearly 60,000 fans at the Shea Stadium in New York on August 15 at the start of their second American tour. Ed Sullivan, America's most famous TV personality, will introduce them on stage at this show.

Brian Epstein revealed exclusively to the NME on Wednesday: I am arranging to have the whole fantastic performance filmed, and, if it is suitable, I will arrange worldwide release for it almost immediately afterwards." NME Friday, March 12, 1965 "I had these two guys who used to write songs whenever we needed some. I think we just called them up and said, 'Look, we'll be doing a movie now lads, will you come up with a couple of catchy hits?'" GEORGE BlondGuy 11 Jun 2016 I don't care what anyone else says - side one of 'Help !' is pure pop perfection, seven excellent songs that build up an exhilarating head of steam, almost as much so as the second side of 'Abbey Road' does. Side two is pretty darn good too; if it wasn't for a couple of lesser numbers like "You Like Me Too Much" and "Tell Me What You See", I might be calling 'Help !' my favorite Beatles album. It's the one Beatles album that most fully encapsulates the early, Beatlemania-era sound combined with lyrical advancement and just top-notch pop songwriting.

I don't know why many critics lump 'Beatles for Sale' and 'Help !' in the same boat -- to my ears, 'Help !' is a far superior album. SophieMarie 16 May 2016 This is my favorite Beatles album. I love it because of the creative use of acoustics and sweet sound. On a scale of 1 to 10 I rate this album...a 100. The Usenet Guide to Beatles Recording Variations The Usenet Guide to Beatles Recording Variations 1965 basic recording- 15 Feb 1965 additional recording- 15 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone R5265 single 1965, Parlophone PMC 1255 Help! 1965, Parlophone PMC 7016 Collection of Oldies 1966. US: Capitol 5407 single 1965, Capitol MAS 2386 Help!

1965, Apple SKBO-3403 The Beatles 1962-1966 1973. CD: EMI single 1989. [a1] mock stereo made from [a] 1965, by Capitol. US: Capitol SMAS 2386 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SV-12199 Reel Music 1982, Capitol SV-12245 20 Greatest Hits 1982. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.

Mono [a] has some added reverb. Capitol's version seems to have the same additional reverb as on the fake stereo mix: the mono LP version sounds like [a1] reduced to mono. Another mono mix was made for the original film soundtrack of Help! on 15 March 1965. The stereo versions fade a little longer than [a]. In [b] the whole track has been given a bass boost to make up for poor bass guitar sound, or at least on the Parlophone LP it has. The bass guitar guitar has better presence in [c] but the rest is less bassy and the vocal sounds sharper. ANOTHER GIRL basic recording- 15 Feb 1965 additional recording- 15,16 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965.

[b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987. The main rhythm track is mixed quieter in mono [a] than in stereo. I NEED YOU basic recording- 15 Feb 1965 additional recording- 15,16 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987.

CD: EMI CDP 7 46439 2 Help! 1987. YES IT IS [outtake] basic recording- 16 Feb 1965 additional recording- 16 Feb 1965 master tape- 4 track [a] mono and stereo 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996. Mono for the outtake. Where it breaks down, it is crossfaded into a stereo remix of the standard take. The outtake has been bootlegged in stereo. YES IT IS basic recording- 16 Feb 1965 additional recording- 16 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone R5265 single 1965, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.

US: Capitol 5407 single 1965, Capitol T 2358 Beatles VI 1965. CD: EMI single 1989. [a1] mock stereo made from [a] 1965, by Capitol. US: Capitol ST 2358 Beatles VI 1965. [a2] mock stereo made from [a] 1977. UK: Parlophone PCSP 721 Love Songs 1977. US: Capitol SKBL 11711 Love Songs 1977. [b] stereo 23 Feb 1965. UK: Stilletto/Parlophone SMMC-151 (Heineken beer promo, cassette) Only the Beatles 1986. CD: EMI CDP 7 90043 2 Past Masters 1 1988. The stereo mix [b] must have been well hidden away, not used in 1977 or 1979 for collections.

