Help!

Welcome back to Robert’s Got Mono! This week, I will be reviewing the mono reissue of The Beatles’ 1965 album “Help!”  Much like “A Hard Day’s Night”, “Help!” served a dual purpose as both a Beatles’ studio album, and as a soundtrack to the film of the same name. This time around, The Beatles’ big-screen hi-jinks are presented in color, and the album is pretty colorful as well!

Before reviewing the record, I decided to once again watch the accompanying film to help me (no pun intended) get a better feel for the album. “Help!” was once again directed by Richard Lester, but it’s a very different film than its predecessor. The band’s signature charm and humor is still present, but the day in the life motif, featured in their first film, has been replaced by a much wackier plot. Ringo has been given a sacrificial ring that belongs to an eastern cult. The cult needs to retrieve the ring in order to sacrifice their next victim, but Ringo can’t get it off of his finger. He soon learns that he himself will become the next sacrifice if he is not able to get the ring off! Hilarity ensues, and the band find themselves in a variety of crazy situations across many locations, such as the Bahamas and the Austrian Alps. The film is likable enough, but a bit strange. The focus is less on the Beatles themselves this time, and more on the nonsense that surrounds them. The film is more visually appealing, and features some great musical sequences, but overall I found it to be somewhat of a letdown compared to “A Hard Day’s Night”.

Before I get into the album, which in my opinion, is much better than the movie, let’s take a look at the cover art and the reissue’s packaging.

The album is back to the standard LP packaging that Parlaphone used for the band prior to “Beatles For Sale”. There is a band photo and album title on the glossy front cover, and black and white photos and liner notes on the matte finished back cover. There is no gate-fold to be found this time, and there wouldn't be again for several more albums. This album is yet another example of the British cover differing from its American counterpart, and would be one of the last times this would happen in the Beatles’ catalog. Not only did the American release feature a different cover with larger title graphics, it also had gate-fold packaging and more color photos, as shown in the photo below.

The differences between the British and American release are not just limited to the cover. The American album, released on Capital Records, once again contained a mix of Beatle songs featured in the film, along with excerpts from the orchestral score. The British release consists exclusively of Beatles tracks, with songs from the film on side one, and additional Beatle tunes on side two. Not only are these two records constructed differently, they also sound very different. Since the purpose of this blog is to discuss The Beatles in Mono reissues, it is always nice to have an avenue to compare these songs to stereo. I was able to accomplish this with my 1971 stereo reissue. (Capital packaging with Apple labels for you vinyl nerds) The songs sound very different indeed, as you will note in the song recaps below.

The album starts off with the famous title track, “Help!” This is one of my favorite Beatle songs, so I was excited to hear the song in mono. The mono version features a different lead vocal take from its stereo counterpart, and lacks the tambourine found in the stereo chorus. The stereo version also features the “James Bond” intro, a musical interlude with a spy flick feel that proceeds the beginning of the track. After comparing the two versions, I actually favor the stereo mix. The mono feels muddier to me, with too much emphasis on bass. The drums feel buried in mono as well. Overall, in my opinion, the song feels more alive to me in stereo, like it’s bursting out of the gate.

The second song on the album is “The Night Before”. A fun, upbeat track, which features Paul McCartney on vocals. Again the stereo / mono differences are noticeable. The vocals sound cleaner in mono, and there are maracas present that I couldn't make out on the stereo version. Overall however, my ear once again preferred the Stereo mix, mainly because it sounds livelier. This is especially true in regards to the percussion which has no pop whatsoever in mono. I am starting to notice a trend here.

Track three is “You've Got to Hide Your Love Away”, a great Beatle ballad preformed in the film. The track is extremely bass heavy in mono, to the point that it actually created a buzz in my speakers, and vibrated items on shelves in my listening area! The Beatles’ folk influences appear to be on display here once again. If I were keeping score, I’d once again have to give another point to the stereo mix. The tambourine sounds much better in stereo, and the acoustic guitars sound much cleaner, probably due to the aforementioned onslaught of bass. Regardless of the pressing, this is a truly great song.

Up next is “I Need You”. Which is the first track on the album I actually preferred in mono. The guitar chords sound really bright, the percussion sounds better, (more cowbell?) and the background vocals are brought forth more in the mix. Score one for mono! One thing that was really grating about the stereo version is the lead vocal. It’s extremely loud and grainy in the stereo mix, to the point that I had to turn the volume down compared to when I spun the mono disc.

