BEATLES Yellow Submarine LP RARE 1st UK PRESS January 1969 STEREO UNPLAYED MINT

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BEATLES Yellow Submarine LP RARE 1st UK PRESS January 1969 STEREO UNPLAYED MINT:
$556.53

\"To your mother......\"
It\'s all to much,
It\'s all to much.When I look into your eyes, your love is there for me,
And the more I go inside, the more there is to see.It\'s all too much for me to take,
The love that\'s shining all around you,
Everywhere, it\'s what you make,
For us to take, it\'s all too much.Floating down the stream of time, of life to life with me,
Makes no difference where you are, or where you\'d like to be.It\'s all too much for me to take,
The love that\'s shining all around here,
All the world is birthday cake,
So take a piece, but not too much.Sail me on a silver sun, for I know that I\'m free,
Show me that I\'m everywhere, and get me home for tea.It\'s all to much for me to see,
A love that\'s shining all around here,
The more I am, the less I know,
And what I do is all too much.It\'s all too much for me to take,
The love that\'s shining all around you,
Everywhere, it\'s what you make,
For us to take, it\'s all too much.It\'s too much.....It\'s too much.With your long blonde hair and your eyes of blue,
With your long blonde hair and your eyes of blue,
You\'re too much........Too much, too much, too much......................


THE BEATLES: \"Yellow Submarine\" LP. RARE VERY FIRST UK PRESSING, 17th JANUARY, 1969, IN STEREO.
I have a theory that these very first pressings of \"Yellow Submarine\" in Mono and Stereo, were pressed in late 1968, not only
the records but the individual Mono and Stereo covers. Late 1968 was a really busy time for EMI\'s pressing plant with the
\"White Album\" in production, but even busier for the \'Garrod & Lofthouse\' printers and it lead to leaving off their own credit
and the catalogue numbers for both Mono and Stereo versions of a brand new, major UK Beatles album, previously unheard of!
I have included some of the unique features of the Stereo first pressings in the main page headings, but like all Beatles first
editions, there are still multiple other items to detail, I will try to make sure I cover every one. The equally important info
in the item page heading, is the fact this is an absolutely stunning, unplayed, Mint very first pressing record. You will see
many claims on for the first Stereo pressing of \"Yellow Submarine,\" but there was one made for the January release and
for once the covers of unsold copies were not used for the later various 1969 pressings. Both Mono and Stereo covers had to
be completely re-made and once again, the green colour tone of Side 1\'s label became exclusive the genuine first pressings.
The animated cartoon film and the resulting soundtrack \"Yellow Submarine\" album were triumphantly successive, the Beatles
once again broke new ground with stunning psychedelic film images combining with their extraordinary psychedelic music, but the
January, 1969 release. had been delayed much too long to be as commercially successful as all the previous 60\'s Beatles albums
in the UK. For the first time, a 1960\'s new Beatles album had comparatively low sales for both Stereo & Mono versions, so low,
they equated with Limited Edition\'s....if they were authentic to January, 1969 very first pressings. For once \'Stereo\' & \'Mono\'
LP\'s stand side by side in the rarity stakes, they share the same exclusive first pressing only anomalies, detail for detail.
DARK GREEN (SIDE 1) APPLE LABEL: PCS 7070.

AS THE VERY FIRST PRESSING, THE DARK GREEN LABELS HAVE THE \"Sold In UK\" TEXT.
The combination of the original dark green label on Side 1 and \"Sold In UK\" are exclusive features to the UK first pressings.
  LIKE LENNON / McCARTNEY SONGS, BOTH GEORGE HARRISON COMPOSITIONS,\"Only A Northern Song\" & \"It\'s All Too Much\"
WERE CREDITED TO; \"Northern Songs Ltd. NCB \"As early as 1967, George was unhappy with how he, John & Paul were being ripped off by \'Northern Songs\' who paid them a pittance,
based on a contract Brian Epstein very naively agreed to in March,1963. The Beatles were even more naive for signing such a one
sided contract, George was more astute than he is ever given credit for, during the \"Sgt. Pepper\" recording sessions he wrote the
scathing \"Only A Northern Song.\" He and Ringo had signed until the end of 1968, they refused to re-sign, instead George formed
his own company to publish his compositions within the Beatles, and for solo projects on their new Apple label, \'Harrisongs.\'
Both tracks were written and recorded in 1967, so George\'s contract with \'Northern Songs\' held firm, if my belief is correct and
these very first pressings were made in late 1968, it would have been too early anyway for \'Harrisongs\' to dispute ownership.

