Because the album is Paul interpreting some of the great old songs he loves, Bruce muses at the end of his email: “The cynic in me reckons that Paul owns the publishing rights to all these songs too. Just for that extra bit of icing on the cake when the royalties come in….”

McCartney of course owns MPL Communications Limited, one of the biggest song publishing and licensing companies in the world – and in fact does own the rights to literally thousands of songs and covering nearly 100 years of music.

So, how many of the songs he’s covering on “Kisses on the Bottom” does McCartney already own, and will he subsequently get song royalties from tracks he didn’t write back into his own business? In the album’s track-list below I’ve put in RED whether MPL administers the publishing rights:

1. I’m Gonna Sit Right Down And Write Myself A Letter  -  YES  (written by Joe Young, Fred E. Ahlert, 1935)
2. Home (When Shadows Fall)  -  NO
3. It’s Only A Paper Moon  -  NO
4. More I Cannot Wish You  -  YES  (written by Frank Loesser, 1949)
5. The Glory Of Love  -  NO
6. We Three (My Echo, My Shadow And Me)  -  YES  (written by Dick Robertson, Sammy Mysels, Nelson Cogane, 1939)
7. Ac-Cent-Tchu-Ate The Positive  -  YES  (written by Harold Arlen, Johnny Mercer, 1944)
8. My Valentine  -  YES  (it’s a new McCartney composition, 2012)
9. Always  -  NO
10. My Very Good Friend The Milkman  -  NO
11. Bye Bye Blackbird  -  NO
12. Get Yourself Another Fool  -  NO
13. The Inch Worm  -  YES  (written by Frank Loesser, 1951)
14. Only Our Hearts   -  YES  (another brand new McCartney composition, 2012)

The Deluxe CD Album will feature 2 bonus tracks:

15. Baby’s Request  -  YES  (it’s an older McCartney composition, previously performed by Wings on 1979′s “Back to the Egg” LP)
16. My One And Only Love  -  YES  (written by Guy Wood, Robert Mellin, 1952)

Therefore, in answer to Bruce’s question, for the standard CD edition of “Kisses” Paul McCartney owns half the songs. For the deluxe edition he owns the rights to 9 out of the 16 tracks.

Also, it’s just been pointed out to me by Beatlesblog reader Craig that two of the songs on the album have previously been released in versions on Apple Records. Ringo did “Bye, Bye Blackbird” on “Sentimental Journey” (his 1970 tribute to old songs he loves), and Mary Hopkin recorded “The Inch Worm” on her first album, “Postcard” (1968).

Peter Asher, Paul, Mary Hopkin at Trident Studios, London, 1968 (Apple)

Paul produced Mary Hopkin’s “Postcard”, so he must have liked the song “The Inch Worm” for a long time. He chose that album’s songs, the arranger and even the artwork for the album cover. From the liner notes of the digitally re-mastered edition of “Postcard” from 2010:

“Mary remembers that the show tunes and hits from yesteryear that make up half the collection were favourites of Paul’s father, Jim McCartney.They call to mind the valve-warming radio days of the BBC’s old Light Programme, Ringo Starr’s “Sentimental Journey” album that Apple would soon release, and the comfy familiarity that Paul evoked in Beatles songs such as “Honey Pie”, “When I’m Sixty Four” and “Your Mother Should Know”.

Sounds just like the 2012 publicity for “Kisses on the Bottom” doesn’t it.

“The Inch Worm” originally comes from the 1952 Danny Kaye film “Hans Christian Anderson”. And Paul’s company MPL Communications Limited now owns the publishing rights to the song.

You can access the database for all the songs that ML Communications has the rights to at: www.mplcommunications.com/search.php  For most tracks in the database you can also listen to full audio examples, often by a range of performers.

For a great film of Mary Hopkin performing different language versions of “Those Were the Days” see the Wogblog page. Great shots of the Apple offices in 1968, too.

It’s certainly a great idea for a documentary, and if anyone could pull it off it is Nair.

Known primarily for her popular and successful feature films (Salaam Bombay!, Mississippi Masala, Vanity Fair, The Namesake), she has for the past thirty years also been forging a parallel career making short films, both fiction (Migration, How Can It Be?, The Day the Mercedes Became a Hat) and documentaries (So Far from India, India Cabaret, The Laughing Club of India).