It first appeared on a promotional offer tape from Heineken Beer in 1986, available by mail order for a few weeks. It has a dropout (a tape defect) in verse 1 on the word "I" in "remember what I said tonight", and an extra tone-pedal note under the first word "if". Part of this same take was remixed to complete the outtake (see above) for Anthology 2. THE NIGHT BEFORE basic recording- 17 Feb 1965 additional recording- 17 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol SMAS 2386 Help! 1965. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987.

CD: EMI CDP 7 46439 2 Help! 1987. YOU LIKE ME TOO MUCH basic recording- 17 Feb 1965 additional recording- 17 Feb 1965 master tape- 4 track [a] mono 18 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. CD: EP Box set 1991. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987. The CD reproduction of [c] is so clear that a click can be heard where they turn off the Leslie speaker for the piano after the intro! This is probably on the other mixes also.

YOU'VE GOT TO HIDE YOUR LOVE AWAY [outtake] basic recording- 18 Feb 1965 additional recording- none [a] mono 1995. edited. CD: Apple CDP 8 34448 2 Anthology 2 1996. An edit of talk before takes 1 and 2, and then the music of take 5. No flutes (recorded during the standard take, later). Possibly this much is on only two tracks, explaining the mono mix? YOU'VE GOT TO HIDE YOUR LOVE AWAY basic recording- 18 Feb 1965 additional recording- none [a] mono 20 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SMAS 2386 Help!

1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. Mono [a] has a little reverb missing on the dryer stereo [b]. IF YOU'VE GOT TROUBLE [outtake] basic recording- 18 Feb 1965 additional recording- 18 Feb 1965 master tape- 4 track [a] stereo 1995. CD: Apple CDP 8 34448 2 Anthology 2 1996.

Not the edited mix prepared for the Sessions LP in 1984, but a new one with the whole song, except one "anybody" mixed out after "rock on anybody". A stereo mix of the full song was bootlegged in the Unsurpassed Masters set in 1989. TELL ME WHAT YOU SEE basic recording- 18 Feb 1965 additional recording- 18 Feb 1965 master tape- 4 track [a] mono 20 Feb 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. [b] stereo 23 Feb 1965. UK: Parlophone PCS 3071 Help! 1965. US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987.

This is practically a 2-track recording from the sound of it-- the right stereo channel in [b] [c] has only a piano overdub in a few places. YOU'RE GOING TO LOSE THAT GIRL basic recording- 19 Feb 1965 additional recording- 19 Feb 1965 master tape- 4 track US: Capitol SMAS 2386 Help! 1965. [b2] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987. Capitol's stereo [b1] has a sound at the very beginning that is missing in the others, possibly the extreme end of the countdown as heard in the film's soundtrack, if that is authentically part of the recording.

THAT MEANS A LOT [outtake] basic recording- 20 Feb 1965 additional recording- 20 Feb 1965 master tape- 4 track 2d generation [a] mono 20 Feb 1965. CD: Apple CDP 8 34448 2 Anthology 2 1996. This is probably the 1965 mono mix, and it sounds a little distorted. The same mix was slated for the Sessions LP and has appeared on bootlegs (a remake in March has also been bootlegged). HELP! basic recording- 13 Apr 1965 additional recording- 13 Apr 1965 master tape- 4 track [a] mono 18 Jun 1965. edited. UK: Parlophone R5305 single 1965, Parlophone PMC 1255 Help! 1965, Parlophone PMC 7016 Collection of Oldies 1966.

US: Capitol 5476 single 1965, Capitol SHAL-12060 Rarities 1980. CD: EMI single 1989. [b] stereo 18 Jun 1965. edited. UK: Parlophone PCS 3071 Help! 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol SMAS 2386 Help! 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [b1] mono made from [b] 1965, by Capitol. US: Capitol MAS 2386 Help! 1965. [c] stereo 1987. edited. CD: EMI CDP 7 46439 2 Help!