Regarding the pressing date of the \"Yellow Submarine\" album, the labels and the cover have the publication date as \'1969\' and
that should accurately place the printing and vinyl pressing in the first two weeks of January. Was that possible with packaging
and the nationwide distribution to every single record shop, back in 1969? The album\'s actual editing, mixing and mastering
was completed on the 25th November,1968, but there was still no urgency to release \"Yellow Submarine\" before the traditional
Christmas period when record sales were always at their very peak. Once again unheard of for a new Beatles album, the real clue
to this strange attitude towards the \"Yellow Submarine\" album when for record buyers, funds were traditionally at the lowest
after Christmas, is found on the back cover of the UK cover. No question about the Promo text written by the Beatles publicist,
Derek Taylor, was set in a time loop that simply did not match the 17th January release of \"Yellow Submarine,\" Derek Taylor
opened his promo for the imminent \"White Album\", by stating it would be released \"next Friday.\" \"The White Album\" was issued
7th December, 1968, check out the first edition USA and Canadian back covers and you see the real artwork intended for the
\"Yellow Submarine\" album, animated cartoons, what else? Surely there was not enough time available in two weeks in January,
1969 issue, a very tight schedule to start in the New Year with only 15 or maybe 16 days before the distribution to record shops.
Even late 1968 was a rush to be ready, a bit of both fits, either way, it accounts for not having time to correct the most basic
error any printing firm can make, omitting their own credit on the cover! I will be returning to the 25th November later in the
description, it was the day the so called \'mono mix\' was made in Abbey Road Studios, only a UK true Mono mix simply does not
actually exist, the time factor had to affect a poorly executed \'fold-down\' from the the Stereo Master Tapes. Most record sellers
have no idea about the truth behind the January, 1969 \"Yellow Submarine\" album, it exists only a Stereo album and \'fake\' Mono\'
was conjured up to meet the scheduled expectation of both formats. Yes,I have regularly sold the \'Mono\' version but I always tell
the blunt truth about substandard sound quality, of electronically altered Stereo, the \'mono\' mix itself has discussion points
I will not ignore further along. My Beatles collection does includes the Mono \"Yellow Submarine\"......because it\'s a part of the
album catalogue and therefore, I treasure it. Logic does not enter the equation and it was...what it was in 1969.The last ever UK Beatles album with a True Mono mix was made in late 1968, but it was the \"White Album,\" not \"Yellow Submarine.\"
MAITRIX: YEX 715 - 1 / YEX 716 - 1EMI STAMPING CODES;
SIDE 1: GM 1
SIDE 2: GM 3The above shows one side was sourced from the first \'Stereo mothers\', the other side from the 3rd mother, per individual metal
stamping plates.
ORIGINAL 1968 BLACK APPLE 12\" INNER SLEEVE, UNLIKE THE COUNTERFEIT / FAKES BEING SOLD ON , THIS
IS AUTHENTIC. MATT AND TEXTURED WITH A DIE-CUT CENTRE HOLE, ONLY ON THE SIDE WITH A SHAPED RECORD
ACCESS ON THE TOP OPENING. EXTREMELY VULNERABLE TO WEAR EVEN WHEN THE RECORD WAS UNTOUCHED FOR
THE LAST 48 YEARS, MOST WERE SPLIT ON THE CONTACT POSITIONS ON THE SIDES AND THE BOTTOM EDGE CENTRAL
POSITION\'S. SO POORLY DESIGNED, THEY WERE ONLY IN USE FOR ONE YEAR, MINT SIMPLY DOES NOT EXIST AND
BE WARY ABOUT THE COUNTERFEIT APPLE SLEEVES MADE IN 2016. THERE HAS TO BE SOME RUBBING AND SIGNS
OF BEING MADE IN 1968 OR THEY ARE FAKE. ONLY USED ONCE, THIS AVOIDED THE HANDLING, THIS IS UNSPLIT
WITH ABSOLUTE MINIMAL RUBBING, THE DIE-CUT HOLE ONLY HAS RUFFLES FROM THE RECORD\'S CONTACT, BUT
NO TEARS. A SURPRISINGLY NATURAL GENTLE IMPRESSION FROM THE HEAVYWEIGHT RECORD, A FEW RELATED
LIGHT CREASES, IN EXCELLENT+++ / NEAR MINT CONDITION.