Nair has been talking about making a documentary on the connection between the Beatles and her country India since about 2006. But so far it’s failed to see the light of day. Here’s a response to a question she got about it back in 2009:

Have you ever wanted to make a documentary feature?  Yes, a feature documentary on the Beatles in India. The Beatles wrote twenty-three songs when they went to the Maharishi’s ashram in 1968. And I think the impact of India on the Beatles and vice versa would make for a very cool film. I went to the ashram myself and photographed it—it’s all abandoned. I made a very evocative photo portrait of what is there now. So I mixed that with archival footage and made a twenty-minute piece, to let the producers preview it. The producers couldn’t get the rights to the songs, but we have to keep trying. One day I really hope to do it.  (from The Criterion Collection)

Things have been a bit quiet since, but could the recent focus on George Harrison and his spiritual journey be a new catalyst? The Martin Scorsese documentary “Living In The Material World” certainly has the influence of India on George as a central theme….

I got an email from fellow blogger Beatlindia quoting another 2009 article which appeared in the Sunday Pioneer newspaper in New Delhi. That article has since been republished elsewhere on the web, prompting speculation that Mira Nair’s film may be closer than we think:

Renowned film director Mira Nair is making a film on The Beatles and their inspirational stay at Rishikesh to learn transcendental meditation. The 90-minute “docu-feature” will capture the band’s experiences at the Maharishi Mahesh Yogi’s ashram, which led many celebrities and youngsters to travel to the East in search of peace.

Rishikesh lies in the Doon Valley in the foothills of the Himalayas, some 200 kilometres from the Indian capital of New Delhi. It’s just near the city of Dehradun, which is the subject of a song written by George Harrison and recorded by the Beatles – but never released. Sharad Kukreti, a Doon Valley-based IT professional, produced a short video film using the song as the soundtrack to various sights and scenes of the city:

The article continues:

For the Beatles, their stay in India was said to be their most creative period. When they were in Rishikesh (for several weeks in February, March and April of 1968), they wrote many songs, most of which were included in their White Album, one of their best known. “Dehra Dun” missed getting included in the album. This song is seen now as a rare gem of the Beatles. With their iconic long hair and necklaces of marigolds, The Beatles came to the ashram when they were at the height of their fame. They were looking for an escape from the pressures that came along with the fame. “It was through one of my neighbours that I could get this rare song,” says Kukreti. The video made by Kukreti matches the words of the songs and captures the beauty and tranquility of the valley. However, it is this beauty and calm that the city is fast losing and one wonders whether the Beatles could have been inspired to write a song had they visited it in this day and age. “The song captures the past simplicity of the valley and is very special for Doon’ites, especially those who have seen the days when the Beatles came here,” Kukreti says. He has placed the clip on the net and has received a lot of appreciation for it. “The nostalgia in this song and the fact that it was sung by Harrison makes it unique and I feel it should be highlighted more,” he says.

I hope Mira Nair keeps plugging away at her film project.

The easy question was:  “Meet The Beatles!”, one of the US Capitol records included in the box set, features the same striking black and white cover photo as the British LP “With The Beatles”.  Who took that photograph?

Of course the answer was Robert Freeman.

Curtis from Indiana in the USA was the first to contact me with the correct entry. Well done Curtis, and your booklet will be in the post very soon. It looks like this:

Incidently, that Robert Freeman photograph used for both “With the Beatles” and “Meet The Beatles!” has a connection to this post about a new book out recently called “Yeah Yeah Yeah – The Beatles and Bournemouth”.  The Freeman shot was actually taken on 22 August, 1963 in the Palace Court Hotel in Bournemouth, England.

Thank you to all those who submitted entries.

The front cover of Bruce’s companion 12-page booklet for this set looks like this:

This booklet is in addition to the official booklet that comes in the four CD box set (which also contains a wealth of rare photos and has notes by well-known Beatles historian Mark Lewisohn). You can find out more about Bruce’s booklet  here.  It is CD-sized and designed to simply slip into the box set alongside the CDs.

Bruce Spizer ended up writing the liner notes for the official booklet that comes with “The Capitol Albums – Vol. 2″, and he’s the author of a suite of impressive (and very large and heavy!) books on the history and discography of all the Beatles record releases.