1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. The mono mix [a] has a different lead vocal from the one on the two stereo mixes [b] [c]. John's voice is rougher all through the mono vocal. The stereo mixes also have a tambourine during the chorus that is not heard in [a] mono. Two examples of differences in the vocal in verse 1: the mono vocal [a] has "and now these days" while the stereo vocal [b] [c] has "but now these days"; on the line "I've changed my mind" the mono vocal has the words evenly while the stereo has them run together. A mnemonic is that "I've opened up the doorS" ending S appears in Stereo and "door" in mono. Lewisohn has commented that these are different mixes of the same recording. Both mono and stereo have double track lead vocals, so it's likely they do not exist on the same tape at all, but were made by adding vocals to the same basic tracks.

Bootlegs of the session tapes, if they are mixed honestly, show that take 9 has 4 tracks of which two have the basic (1) bass and drums and (2) guitars. The stereo mix derives from adding two vocal tracks, one of which also has tambourine, and then mixing that down and adding a guitar dub in take 12. For the mono mix, take 12 was copied over with the guitar dub but no vocals, losing the tambourine in the process, and then two new vocal tracks were added. (Much of this is from Luke Pacholski.) This supposes there is a take not recorded by Lewisohn, but clearly there is some gap in the written record here. The original film print of Help! has a mono mix made April 18 using the same vocal as the June 18 mono mix, and with no tambourine. It has a different intro, however, not as clear as the one used on all mixes on disk. The intro on [a] therefore appears to belong to the "stereo vocal" take.

In fact [a] may have a mono reduction of [b] edited to it as the intro; the mono and stereo mixes were made the same day. But then why the different vocal track all the way on [b]? Error, or avoiding an edit on the "less important" stereo mix? On the Capitol albums MAS 2386 and SMAS 2386, and on (US) Apple SKBO-3403, the song is preceded by a short instrumental version of the James Bond Theme, or something similar to it, which is banded as if part of the song but separated by a pause. This is not part of the song and not the Beatles. DIZZY MISS LIZZIE basic recording- 10 May 1965 additional recording- none [a] mono 10 May 1965. UK: Parlophone PMC 1255 Help! 1965. US: Capitol T 2358 Beatles VI 1965. [b] stereo 10 May 1965. UK: Parlophone PCS 3071 Help! 1965.

US: Capitol ST 2358 Beatles VI 1965. [c] stereo 1987. CD: EMI CDP 7 46439 2 Help! 1987. [a] fades a little earlier. [c] has a lot of reverb added to the vocal, making it the most variant of the CD remixes for this album. BAD BOY basic recording- 10 May 1965 additional recording- none [a] mono 10 May 1965. US: Capitol T 2358 Beatles VI 1965. UK: Parlophone PMC 7016 Collection of Oldies 1966. [b] stereo 10 May 1965. US: Capitol ST 2358 Beatles VI 1965. UK: Parlophone PCS 7016 Collection of Oldies 1966, Parlophone PSLP 261 and PCM 1001 Rarities 1978-79.

CD: EMI CDP 7 90043 2 Past Masters 1 1988. [a] has bass and drums mixed louder. (Curious fact: this song was available in the US for about a year and a half before the rest of the world including the UK. It's not the only song released first in the US, as some others from the Help! and Revolver albums in progress were sent out to fill in Capitol's albums, but this is the only case where the song wasn't actually used for the UK album.) [ BBC radio, The Beatles Invite You to Take a Ticket to Ride ] basic recording- 26 May 1965 at BBC Piccadilly Studios additional recording- none basic recording- 18 Oct 1965 additional recording- 22 Oct 1965 master tape- 4 track [a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 26 Oct 1965.

UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. The new CD mix [c] differs from [b] several ways. Both have the lead vocal mixed far right, but a heavy reverb added to [c] is mixed center, sounding almost like a double track vocal. A breath is heard before the vocal starts in [b], the drum is louder in the verses in [b], and a plink in the decay of the guitar, left, at the end of the song is not heard in [c].