VERY FIRST EDITION LAMINATED FRONT, STEREO \"Yellow Submarine\" COVER.
OFTEN QUOTED AS BEING DEFINITIVE TO THE FIRST ISSUE COVERS, THE PRESENCE OF FLIPBACK EDGES AND THE
SLEEVE NOTES ON THE BACK DIVIDED BY RED LINES, WERE ALSO RE-ISSUED TWICE LATER IN 1969. ONLY GENUINE
FIRST PRESSINGS HAVE AN EXCLUSIVE FEATURE;
\"Garrod & Lofthouse\' made the just mentioned mistake of omitting their own printing credit in the usual position, bottom right
on the horizontal bottom flipback edge. It was left blank, further omitting the Mono and Stereo catalogue numbers and the usual
encoded printing date. Not forgetting the very first edition Mono & Stereo from January, 1969, would and should also have the
legal warning and protection text: \"Patents Pending\"Nothing new there,a similar scenario affected the 1967 first pressing of of Pink Floyd\'s \"The Piper At The Gates Of Dawn.\" I am
certain \'Garrod\' would have realised the error, but economics and the time factor once again dictated, they had to be sold, while
they made the second covers with the missing items printed on the horizontal bottom flipback edge.
The front cover has a great deal of white as background to the brilliant artwork, the colour always had a creamy tone and all the
re-issues that followed in the 1970\'s and onward, had that lightened to a pure white. The same was true for the \"White Album\",
which was the contemporary album and of course still sitting at No.1 in January, 1969, so the first editions are usually severely
stained and far, far worse. A look round will soon establish the terrible state of Mono & Stereo first issue covers, this
beautiful cover was not used in January,1969 or ever since, but it was perfectly stored for the next 47 years. This cover only
has the slightest possible ageing and still very close to the 1969 white colour, a common problem was such pronounced creases,
they caused laminate splits on the main body of the front, as well as the edges, corners and the spine. Once that happened the
exposure to the atmosphere invited the terrible discolouration and stains, the once wonderful colours on the artwork faded and
also turned various shades of yellow and brown. I readily accept the rarity of first issue Mono & Stereo covers and allowances do
have to be made, but as a UK Beatles very first issue, my highest standard still applies until I can produce the finest possible
conditions of all all three original items. In other words, they have to reach the same demands I made for my own first pressing
of the Mono & Stereo versions of \"Yellow Submarine\", this cover most certainly does! The richness of the vibrancy of the artwork
colours are dazzlingly bright and unfaded, in fact, to spare reading a string of superlatives, my revealing pictures say it all. The lamination on the front is ultra glossy and there is no wear or blemishes to describe anywhere on the front cover, anything
here is related to how a heavyweight record\'s circular shape impression naturally forms over the decades. There are the usual
tiny laminate lines next to the spine and edges, the impression on the top half and bottom corresponding to the record\'s internal
position, comparatively gentle, positively present, how could it not be with the heavy record inside for nearly half a century?
The related laminated laminate lines always form along the front and back edges that meet the spine, the tapered, pointed ends
shape of the spine invited that and a 60\'s design belongs on a 60\'s cover! A few laminate lines have crossed the spine, only one
has yellowed and dissected one of the printed black lettering of the titles,the \'w\' letter of \'Yellow\' was dissected and I tried my
best to show that in a close-up of the spine\'s titles. No excuses because it was a natural event and an unplayed record does
not need excuses, certainly not from me, when I am discussing standing, untouched in storage for fourty seven / eight years!