His latest work is “The Beatles For Sale on Parlophone Records” annotating in minute detail all the band’s British record releases. That book joins his previous works detailing in a similar comprehensive manner all the US releases on Capitol, Apple, VJ, Swan, and other labels. They’re all well worth seeking out but are becoming increasingly difficult and expensive to find due to them being self-published and therefore only released in limited numbers. Bruce’s website is at beatle.net

Anyway…..this is long way of getting around to saying I have a spare copy of the little companion 12-page booklet he wrote for the Beatles “The Capitol Years – Vol. 1″ and I’d like to give it away to a lucky reader.

It is not an expensive item but one you might like to add to your collection if you own a copy of “The Capitol Albums – Vol. 1″.

Just so you know: what happened was I ordered this booklet through Bruce’s site just before Christmas  but due to a mix-up I received two copies, not one.  So, I’d very much like to give one away to someone who’d like it.

All you need to do to win is answer this easy question:  “Meet The Beatles!”, one of the US Capitol records included in the box set, features the same striking black and white cover photo as the British LP “With The Beatles”.  Who took that photograph?

The first correct answer sent to me at beatlesblogger@gmail.com, complete with your name and postal address, will win. I will post the booklet to you. It’s as easy as that.

Good luck.

Bruce has written an interesting article on “The Capitol Albums – Vo.l 1″ here.

Got home to find a press release from the George Harrison official site today announcing a new iPad app to be launched on February 23. It’ll bring a wide selection pictures, sounds and information about guitars from the George Harrison collection. Here’s the release:

Bandwdth Publishing, in conjunction with the George Harrison Estate, announces the release of a special iPad app celebrating the guitarist and his historical guitar collection. The Guitar Collection: George Harrison iPad app will be released through iTunes on February 23, two days before George’s birthdate.

The release continues:

The app brings George Harrison’s private guitar collection to life through photographs, detailed descriptions, audio, and video footage. For the first time, with the help of unique 360° imaging by photographer Steven Sebring, fans can see the scratches, dings, and worn threads on the guitars as if they were themselves holding the instruments.

Fans will be able to examine Harrison’s private guitar collection, through personal audio recordings from Harrison himself as he introduces many of the guitars and plays sections of songs.

The history of each guitar is laid out in great detail; including the origin of the guitar, when and how it became part of Harrison’s collection, modifications he made to it and why each was so important in creating his distinctive sound. Songs from his catalogue are organized by the guitars used on each track, which allows the user to appreciate the personalities of each instrument.

The video section of the app contains footage of Ben Harper, Josh Homme, Mike Campbell, and Dhani Harrison each playing and showcasing the guitars and exploring their feel and tone. In addition, Conan O’Brien and Dhani discuss what make these guitars so exceptional. Also in this section, guitar great Gary Moore shares his views on what made George Harrison such a distinctive and influential guitar player.

The app will sell for US$9.99 at the Apple App Store.

Also…….

Amazon has uploaded a video of Paul McCartney’s photo shoot for the cover images of his new CD and LP “Kisses On The Bottom”. It uses the song “My Valentine” as background. I’m not sure how long it has been up – but I only just saw it today so thought I’d pass it on. Paul was photographed by his daughter Mary McCartney for the album sleeve and she makes a very brief appearance:

Amazon – Kisses on the Bottom video

On first seeing the title you wonder if there could be so many links with this southern UK city to warrant a whole book on the subject? After all, the Beatles hailed from the far more well-known and much larger northern English city of Liverpool….

Bournemouth is a large seaside resort town – well south of London:

Well, the book’s author – journalist and Beatle fan Nick Churchill – has been in touch and I can now vouch for the fact that there are a great number of very interesting links and stories connecting the world’s most famous band to Bournemouth. His book on the subject contains a wealth of fascinating material and a great number of previously unseen photographs. Nick uncovers often surprising connections….for example the house John purchased for his aunt Mimi at Sandbanks in the Bournemouth area in 1965. In mid-1965 Mimi had sold Mendips, her Liverpool home, and so John bought her a waterside bungalow where she lived until her death in 1991. On various visits he was spotted in the area by locals in either a Mini Cooper or in his famous psychedelic Rolls Royce.

The book has a foreword written by Howie Casey, of Howie & the Seniors. Howie, originally from Liverpool and a long-time friend of Paul McCartney, played with Wings in the 1970′s and since coming off the band’s 1980 tour has lived in Bournemouth. He shares his memories of seeing the Beatles from their very earliest days in Liverpool and in Hamburg.