The end of the piano solo is faded away slightly better in [c]. WE CAN WORK IT OUT basic recording- 20 Oct 1965 additional recording- 20,29 Oct 1965 master tape- 4 track basic recording- 22 Oct 1965 additional recording- 22 Oct 1965 master tape- 4 track [a] mono 25 Oct 1965. UK: Parlophone PMC 1267 Rubber Soul 1965. US: Capitol 5587 single 1966, Capitol T 2553 Yesterday & Today 1966. CD: EP Box set 1991. [b] stereo 26 Oct 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Apple PCSP 717 The Beatles 1962-1966 1973.

US: Capitol ST 2553 Yesterday & Today 1966, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993.. The original stereo mix [b] has all sound either far left or far right. The new CD mix [c] has rhythm (drums, bass, rhythm guitar) at left center and only lead guitar at far left; the lead guitar moves to far right for solo as in [b]. [c] has John's lead vocal at right center and his second vocal with the others at far right. Paul refers to the guitars as extremely trebly in the interview in Lewisohn's Recording Sessions. The only release that seems to show this is the MFSL half-speed master cassette tape.

I'M LOOKING THROUGH YOU [outtake] basic recording- 24 Oct 1965 additional recording- 24 Oct 1965 master tape- 4 track basic recording- 3 Nov 1965 additional recording- 3 Nov 1965 master tape- 4 track 2d generation [a] mono 9 Nov 1965. US: Capitol T 2442 Rubber Soul 1965. [b] stereo 9 Nov 1965. UK: Parlophone PCS 3075 Rubber Soul 1965, Parlophone PCS 7016 Collection of Oldies 1966, Apple PCSP 717 The Beatles 1962-1966 1973. US: Capitol ST 2442 Rubber Soul 1965, Apple SKBO-3403 The Beatles 1962-1966 1973. [c] mono 15 Nov 1965.

UK: Parlophone PMC 1267 Rubber Soul 1965, Parlophone PMC 7016 Collection of Oldies 1966. CD: EP Box set 1991. [d] stereo 1987. CD: EMI CDP 7 46440 2 Rubber Soul 1987, EMI CDP 7 97036 2 The Beatles 1962-1966 1993. [a] has louder percussion than [b], and fades a little longer. WHAT GOES ON basic recording- 4 Nov 1965 additional recording- 4 Nov 1965 master tape- 4 track Ticket To Ride | The Beatles Bible Live At The BBC Ticket To Ride was the first song to be released from Help!, The Beatles' fifth album. The group's performance of the song, filmed on the ski slopes in Austria, was one of the highlights of the Help! film. The song was written by Lennon and McCartney, although the precise nature of their contributions has been disputed. In one of his final interviews, Lennon claimed it as mainly his work.

That was one of the earliest heavy-metal records made. Paul's contribution was the way Ringo played the drums. John Lennon All We Are Saying, David Sheff In his authorised biography, published in 1994, McCartney elaborated on the song's origins, claiming it as more of a collaborative effort. We wrote the melody together; you can hear on the record, John's taking the melody and I'm singing harmony with it. We'd often work those out as we wrote them. Because John sang it, you might have to give him 60 per cent of it. It was pretty much a work job that turned out quite well... John just didn't take the time to explain that we sat down together and worked on that song for a full three-hour songwriting session, and at the end of it all we had all the words, we had the harmonies, and we had all the little bits. Paul McCartney Many Years From Now, Barry Miles McCartney also explained how he was particularly proud of Ticket To Ride's double-time coda: I think the interesting thing was a crazy ending: instead of ending like the previous verse, we changed the tempo.