The next track, “Another girl”, is one of my favorites on the record. It’s a tune that’s sure to make you bob your head, due in large part to the rhythm guitar mimicking the beat. Speaking of beats, the drum sounds continue to improve over the earlier tracks on the album, sounding crispier here. My only audio critique would be the vocals, which continue to sound a bit muffled.

Next up is “You’re Going to Lose That Girl”, another one of my favorite tracks on the album. There is some great vocal work on this track, with some nice interplay between background and lead. The entire track feels like an echo effect has been added, and I don’t mean in a good way. I don’t recall noticing it in past stereo listens. Interestingly, Lennon’s voice doesn't sound as clean or well produced as the background vocals do. The guitar solo however, sounds very clean. Allowing the individual notes to really shine. I am a huge fan of this song, I dare you to not sing along!

The last track on side one is the Beatle classic, “Ticket to Ride”. This track sounds phenomenal in mono! Upon hearing it, I had one of those moments, in which you hear a song you've listened to hundreds of times, yet experience it in a whole new way. The mono version of this song feels more rock oriented than pop, with more bite. Comparatively, the song is too vocal oriented and pitchy in stereo. The mono mix places more emphasis on the guitars. So far it’s the best sounding track on the album.

Side two begins with Ringo singing “Act Naturally”. Right off the bat, it sounds like I am listening to a different album than side one from a production standpoint. Everything is clean, with clear separation from all instruments. The music feels alive and full, with every drum beat and note discernable from one another. The bass sounds amazing, as does Ringo’s vocal. This track would not rank anywhere near the top of my favorite Beatle songs, but it very well may be one of the highlights of the entire mono box set from an audio standpoint… a complete homerun!

“It’s Only Love” has a tough act to follow as the next song. A great song to say the least, but it features nothing remarkable from an audio standpoint. Lennon’s vocal however, does have a unique buzzing sort of quality to it, which catches my attention upon further inspection.

Next up is “You Like Me Too Much” This song features some great work on the keys! After doing some research, I found out that the unique intro is comprised of both a traditional piano and an electric piano. The combination makes for a cool into. The electric piano played during the verse seems more noticeable to me in the mono presentation. There is some great interplay between the guitar and the piano during the guitar solo as well. George Harrison wrote the song, and provides the vocal. This is one of the better sounding tracks on the record.

The next song is “Tell Me What You See” There is some sort of sound effect or audio trick in the background of this track. I am not sure what it is, but it is very annoying… distracting even. The individual band members voices sound very layered on the vocal, it’s hard to believe this type of dimension can be achieved vocally in mono, but somehow they pulled it off. The track is clean, crisp, and upbeat, with very good sound overall. I still hate that noise in the background though!

Up next is “I’ve Just Seen a Face”, which features an awesome sounding intro. The song has a quick tempo, with the bass really driving verse portions of the track, a nice change of pace tune for the record.

The next track is not only one of the more famous Beatle songs, but arguably one of the most famous songs ever written. “Yesterday” is the most covered Beatles song in history. You’ve all heard it a million times, but as I listened to this version, on this reissued mono pressing, I felt like I was hearing it for the first time. The song sounds intimate and vibrant, like it has a new lease on life. The acoustic guitar feels incredibly smooth, allowing my ear to decipher every note. The orchestral accompaniment is not as in your face as it sounds on the songs stereo counterpart. I wish the song were longer, because it sounds too good to end. This is another “wow” moment for the Beatles in Mono.

The final song on the album is “Dizzy Miss Lizzy”, which is a huge change in direction from “Yesterday”. This track harkens back to the closing numbers on the Beatles first few albums, with Lennon belting out rock n roll. The repetitive lead guitar riff dominates the mix, it jumps out and grabs you for sure. McCartney is laying down a great bass groove to back that riff up as well. This is a nice way to close out the album, with my only criticism being the drums. They sound very buried and compressed. The mix could have really benefited from their clarity.

Final Thoughts:

This is the first Beatles’ album from this set to feature moments that I preferred in stereo. That being said, I felt like the sound of the record got better and better as it went on, eventually including some of the best “mono moments” the set has provided so far. Overall, I find “Help!” To be a great record, right up there with their best offerings in their career thus far. It is difficult to rank these early Beatle records, as they are all brilliant in their own respects. I do think I have a favorite so far, and this album is not it, but I’ll revisit that conversation down the road when I conclude this journey. Who knows? My rankings may have changed by then!