“Yeah Yeah Yeah – The Beatles and Bournemouth” features over 200 rare and previously unpublished photos as well as lots of memorabilia, show posters and tickets from the time. Local photographer Harry Taylor was there to record the groups visits at every step – and until now his images have remained largely unseen. Here’s one of them, taken on the balcony of the Palace Court Hotel in Bournemouth on the 19th or 20th of August, 1963:

If you’re wondering what the boys are chomping on its probably a hard, sticky English toffee known as rock which is still very popular at British seaside towns. Maybe it was some “Bournemouth Rock”?

It was while staying at the Palace Court Hotel that August in 1963 that one of the band’s most iconic photo shoots took place, the half-shadow shot by Robert Freeman that appeared on the sleeve of their second album, “With The Beatles”.  George Harrison wrote “Don’t Bother Me” at the same hotel during that week. It was his first song for the Beatles, penned while he was holed up in his room suffering a heavy cold at the time.

There’s a wonderful photo of John with baby Julian and Aunt Mimi by the ferry near Mimi’s house (which was just around the corner on Panorama Road at Sandbanks) in 1967 – as well as photos from inside Mimi’s house including John’s gold discs – and lots of first-hand accounts from those who met and worked with the Beatles.

Aunt Mimi's Gold Records - click to enlarge. (photo: David Stark)

Seems like John gave his Aunt Mimi the gold records the band received for three US releases. I can just make out (l to r): “The Beatles Story” (Capitol); “The Beatles Second Album” (Capitol); and what looks like the United Artists pressing of “A Hard Days Night”:

There are many, many great stories in this book proving that Bournemouth really did play a big part in the lives of the Beatles. It was there, at the very beginning of their success, that they played 18 gigs during a six-day season between the 19-25th August, 1963. They then returned in November, 1963 to the much bigger Winter Gardens venue; and then twice more at the Gaumont Theatre on 2 August and 30 October 1964. The band played more shows at the Gaumont than at any other UK theatre outside London. During their first stay in Bournemouth the Beatles’ third single “She Loves You” was released. That was on the 23rd of August 1963 and it stayed in the charts for 31 weeks, returning to number one the week they arrived back in town to play the Winter Gardens in November.

They were exciting times and Nick Churchill has captured it all in “Yeah Yeah Yeah – The Beatles and Bournemouth”.  Through the stories and the often evocative images he gives us a feel for the times – the mood of the early to mid 1960s. Nick also highlights the importance of regional touring in those days and the role that smaller towns and cities played in feeding talent through to London, and on to the world stage. Underlying all this is a sense of it being a more innocent time, too.

The Beatles Rarity page has also written about the book here, and Happy Nat conducted an interview with Nick which you can access at this page.

You can visit the “Yeah Yeah Yeah – The Beatles and Bournemouth” site for more, you can order the book here (where I notice it is on sale at a special price at the moment!), and you can find out more about Nick and read more of his work at nickchurchill.org.uk

The remixes were done by British musician Nitin Sawhney and this 12 incher contains three of Sawhney’s remixes of the track “Fluid” plus one other song called “Bison”.  All the original versions can be found on the “Rushes” CD and LP.

Back then McCartney was keen to keep as many details of his involvement in The Fireman project as low-key as possible. More recently for The Fireman’s “Electric Arguments” CD and LP he’s been much more open about who The Fireman is (see this official site for example). But back in 1993 (for their first outing “Strawberries Ocean Ships Forest“), and in 1998 (for “Rushes“) he was very much incognito and uncredited.

In the UK both “Strawberries Oceans Ships Forest” and “Rushes” came out on the little-known Hydra label. (In the US “Strawberries Ocean Ships Forest” was licensed to Capitol Records to distribute). One small McCartney give-away in the fine print of both these albums and their spin off remixes and singles is that all the songs are copyright to Juggler Music – a veiled reference to the McCartney company MPL Communications and its logo?:

The Cover:  This, like all The Fireman releases so far, is an interesting example of design. It’s a triple-fold cardboard “sleeve” which wraps around the disc and is held together by a custom-made red elastic band. Unusual. No designer is credited, but it seems that Norman Hathaway  (who did the extensive artwork for the “Electric Arguments” project) was involved. The colours used throughout the design have common themes and elements taken from the “Rushes” CD and LP covers. The vinyl disc has custom labels:

I think Paul is having a bit of a laugh with that second label….;-)

The inner cover is very plain, being three panels (moving left to right):

Only 3000 copies were released worldwide….my copy (which I only just got via Ebay) is no. 2658.