A really beautiful looking front cover, I can and do regularly produce Mint records but I cannot prevent gravity, all the edges,
including crisp unruffled opening sides are in near perfect condition and \'near\' allows for standing. The bottom left corners
has the usual light standing pressure/ light rubbing, but both right side corners are square shaped, without the common rounded
wear. Left side corners are in reality, the pointed spine tips have the slightest possible rubbing, the corners as a whole are
exceptional for a very first Mono or Stereo cover. Relating to holding the record for 47 years and gravity, just a few ripples
acted as pressure or stress relieve like tiny laminate edge lines. I must have written that literally thousands of times in fifteen
years of descriptions, they appeared on covers holding unplayed records, which this record actually is! The matt untreated back panel is in superbly clean and unscuffed condition, like most of these first editions the untreated open
grain top surface had flecks in the paper, they cannot be included in grading because that was how the covers were made. By that
I am crticising how thin the white top surface printed paper was, you can almost see the cardboard underneath through the paper.
The colour Beatles cartoon figures and the \'yellow submarine\' still have the bright and vividly deep colour tones first seen in 1969.
The near pure white background to those and the extensive text only has the very mildest ageing possible for this highly absorbent
top surface paper. The flipback edges are in very sound and strong condition and the two red lines separating theDerek Taylor
promo text about the \"White Album\" is the original deep red colour. Exactly like the rare first made only, 1968 Corgi models of
\'Yellow Submarine\', they had a red line as a border to separate the white and yellow sections, that line would not be included
on eve immediately following models. Due to how difficult that was to hand paint and how long it took, the cover used the same
red lines to divide the text, like in the film, the cover\'s pictured \'yellow submarine\' top centre has that same red lines.
I miss nothing, the centre of the top section of the bottom horizontal flipbck has a few minor ruffles and just right of centre,
the factory assembling glue was liberally used to stick the cardboard strip to the back panel, just fractionally above the top of
the flipback edge. This is going too far into the factory assembling and nothing to do with grading use or age, please see my
revealing picture of the back cover for the remarkable and beautiful condition, the majority are in a terrible state!
WITHOUT ANY OBVIOUS WEAR AND ONLY MODERATE STANDING IN STORAGE TRAITS, THE GRADING HAS TO
REFLECT SUCH LOVING CARE LAVISHED ON THE COVER IN 1969 AND EVER SINCE, A RIDICUOUSLY OVER HARSH
GRADING IS, EXCELLENT+++ / NEAR MINT CONDITION.
THE LABELS ARE IMMACULATE, WITHOUT ANY SPINDLE ALIGNMENT TRACES,THE VINYL HAS THAT \'JUST PRESSED\'
ULTRA GLOSSY SURFACE AND ANY FACTORY OR RECORD SHOP HANDLING TRACES ARE FEATHER LIGHT AND NEAR
INVISIBLE. THE RECORD IS IN VERY RARE, UNPLAYED,MINT CONDITION.
SIDE 1
\"Yellow Submarine\"
\"Only A Northern Song\" (George Harrison)
\"All Together Now\"
\"Hey Bulldog\"
\"It\'s All Too Much\" (George Harrison)
\"All You Need Is Love\"SIDE 2
\"Pepperland\"
\"Sea Of Time\"
\"Sea Of Holes\"
\"Sea Of Monsters\"
\"March Of The Meanies\"
\"Pepperland Laid Waste\"
\"Yellow Submarine In Pepperland\" (John Lennon / Paul McCartney, arranged by George Martin)
Side 1:
All Songs Written By John Lennon / Paul McCartney, Except Where Credited to George Harrison.
The Beatles Tracks Were Recorded 12th May,1967 - 11th February,1968.

Side 2:
All Songs Written By George Martin, Except Where Credited.
George Martin\'s Tracks Were Recorded 22nd & 23rd October,1968.
All Tracks Produced By George Martin.
The Beatles UK original 1960\'s albums normally sold in phenomenal quantities, but there was the one exception,\"Yellow Submarine\".