Join me next time as we enter the next phase of the Beatles career, with my mono review of one of favorite records, “Rubber Soul”

Beatles for Sale

Welcome back friends. I hope you’re all having a great week as we freeze to death here in northern Illinois. I want to give a special thank you to my fellow members of the Facebook group Vinyl Addiction, many of whom were kind enough to read my blog last week.

This week I will be reviewing the Beatle’s fourth British release “Beatles for Sale”. Reviewing this album was an interesting experience. I was very familiar with many of the songs that are included, but had never heard the album in its entirety before. Upon first listen, without studying the history of the albums recording, my immediate thought was that the album is a step backward from “A Hard Day’s Night”. Upon further inspection however, I grew to not only appreciate the album more, but recognize the leap in songwriting and musical style the band had begun to take.

Half of “Beatles for Sale” is made up of cover songs, a practice the band had stepped away from on their prior release. This seemed strange to me. Why would a band who had just obtained their highest level of success go back to covering the material of others? The answer is deadlines. The Beatles were tasked with finishing this album in time for a Christmas release, and had to record at a feverish pace to get the songs recorded in time. By choosing to include cover songs they already knew, the band would be able to speed up the recording process. According to the coffee table book included with the set, The Beatles spent a considerably longer amount of time recording the albums original numbers than they did recording the covers. This may also explain why many of the songs on this record feel like they lack the sound quality of their predecessors. This was the first time I felt a bit disappointed in regards to audio quality in my journey through the mono box set. It’s not that way on all of the tracks though, and as you will read in the song recaps below, many meet still meet the standards I have come to enjoy through this process.

One of the unique things about this album is its packaging. This is the first Beatle release to feature a gatefold cover. Everything about the cover and its construction is interesting. The front cover portion of the gatefold is extremely thin compared to most gatefold packaging I have seen. I would imagine that original copies of this album are hard to find in good condition. When opened up, the LP slides out of the middle portion of the package, as opposed to a standard opening on the outside edge. It’s a great looking cover which features a somber looking portrait of the band. The photo, taken by Robert Freeman in London’s Hyde Park, takes up the entire cover. The cover contains no borders or graphics, and very little wording. There is another Freeman photo on the back cover, featuring a slightly happier looking Fab Four. This spot had been reserved for liner notes on previous Beatle releases.

The inside of the gatefold is black and white, and contains additional photos. The track listing, with side one on the left and side two on the right, informs the listener who sang what part on each song. It is between these columns, that we find the cleverly written liner notes by Derek Taylor. Not only are these notes informative, but they are also very funny, serving up as much humor as they do knowledge.

The albums begins with “No Reply” a catchy, mid-tempo tune which I am very fond of, but did not impress me audibly. The track sounds a bit muddy, and lacks the clarity I have mentioned in previous reviews. The most remarkable difference I noticed in this mix was the hand claps, which sound much louder and apparent then they have in the past. Fans of the Beatles’ “Anthology” albums may recall a much more rousing rendition of this number that was attempted in the studio, but never released. It would have been a very different song had the band chose to go that direction.

The next track on the record is “I’m a Loser” which features a great vocal performance by John Lennon. We get to see a bit more of John’s range on this track, which alternates between softer passages and more intense moments. This is a nice complement to the well written lyrics, which speak of a man who’s “not what he appears to be”. It has been said that Lennon’s writing of the song was greatly influenced by Bob Dylan. The Beatles were huge fans of Dylan’s work, and met him shortly before recording the album. The track features a great bass groove, but still feels a bit rougher sonically than tracks from past albums, again lacking the bands hallmark clarity.

Track three on “Beatles for Sale” is “Baby’s in Black”, a song whose sing-a-long quality is represented by a very clean mix, quite reminiscent of the “Please Please Me” era in both style and tone. Unlike the first two tracks on the album, this song sounds great, returning to the sound quality one would expect from this set. The guitar solo and lead guitar passages have a “twangy” quality about them, which show the band’s sound evolving a bit.