Paul’s tribute to personal favourites & two new self penned compositions out February 6th/7th 

On December 19^th 2011 Paul announced that February 2012 would see the release of his brand new studio album. Scores of fans then streamed the new original track ‘My Valentine’, many assuming it would be the new record’s title track.  While a few Twitter hints have been dropped and rumours have run rampant, Paul puts an end to speculation today, confirming that the album will indeed be titled ‘Kisses On The Bottom’.

Paul has apparently had some fun with his choice of album title—while causing some confusion amongst those who have historically subjected his every move to microscopic scrutiny (with many fixating on an anatomical interpretation!). The phrase ‘Kisses On The Bottom,’ however, actually comes from the album’s opener ‘I’m Gonna Sit Right Down And Write Myself A Letter’. Originally made a big hit by Fats Waller in 1935, the song opens with the lines ‘I’m gonna sit right down and write myself a letter and make believe it came from you.  I’m gonna write words oh so sweet.  They’re gonna knock me off of my feet.  A lot of kisses on the bottom , I’ll be glad I got ‘em’.

‘Kisses On The Bottom’ is a collection of standards Paul grew up listening to in his childhood as well as the two new McCartney compositions ‘My Valentine’ and ‘Only Our Hearts’.  With the help of Grammy Award-winning producer Tommy LiPuma and Diana Krall and her band—as well as guest appearances from Eric Clapton and Stevie Wonder, McCartney’s new album is a deeply personal journey through classic American compositions that, in some cases, a young Paul first heard his father perform on piano at home.  The full tracklisting reveals that Paul has been both reverent and adventurous in his song choices.

Kisses On The Bottom

1. I’m Gonna Sit Right Down And Write Myself A Letter   

2. Home (When Shadows Fall)                                                                   

3.  It’s Only A Paper Moon                                                                      

4. More I Cannot Wish You                                                                       

5. The Glory Of Love                                                                                   

6. We Three (My Echo, My Shadow And Me)                                          

7. Ac-Cent-Tchu-Ate The Positive                                                               

8. My Valentine                                                                                              

9. Always                                                                                                          

10. My Very Good Friend The Milkman                                                       

11. Bye Bye Blackbird                                                                                     

12. Get Yourself Another Fool                                                                        

13. The Inch Worm                                                                                            

14. Only Our Hearts                                                                                           

The Deluxe CD Album will feature two bonus tracks plus access to a download of an exclusive live show (available from Tuesday 14^th February via paulmccartney.com), plus longer liner notes and expanded packaging featuring three postcards)

15.  Baby’s Request                                                                                        

16.  My One And Only Love                                                            

The album will also be available digitally. You will be able to pre-order the album directly from PaulMcCartney.com soon!

The album was recorded at the legendary Capitol Studios in Los Angeles, New York and London throughout 2011.  It also features guest musicians Eric Clapton and Stevie Wonder, respectively, on the original compositions  ‘My Valentine’ and ‘Only Our Hearts’.  Eric also appears on the track ‘Get Yourself Another Fool’.

The album artwork concept was conceived by Jonathan Schofield (Visual Director at Stella McCartney) and designed by Matthew Cooper (who has worked with artists such as Arctic Monkeys and Franz Ferdinand).  Paul was photographed by his daughter Mary McCartney for the album sleeve.

The Wogblog website says the deluxe CD package will contain longer liner notes and expanded packaging featuring three postcards, along with the two bonus tracks mentioned above. He also reminds us that”Baby’s Request” is a McCartney composition that can be found on the Wings album “Back To The Egg” from 1979.

For vinyl collectors there’ll be a double LP version of “Kisses On The Bottom” released.