If you examine the month of issue, the time scale moved on since the \"Yellow Submarine\" film\'s premiere in July, 1968 to such an,
  extent, in January,1969 the Beatles were recording, or more like trying to record, during the filming of \"Get Back\" / \"Let It Be.\"
The psychedelia of 1967 - 1968 had receded and a stark reality had settled over 1969, low sales of the \"Yellow Submarine\" album
was brought about by several reasons,a major factor at the time was having to accept only one side of the album contained Beatles
recordings, but Side 1 offered four new songs that were previously unheard and unique to both the album and the film. An album
issued in mono and stereo, the mono version is a subject I will discuss soon, releasing a 1968 soundtrack in 1969 was very poor
timing by EMI and Apple, although EMI were the ruling body not Apple. The film was premiered in July, 1968 in the UK, that placed
the soundtrack\'s release in the seventh month after the event, when a simultaneous issue in July \'68 would have attracted so much
more attention. The LP\'s release was planned for 1968 but held back due to the imminent \"White Album,\" the order of events as it
was supposed to happen is seen on the UK back cover liner notes, they were written by Derek Taylor to promote the \"White Album\".
As an expensive double album and still selling really well in early \'69, the January release of \"Yellow Submarine\" had restricted
sales. \"Yellow Submarine\" struggled to No.4 in the UK charts, spending a mere 10 weeks in the charts, which for any other artist
were more than reasonable figures, but not for a new Beatles album, previously advance sales alone had the latest Beatles LP\'s
hitting No.1 in the UK charts immediately, then remaining as currently charting for record breaking periods. Undeterred, EMI next
tried another release on the 14th April,1969, but that was even worse commercially, \"Yellow Submarine\"only managed one week in
the charts, stalling at No.14. One more attempt in September 1969 was met with partial success, a No. 4 position and a nine week
residency in the UK charts. That was when the Mono and Stereo covers were made again by \'Garrod & Lofthouse, creating the
uniqueness of the blank unprinted bottom horizontal flipback, becoming an exclusive feature of January,1969 very first pressings.
By that September, 1969, third issue, not only was the \'mono\' format of the album dropped completely, the Stereo version fell
outside EMI\'s use of the \"Sold In UK\" text on the labels. I do not accept the commonly believed view, that mono was obsolete by
1969, but all this still adds up to the reason for a major rarity attached to the mono \"Yellow Submarine\" LP, although I consider
Stereo first issues equally rare as well due to poor sales. I am only discussing top condition first issues in either format, what
use is a deeply scratched and worn out record in a battered, stained and abused cover? Mono had yet to be made extinct but the
future was fast heading towards a Stereo only format, EMI were ahead of most of the other UK major record companies as the 60\'s
decade drew to a close. I challenge anyone questioning the validity of the \'mono\' \"Yellow Submarine\'\" to realise this was really
the most important Beatles album of them all historically. It was also the final Beatles latest album released in mono and stereo
where only months earlier, the \"White Album\" cover was printed with mono and stereo catalogue numbers and really all the covers
were mono orientated, \'Stereo\' was printed on the back top corner as an after thought. Significantly on top of the lamination it
was not part of the original printing. EMI had in effect sealed the fate of the next Beatles album format, the following October
saw \"Abbey Road\" becoming the first (and last studio album) remixed and released in Stereo only, nobody knew it at the time,but
the \"White Album\" was the final Beatles album with a custom made mono mix, to the extent it contained totally different versions.
Leading me directly into a tricky subject to discuss but one I am qualified to deal with, from 1970 I was into Beatles out-takes
etc. and so many bootlegs were using mono / stereo versions to rip off collectors, especially in the mid-1980\'s when CD boots
really took hold. My ears was all I needed to tell originally released material from genuine studio out-takes, for an officially
tampered with Beatles album like \"Yellow Submarine\", the next section is written as a Beatles collector since January, 1963.
I will not be playing this very rare record and that allows me to discuss the \'mono\' mix in depth, the merits of the mono version
are rarely mentioned by sellers in terms of the mix or actual impact of the music. As the rarest British first pressing Beatles
album it has only been viewed for the financial value.
\"Mono Or Mono?...... Mono!\"
This section will only interest those into the actual \'sound\' of the Beatles music, to most record buyers & sellers is ideal
for transactions, but many business and private sellers announce they never play the records and will only visually grade them.
Which is in direct contradiction of the definitions of the universally accepted \'Record Collector\' grading terminology, unless in
genuine Unplayed/Mint condition, every subsequent grading 100% concerns the sound reproduction, many sellers state they
they do not own a record player, even though they have \'Record Collector\' grading definition\'s on display on their item pages.