Next up, the cover songs begin with Chuck Berry’s “Rock and Roll Music”. Readers of this blog will note that I am a big fan of Berry’s, so needless to say, I am quite fond of this track. The rollicking piano work truly shines on this reissue, and producer George Martin even played a bit himself. There is a noticeably unappealing hiss throughout most of the track. My guess would be that is coming from the cymbals, but I cannot be sure. Whatever it is, it takes away from the audio quality of the production.

The next song on the album is “I’ll Follow the Sun”. This McCartney sung ballad appears to show the band’s style evolving, but was actually written by Paul as early as 1959. Now that The Beatles had moved away from their rough, leather clad image of their early days, the band felt more comfortable releasing this kind of material. Ringo is supposedly keeping the beat by slapping his knee, an amazing fact considering how audible and crisp it sounds here. The separation of John and Paul’s voices on their harmony parts sound incredible. The track is very crisp, yet still booming on the lower end.

Next on the list is another cover, “Mr. Moonlight”. In my opinion, it is the best sounding song on the album thus far, with Paul’s Hammond organ sounding very lively indeed. Voices are crisp, not grainy, and without compression. According to the liner notes, it’s George, not Ringo, providing the beat on an African drum that sounds similar to a bongo. The drum sound is one of the highlights sonically on the track, and serves as a great compliment to the bass line. Percussion can often be buried in the mix, but not here. It feels as though I’m standing right next to George as he plays it!

Side one comes to a close with one of my favorite Beatle covers, "Kansas City/Hey-Hey-Hey-Hey!" This is a guitar driven, rhythm oriented rocker that features some crunchy chords and killer tone. Paul takes over the lead vocal duties that Lennon had normally filled on similar rockers in the past, and does a great job with it. John however, is really owning it on the background vocals in the outro. The persistent hissing is back again. The cymbal sounds on this mix appear to suffer from a lot of compression. A small annoyance in a really great song.

Photos from the albums recording session, from the set's companion book

Side two begins with the Beatles’ classic “8 Days a Week”. The hand claps are really standing out to me here. I am not sure that I noticed them before. I doubt that it has anything to do with the mono, it’s probably just a result of the pristine, re-mastered copy. This track sounds much cleaner and less compressed than the majority of the tracks on side one. The individual guitars sound separate and differentiated, despite the mono recording. The boys are showing a lot of vocal prowess on this track as well.

The second song on side two is a cover of Buddy Holly’s “Words of Love” The song features a mid-tempo beat accompanied by some fast hand claps to help keep time. According to the liner notes, Ringo is actually playing a packing case during portions of the song! The guitars stand out on this track, they have an almost stereo quality about them. The vocals are unique as well, with Lennon and McCartney harmonizing in a manner that reflects Holly’s sound, without simply doing an impression of him.

The next song on the record is a cover of Carl Perkins song “Honey Don’t”, with Ringo returning on vocals. The song has a really cool R&B feel with country and western elements mixed in. These touches really help The Beatles make this version unique to them. The guitars also have a unique tone, with plenty of twanging and picking. It’s like a rocked-up country song that has soul! McCartney’s bass is largely responsible for that soul, and sounds quite a bit different here.

Next up is “Every Little Thing” A stripped down song with a catchy chorus. The most notable thing about this song is the epic drum sound, which was achieved by Ringo playing the Timpani. The song is followed by “I Don’t Want to Spoil the Party” an original acoustic track.

This song also has a country/folk feel, possibly another echo of Dylan’s influence. George Harrison’s guitar solos sound especially great on this song, as they do on the entire record. They sound vibrant and lively, never taking a back seat, demanding your attention instead.

The next song, sung by McCartney, is “What You’re Doing”. This track is a great showcase for Ringo, giving him a rare opportunity to show off a bit on the skins. The track begins and ends with a nifty drum interlude that sounds extremely crisp in mono. There are some catchy guitar hooks to enjoy here, and Paul’s voice sounds superb. You can see throughout this album that his role as a lead vocalist was growing.

The final song on the album is another Carl Perkins cover, titled "Everybody's Trying to Be My Baby" Harrison handles the vocals here, and his voice is a great fit for the song. His voice appears to have been given a reverb effect which gives the tune a unique quality. That’s not the only unique sound on the track, as there are some interesting percussion sounds as well. This as an awesome cover, and a great way to cap of the record, returning to the bands former penchant for ending a disc with an upbeat rock number.

Notes:

·         There were no singles released off of this record in the UK. The non-album tracks “I Feel Fine” and “She’s a Woman were released as a single instead

·         The recording of this album was the first time The Beatles joined producer George Martin at the console for the mixing of the album… The mono mix.