We picked up one of the lines, 'My baby don't care', but completely altered the melody. We almost invented the idea of a new bit of a song on the fade-out with this song; it was something specially written for the fade-out, which was very effective but it was quite cheeky and we did a fast ending. It was quite radical at the time. Paul McCartney Many Years From Now, Barry Miles The first Beatles single to be longer than three minutes, Ticket To Ride was heralded by the music press upon its release as a departure from the group's familiar territory. Certainly its unusual drum patterns and downbeat lyrics were a departure from The Beatles' usual upbeat optimism. Ticket To Ride was slightly a new sound at the time. It was pretty fucking heavy for then, if you go and look in the charts for what other music people were making. You hear it now and it doesn't sound too bad; but it'd make me cringe. If you give me the A track and I remix it, I'll show you what it is really, but you can hear it there. It's a heavy record and the drums are heavy too. That's why I like it.

John Lennon, 1970 Anthology The song's meaning has been subject to a number of interpretations over the years. While ostensibly about a liberated girl choosing her own path in life, a pair of incidents in The Beatles' past may have inspired the song in part. McCartney's cousin Bett and her husband Mike Robbins owned a pub on Union Street in Ryde, on the north coast of the Isle of Wight. In the early 1960s Lennon and McCartney hitch-hiked to stay with them, and several years later the journey inspired a pun on the phrase 'ticket to Ryde' in the song. I remember talking about Ryde but it was John's thing. Paul McCartney Many Years From Now, Barry Miles Another suggestion is that the title refers to sexually-transmitted diseases, and was inspired by the prostitutes encountered by The Beatles during their time performing in Germany. The girls who worked the streets in Hamburg had to have a clean bill of health and so the medical authorities would give them a card saying that they didn't have a dose of anything.

I was with The Beatles when they went back to Hamburg in June 1966 and it was then that John told me that he had coined the phrase 'a ticket to ride' to describe these cards. He could have been joking - you always had to be careful with John like that - but I certainly remember him telling me that. Don Short, journalist A Hard Day's Write, Steve Turner Ticket To Ride was the soundtrack to a key scene in the Help! film. Filmed on the ski slopes of Obertauern, Austria on 20 March 1965, it was a forerunner of the music videos which would later become widespread. It also became part of The Beatles' live repertoire in 1965, particularly on their summer tour of America. They played it during their final appearance on The Ed Sullivan Show, and at their Shea Stadium and Hollywood Bowl concerts. A version of Ticket To Ride, recorded for the British television show Blackpool Night Out, was included on Anthology 2. Another recording, taped for the radio show The Beatles Invite You To Take A Ticket To Ride, was included on the Live At The BBC collection.

In the studio Recorded in an afternoon session on 15 February 1965, at the first session for what became the Help! album, Ticket To Ride marked a departure from The Beatles' previous method of recording. Although completed in just two takes, the first of which was a false start, Ticket To Ride was the first Beatles song to be built from the ground up. Whereas in the past they'd rehearsed and recorded what amounted to an 'as-live' performance of their songs, from February 1965 they adopted the practice of recording just the rhythm tracks, and then building from there. As such, although only two takes of Ticket To Ride were needed, the song underwent a number of overdubs, revisions and experiments during the three hour session. They initially recorded drums and bass on track one of Abbey Road's four track machines, then overdubbed rhythm and lead guitars (the latter played by Paul McCartney), John Lennon's lead vocals, and then finally tambourine, guitars, backing vocals and handclaps onto track four. Ticket To Ride was The Beatles' first song to feature Paul McCartney on lead guitar. He played the lines, which can be heard in the fade-out, on an Epiphone Casino semi-acoustic.

Lennon played a Fender Stratocaster, and it is likely that George Harrison played a Rickenbacker 360 12-string. Chart success Ticket To Ride was released on 9 April 1965 in the UK, and on 19 April in the US. Both editions were coupled with Yes It Is on the b-side. The single topped the charts in many countries. It spent three weeks at the top of the UK charts, and one in the US.

Question: 'Yesterday' and 'Ticket to Ride' first appeared on which Beatles album of 1965?
Answer: HELP!