I care passionately about the sound of all the records I sell, deprived of the face to face contact I enjoyed so much at record
fairs, in 2001 I found cold and rigidly indifferent, I decided to try and make as much of a personal input as possible and
here I am 15 years later. When records like this need an up close examination that directly involves original Master Tapes, I
I can call on a lifetime\'s experience on that very subject, personal opinions do matter but only when backed up by solid facts.

I am certain I am the first & only record seller on raising the above question, or is even prepared to discuss something of
a purely \'sound\' nature, I cannot ignore what my ears have told me ever since first hearing the mono version of the album in \'69.
In fairness, that is perhaps the difference between my generation who mostly heard mono records throughout the whole 60\'s decade,
and anyone retrospectively hearing mono after being accustomed to stereo only. The \"Yellow Submarine\" mono LP became the final
Beatles album issued in Mono until 1994, when \"Live At The BBC\" was finally released, when compared to the staggering sounding
mono Beatles albums from \"Please Please Me\" to the \"White Album,\" the mono \"Yellow Submarine\" did not quite hit the extraordinary
level of all that preceded it on albums, singles & EP\'s. By 1970 I was hearing every Beatles album in stereo for the first time,
including the \"Abbey Road\" LP, the stereo \"Yellow Submarine\" album had \'the sound\', but that was slightly confusing at the time
because of vast differences between mono and stereo. Not just sound adjustments, if you grew up in the 1960\'s you experienced
making the transition from black & white television to colour, previously colour only existed in cinemas and main features where
shown after the black & white \'B-movies\', in 1968 I watched the \"Yellow Submarine\" film......in colour. A decade that saw the
first launch of a satellite, by 1969, Man was walking on the moon!

In 1988 Abbey Road Studios and the Beatles Master Tapes were thrown open to author Mark Lewisohn, he was given access to EMI\'s
meticulously indexed Beatles recording sessions and full mixing and mastering details. We had bootlegs of most of those sessions
which included the many takes, out-takes and unreleased songs, but now Mark Lewisohn revealed all the precise dates and material
on the Master Tapes nobody had heard of before. Like all fellow determined collector\'s, I studied Mark Lewisohn\'s fantastic feat
of documentation in his first 1988 book, that concentrated almost entirely on EMI\'s Master Tapes, including their Tape Spool box
lids with handwritten notations made by George Martin at the time. Also EMI\'s session logs, which were meticulous to even actual
times recording\'s took place, Lewisohn revealed if John Lennon wanted to take home a cassette copy of just made recordings or an
acetate of a song, even Lennon had to sign EMI\'s log book or be refused. \"The Complete Beatles Recording Sessions\" was and still
is the most definitive book ever written about the Beatles and the entry concerning the mono mix of \"Yellow Submarine\" partially
hinted at what my ears had been telling me since January,1969. As I am selling a first Stereo pressing, in theory I should only be
presenting the Stereo mix, not delving into \'mono, don\'t misunderstand me, I love mono & stereo versions equally and would never
part with own treasured Mono first pressing, but the actual sound of the Beatles music is much too important to me not to ever be
openly honest. I still discuss issues other sellers shun or just have no interest in, financial values attracts younger internet
record sellers, not hearing original Abbey Road Master Tape mixes. In 1968 Mark Lewisohn fulfilled a dream scenario, there were
top quality Beatles out-takes appearing on the earliest bootleg Beatles CD\'s, but not precise recording dates, facts and figures,
back then there was only a small number of fanatics who collected unreleased material. I bought the first ever Beatles bootleg
vinyl in the early 70\'s,\"Kum Back\", I went the usual route of cassette tapes which were wonderful for building a comprehensive
collection by swapping with other enthusiast\'s. Mark Lewisohn is often accused of feeding the material to the next stage, bootleg
CD\'s that appeared with such astounding first generation Master Tape sound, the official CD albums sounded vastly inferior! The
incredible sound quality was nothing to do with Lewisohn, the newly released material centred around John Barrett, one of EMI\'s
top sound engineers who was given the job of listening to and compiling to release as a Beatles album in 1988. Cover artwork was
prepared and the tracks selected for a single album of studio out-takes/unreleased tracks, but the project was shelved until it
eventually emerged as \"Anthology,\" in the most complete form collector\'s only dreamt about ever hearing officially, on vinyl, CD
and video\'s. It was was \'all too much\' when one of Barrett\'s compilations was smuggled out of Abbey Road Studios released on a
double CD, \'Vigitone 178 /179.\' Master Tape sound that set the standard EMI gravitated towards in the 1990\'s, the whole point of
this is to establish two facts, I am a professional record seller, but unlike others I am not just selling cardboard and plastic,
it was the music in the grooves of Beatles records that ignited my passion and that started in January,1963. Ever since I have
fanatically bought and tracked down every official and unofficial recording the Beatles ever made, live and in recording studios.