It’s a Lennon reinterpretation that is very worthy of further investigation. Jazz guitarist Bill Frisell is one of the world’s great musicians – as the small sticker on the front of this CD proclaims:

While he’s been around a long time I only became aware of Bill Frisell relatively recently when Elvis Costello teamed up with veteran composer and arranger Burt Bacharach in 1998 to produce an album of new songs called “Painted From Memory”. Both Costello and Bacharach are favorites and this album is great. The interesting thing about their project is that they gave all their new songs to guitarist Bill Frisell very early in the process to create his own jazz versions of their new work. As a result he released his album “The Sweetest Punch” almost simultaneously with their “Painted From Memory” disc. Quite unusual in the music business. I got both “Painted From Memory” and “The Sweetest Punch” back then and have enjoyed them immensely since…..hence my interest in the work of one Bill Frisell.

Then, late in 2011 came this record – “All We Are Saying” – Frisell plays Lennon. Naturally I was interested to hear how it sounded – and was lucky enough to be given it as a Christmas present from my son:

As you can see from the rear cover song-list, Frisell does a wide range of Lennon compositions from the Beatles days (both early and late), through to the Plastic Ono Band, Lennon’s early solo work, and right up to songs from the final John Lennon/Yoko Ono album “Double Fantasy”.

The cover art is also interesting. Inside the gatefold digipac it’s revealed that the project has the blessing of Yoko Ono and the Lennon Estate because they have officially licensed the cover art which is a John Lennon original drawing.

Here’s the detail from the image above:

So – it all looks and feels very original. These are all songs I know well, and the interpretations that Frisell and his band deliver are fresh takes on familiar material. As I say, Beatles cover versions are not my thing – but this album delivers on many levels, not the least being that it comes from an artist who respects and loves the originals.

Why?

Well, both are Australian editions of “The Beatles Collection” – a box containing all twelve official Beatles studio album releases, plus one disc of “Rarities”. But the two examples of this box-set here differ in quite a few ways and are worth noting.

“The Beatles Collection” first came out in Australia back in 1978. At the time this was the catalogue-spanning Beatles box set to buy. For a very short time in 1978 it was released with all the Australian-pressed albums contained in the more familiar (and sturdier) British-made box with a flip-top lid. However, only 2000 of these sets were released here. The following year (1979) an Australian-made box was created to hold all the albums – but it was different to both the UK and the European box in that it had a detachable, lift-off lid. It was also a lot more flimsy in construction:

These original Australian blue boxes were textured on the outside and had the title “The Beatles Collection” in gold lettering and the signatures of each band member reproduced along the bottom, but the rear of the box was plain:

The LP’s inside, if they were originally released on the Parlophone label, were on the orange Parlophone label – which was a version unique to Australia:

And, if the LP was originally released in Australia on the Apple label it came out in the box-set also on the Apple label. For example “Yellow Submarine”:

The box also came with the two unique covers produced in Australia for “With the Beatles” and “The Beatles For Sale”:

“Sgt Pepper” came in a single sleeve:

“The Beatles” double LP (aka “The White Album”) came with all the inserts included (i.e. the poster with lyrics and the four individual photographs):

“Let It Be” had the red Apple logo on the rear:

And there was a unique 13th LP called “Rarities”, which gathered together for the first time on one record songs and versions of songs previously unavailable on any album:

This too came out on the orange Parlophone label:

The other box I have is different. In copies of “The Beatles Collection” released from the mid-1980′s there were quite a few changes. Firstly, the textured look to the box was replaced with a flat cardboard finish, and all the LP titles were listed on the back of the box:

Also, all the LPs inside have the black and silver Parlophone label, including those titles previously released on Apple:

“With the Beatles” came in the UK cover, which featured the famous black-and-white Robert Freeman portrait of the band – not its distinctive Australian cover:

But, a little surprisingly, “The Beatles For Sale” was still in its unique yellow Australian cover:

“Sgt Pepper” is in a single cardboard sleeve, “The White Album” came with all the inserts, “Let It Be” has the red Apple logo on the back cover, and you still get the “Rarities” LP, only this time it’s on the black and silver Parlophone label:

Also, in my copy at least, there’s a single sheet insert (printed on both sides) detailing all the Beatles records and cassettes currently available through EMI Australia at the time:

I’m not sure that this sheet was originally included in the mid 1980′s box set as it has the catalogue number PLAY 1005 on it and this was an insert usually included with Australian copies of “The Beatles Ballads” LP from 1981. Anyway, it’s nice to have.

So, two “Beatles Collection” box sets with quite a few interesting and collectable variations.

(Many thanks to Jaesen Jones and his invaluable book “An Overview of Australian Beatles Records” for the release date information contained in this post).