Final thoughts:

This is an album of conundrums for me. Side one sounds muddy overall and underwhelming from a production standpoint, whereas side two sounds much cleaner and mostly meets expectations. The band takes a step back with the inclusion of so many covers, yet takes a big leap forward in musicianship and songwriting. So overall, I am a bit torn in my feelings. My immediate opinion is that side two is better than side one, but my appreciation for the entire album grew after consecutive listens.

Reading the opinions of Beatle fans online, it was clear that this album is a rare case where many actually prefer the stereo mix of the album over the mono. Most complaints I have read, state that the songs feel compressed and lack depth from an audio standpoint in mono. Although I like the album very much, I would have to agree with those opinions in many instances.

I am, however, especially fond of all fun experimentation that was done with the percussion sounds on this record. (African drums, timpani, knee slaps) This is yet another sign that the band was willing to try new techniques and explore new sounds in the studio.

Thanks for reading! I hope you’ll join me next time, as I continue my journey through “The Beatles in Mono” with the album “Help!”

A Hard Day's Night

I hope everyone enjoyed their New Year's holiday. I would have enjoyed mine a lot more had my beloved Chicago Blackhawks not lost the Winter Classic... but I digress. Thankfully, I had my Beatles box set to lift my spirits, so I spent the last couple days giving the group's third album, "A Hard Day's Night," several spins. Let's take an in depth look at this classic album.

 

Since this album also serves as a soundtrack to the Richard Lester directed film of the same name, I decided to do some additional homework for this entry and watch the film. This was my first time seeing the movie, and I must say it was great fun. I was able to get a glimpse of the band's personalities, and gain a greater understanding of why the world was so captured with their charm.

Watching the film also gave me a greater understanding of the songs on the album, and I must admit that I now find myself picturing the corresponding scenes from the film when I listen to the LP. For those unaware, side one of the record contains songs that were featured in the film, and side two features the remaining songs culled from those writing sessions. This differs greatly from the American version of the LP, released by United Artists,  which served specifically as a motion picture soundtrack. That record featured all of the songs found on side one of the English release which were included in the film, as well as a portion of the instrumental music contained in the film, arranged by Beatles producer George Martin.

Taking a look at the packaging, recreated for this reissued box set, we see that the construction of the LP sleeve remains unchanged from the band's previous releases. For this album, the cover contains a collage of black and white photos of the band. These harken back to a scene from the film in which the band members mime facial expressions as a barrage of photos are taken. It makes for a whimsical cover that really fits the tone of the film. If we compare this cover to the aforementioned American LP (which I just so happen to have a well worn copy of) we see that the photos are still utilized, but with quite a different interpretation.

The back cover once again contains some very informative liner notes from Tony Barrow, and includes some still photographs from the film. One of the most interesting pieces of information given in these notes is that this album is the first Beatles record to contain all original songs, making this particular album an important milestone in the band's career.

 

 



I mentioned how much I enjoyed the film, but I'm not here to blog about classic cinema now am I? If you're looking for film discussion, I would highly recommend you check out The Hitless Wonder Movie Blog. which does a tremendous job with that sort of thing. I am here, however, to talk about the music, so let's get to it shall we?

 

We begin with the familiar opening chord of the title track. Like most people, I have heard this song hundreds of times, and it sounds really fresh in this presentation. There are a few things that stand out, which seemed to be buried in the background before, most of them percussion related. Specifically, the cow bell is now more noticeable. All of the background instruments appear to more at the forefront, yet not overpowering the vocals. It is a nice balance that continues for most of the record.

 

Next is "I Should Have Known Better" which sounds like it's been given a new lease on life to my ear. There is a lot going on in this song. Harmonica, vocals, guitar, etc... But the songs does not sound muddled despite this activity. It sounds as if I am hearing it in 3D. I continue to be amazed at how alive these songs sound in mono. I am especially impressed that the song's high-register vocals do not sound pitchy or grainy as music recorded from this era often does.  

 

"If I Fell" follows, and features a softer vocal than we are used to hearing from John Lennon at this point in the bands career. The song features some great harmonies once the chorus kicks in, and it's incredible how clean and discernible the individual voices are despite the harmony.