Here is the relevant paragraph in Lewisohn\'s \"The Complete Beatles Recording Sessions\" book, referring to the UK release of the
\"Yellow Submarine\" album with the mixing and mastering details directly from EMI / Abbey Road Studios.
Page 164;
Fiday 17 January 1969: LP release: Yellow Submarine Apple [Parlophone] PMC 7070 (mono) / PCS 7070 (stereo)A new album by the Beatles? Not Quite. Half by The Beatles, half \"original film score, composed & orchestrated by George Martin,
produced by George Martin.\" Side A was the Beatles, Side B the score.Perhaps the most puzzling aspect of the LP was the time it had taken to see the light of day. \"Yellow Submarine,\" albeit a highly
successful film in both critical and box-office terms, had been on release for all of seven months before this (supposedly)
accompanying soundtrack album was issued. The songs themselves were even older.One reason for the delay was the November,1968 release of \"The Beatles\", which the group felt was of greater import and must take
precedence. Another was that George Martin wanted to re-record his side of the album. (he had originally taped the film score at
Olympic Studios, with Kevin Grant and Chkiantz assisting.) On 22 and 23 October 1968, personally conducting the 41-piece George
Martin Orchestra and sharing production duties with Ron Richards, he re-taped everything in two three-hour sessions in Studio 1,
Abbey Road. The engineer was Geoff Emerick, tape operator Nicki Webb. Stereo re-mixing and editing was done on 24 & 25 October,
Martin producing, Emerick and Mike Sheady assisting. The stereo album was cut at Abbey Road by Harry Moss on 22 November,
the mono (simply a monaurial cut of the stereo) was done on 25 November.
There you have it, \'simply a monaurial cut of the stereo\' means in record mixing terms, the multi-track that contained all the
individual instruments and vocals, was used for the stereo mix only. For the mono mix, the stereo mix was \'folded down\' to mono
where previously a Beatles mono mix was made from the the multi-track mixing console. I realise this might be getting much too
technical by now, but to write honestly I have to give all the information I am in possession of, quoting from Lewisohn\'s book
places the facts before anyone interested in events 47 years ago, in late 1968. You could argue a stereo mix was made directly
from the finished tapes by Harry Moss, and the mono mix originating from that was therefore professional made by EMI\'s top
sound engineers. What is also also true, regardless of the tide now gradually turning against mono, this was the only mono mix
and there are the four unique previously unheard Beatles songs that were were prepared and mastered in Abbey Road Studios.
An original 1960\'s analogue mono mix is the issue here, but I felt I had to include even the slightest deviation and my ears have
always been that highly tuned. For fanatics like myself who were into collecting Beatles studio out-takes on bootlegs, right from
the 1970\'s through to the CD bootleg era of the late 80\'s and onward, we had to tell faked \'out-takes\' from the genuine ones.