 

The next song is "I'm Happy Just To Dance With You." The thing that stands out to me about this track, is a plunking percussive sound, found throughout the song's verses. It's not coming from the drums, but possibly the bass or rhythm guitar. Regardless of its origin, it is very unique. I went back and listened to my American stereo copy for comparison. The sound is there, but much more difficult to recognize. It could easily be mistaken for a drum sound with it being buried so low in the mix. It is always fun to discover these little nuances between the stereo and mono mixes.

 

Up next on the docket is the ballad "And I love Her." This already beautiful song sounds even prettier with the clarity this mix brings to the table. McCartney's vocal appears to be double tracked, and the acoustic solo is bright, not twangy. The individually picked guitar  notes, and percussion are clearer than I am used to hearing them. Another win for mono!

 

"Tell Me Why" is next up, and it is a bit of an anomaly for this album. It sounds as if it has a completely different mix than the rest of the record. It's also quieter than the other tracks, almost like it needs to be turned up. The mix is also muddier and jumbled together, with Lennon's voice sounding grainy at times. This is a great song, but sounds as though it were poorly mixed. This is a rare misfire from the set, and I am left scratching my head wondering why it sounds so poor compared to the rest of the album.

 

Side one wraps up with "Can't Buy Me Love," which was already a big hit for the band at the time of this album's release. The drums and bottom end dominate the mix here. This song has a wonderful groove, and features some of McCartney's best work on the bass in this blogger's opinion. There appears to be nothing amazingly noteworthy provided by the the mono mix on this particular track.

 

 

Excerpt from the set's hardcover book 

 

 

Side two begins with "Any Time at All." This is a roaring track that jumps right out of your speakers. A fitting opening track for the album's second half. Lennon's voice sounds great on the vocals, specifically the chorus. The track features an interesting guitar solo that sounds as if the notes are simultaneously being mimicked on the keys. It results in a unique effect that really stands out. Ringo really shines on this track, with his drums sounding clean and crisp.

 

Next is "I'll Cry Instead," a catchy and playful tune that ends far too quickly. It is followed by "Things We Said Today." This is a song I wasn't too familiar with until recently. It has a very different vibe than many of the band's other songs of the time period. It features yet another double tracked vocal, this time provided by McCartney. The song is much more chord driven rock than pop, an amazingly catchy tune with a great bass groove. It's quickly becoming one of my early era favorites.  

 

Next up is "When I Get Home." The song stands out from an audio standpoint in a couple of interesting ways. First are the vocals. They sound less polished here, but compensated for with more emotion. The song has a heavy focus on background vocals as well, again with a grittier feel. My favorite thing about this song is listening to Lennon sing the pronunciation of  "triv-ee-al-i-tee"... fun stuff.

 

"You Can't Do That" is the next song on side two, and it may be the best sounding track on the album. The intro / outro passages sound alive and vibrant. The percussion is very present, due in large part to the cowbell making its return. Lennon's raspy rock n' roll vocal chops are cutting through my speakers, and Harrison's is really expressing himself on the solo, which has a looser and blusier vibe than normal. It's a little glimpse into the more impressive guitar chops he would show us down the road. This is an absolutely great song!

 

The album comes to a close with "I'll Be Back. A bit of a laid back song, and a seemingly different approach to an album closer for the band. On their first two records, the band chose rip-roaring, rowdy rock numbers to finish their albums. In my opinion, "You Can't Do That" would have been a better closing number, but who am I to question George Martin? If nothing else, this change again shows a band willing to shake things up instead of painting by numbers. The track is acoustic guitar driven, and the band sounds very tight. At this point in my journey through the collection, I shouldn't be surprised how clean these guitars sound in mono, but they still catch my attention.

 

Notes:

 

This is the band's first album to not feature a lead vocal performance from Ringo.

 

Final thoughts:

 

The Beatles didn't have the luxury of relying on other people's hits to help propel this album, so does it hold up with the band's previous two releases? In my opinion, it not only holds up, it surpasses them, instantly becoming their best, and most complete album to date. The album contains two of the band's most recognizable hits, the title track, and "Can't Buy Me Love," along with several other Beatle classics. We get to see The Beatles truly hitting their stride here, capturing the band at the height of Beatlemania. They were heroes in their homeland, had just conquered America, and were now movie stars with their own successful film. Where would they go next?

 

We'll find out next time, when we take a closer look at the bands fourth album, "Beatles For Sale"