There were as many fake Beatles bootlegs than authentic ones, the stereo 60\'s records were so perfectly exasperated, crooks would
and still do record one half of a track to compile whole albums claiming to be \'alternative versions.\' Only now they turn to the
\"Anthology\" series,why I detest the counterfeit albums being openly sold on , usually for ridiculously high prices, sellers
profitting from them DO NOT not have the qualifications to tell if they really are alternative versions. Anyway, when an official
Beatles LP release had a mono mix and all this took place in Abbey Road Studios, it has to be accepted today as the only one that
has an authentic sound. Digital re-mastering is just a disastrous exercise that destroys the original analogue sound, personally
I cannot accept a 21st century version of psychedelic music designed for downloading in sound files, is ever going to get close
to the real thing. I happily accept the circumstances surrounding the mixing and mastering in November \'68, I dearly love my mono
\"Yellow Submarine\" album and all this section is my belief in only ever presenting records with a balanced overview. For those
who find all the technical stuff boring, no problem, I\'m with you all the way and I just turn up the volume and let \"Hey Bulldog\"
and the other tracks on the Beatles side blow me away! An EMI 1968 mono fold-down\' is still in another sound dimension to just
about every record made in any decade and any country, now I can get on detailing the rarest UK mono Beatles LP. The black and
and gold \"Please Please Me\" LP is Not rarer, because more pressings by far were made on that label, even allowing for the volume
lost over the decades, on alone, at least 4 or 5 copies a week are listed on , you could triple or quadruple that by the
amount sold at record fairs and other internet sites.

Now I can give an unbiased personal opinion, provided a first pressing record is unworn and undamaged, this mono LP version is a
stunning way to hear the music, as just mentioned, \"Hey Bulldog\" is just awesome in mono! Side 2 has the orchestral film score, as
much as I have the very deepest respect for George Martin\'s ability to compose, orchestrate and produce it, I am never going to
pretend I have any interest in the non-Beatles involvement side of this album. I must have seen the film more times than I could
count, when my my kids were young they fell in love with the video I recorded from a Christmas TV broadcast in the 1980\'s, then
the official video....with terrible sound! Now I watch it with my young grand children who know every line spoken and sing along
to the lyrics to every song, the wonders of DVD\'s! Obviously the UK true Stereo first pressings have the staggering individual channel separation of psychedelic music, I would love
to describe this immaculate record. First pressings have the sensational power the 1960\'s produced and George Martin learnt to
harness, vinyl was just perfect for that and that brings us full circle to the Christmas of 2016. Vinyl has taken giant strides away
from downloading and digital storage of sound files, as it happens they are perfectly suited, records will now always be played
and loved. As a record seller I have strived to present them at their most potent and \'potent\' is the ideal way to describe this
very first UK pressing of the magical, \"Yellow Submarine\" album. Just remember to watch out for the \'Blue Meanies\'!
{Roy}
  R & M RECORDS.My lifetime\'s love of music and records began at a very young age, the arrival of the Beatles and the 1960\'s decade
in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
into becoming a professional record seller. Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world\'s new market place for
vinyl, in 2001 it was time to join . Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;EVERY RECORD IS FULLY PLAYED AND COMES WITH A \'NO ARGUMENT\' MONEY BACK GUARANTEE.
I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
FROM THE U.K. \"RECORD COLLECTOR PRICE GUIDE\" BOOK.
THERE IT CLEARLY STATES \"Sound Quality\" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL. EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
\"There Are No Problems, Only Solutions\" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM \'V.G.\' ( VERY GOOD), TO THE ULTIMATE \'MINT\' CONDITION.
ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC. WE WELCOME buyers FROM ANY COUNTRY IN THE WORLD. ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.UNDER PAYPAL & \'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.
We have kept all our charges at the same level for years now, but due to the Post Office\'s new price increases, regretfully we
will have to increase the cost of LP\'s, however, singles will remain unchanged. were aware of that happening and have
increased their minimum postal cost for LP\'s to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46. A temporary reduction this week means we can
now post LP\'s for £5, but who knows how long before the Post Office return to £7? For LP\'s valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of trading, there has not been one record damaged, we are determined to maintain that in the present and future.IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA \'INTERNATIONAL SIGNED FOR.\'POSTAGE COST FOR LP\'s
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00
EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR £15.00
USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00
POSTAGE COST FOR EP\'s & 7\"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00
PAYMENT DETAILS.WE WILL SEND ALL WINNING buyers AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE sale ENDING AS POSSIBLE.OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.
FOR UK BUYERS;WE ACCEPT: PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.
FOR OVERSEAS BUYERS;WE ACCEPT: PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.
Pay me with PayPal. I don\'t charge my buyers extra!