BEATLES I Want To Hold Your Hand 45 1st UK 1963 MINT-

	£		41
	$		54

Oh yeah, I'll tell you something,
I think you'll understand,
When I say that something,
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

Oh please, say to me,
You'll let me be your man,
And please, say to me,
You'll let me hold your hand.
Now let me hold your hand,
I want to hold your hand.

And when I touch you I feel happy inside,
It's such a feeling that my love, I can't hide
I can't hide, I can't hide.

Oh yeah, I´ll tell you something,
I think you'll understand,
When I say that something,
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

And when I touch you I feel happy inside,
It's such a feeling that my love, I can't hide
I can't hide, I can't hide.

Yeh, you've got that something,
I think you'll understand.
When I'll feel that something,
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

THE BEATLES:"I Want To Hold Your Hand" / "This Boy" 45 IN MONO.
FIRST UK PRESSING, 29th NOVEMBER 1963.
PARLOPHONE LABEL: R 5084.
MAITRIX: 7XCE 17599 - 1 N / 7XCE 17560 - 1 N.
EMI STAMPING CODES: RGM G (1) / PMP ? ( A Positive '1' then unclear, possibly 'G')
(It Was Common To Have The Coded Letter 'G' Instead Of, Or With The '1' Digit It Signified.)

AS THE FIRST PRESSING THE LABELS ARE TEXTURED AND HAVE;
"Recording 1st Published 1963."
"PARLOPHONE CO. LTD" ON THE RIMS IN CAPITAL LETTERING.
THE 1960's TAX CODE 'KT' IS EMBOSSED ON THE CENTRE OF THE B-SIDE, AS WELL AS
BEING MACHINE STAMED IN THE THE RUN-OUT GROOVES AT 9 O'CLOCK.

THIS IS POSITIVELY THE ORIGINAL 1963 PARLOPHONE SLEEVE THE RECORD HAS BEEN INSIDE FOR
THE LAST 45 YEARS. THE 1963 UK RECORD SHOP WROTE;"The Beatles"- "I Want To Hold Your Hand"
ON TOP FRONT. THE SLEEVE IS IN SUPERB EXCELLENT+++ / NEAR MINT CONDITION.

THE RECORD IS IN A MINIMUM OF MINT- CONDITION, POSSIBLY EVEN UNPLAYED

The incredible success of this, the the Beatles fith UK single created an unique event in the history of record sales
and of course, in record production, "I Want To Hold Your Hand" was also the single to 'crack' America. The UK's
sales were unprecedented, even the previous "She Loves You" that was still in fact at No.1 here, had to take a back
seat. For the very first time, advance orders alone, saw a staggering one million copies ordered from EMI by record
shops nationwide, the release date was the 29th November, 1963, within days of that "She Loves You" was removed
from the Top Spot by "I Want To Hold Your Hand." Another 'record' had been broken by artists deposing their own
previously released No.1 single. The infectious, "Yeh, yeh, yeh" of "She Loves You" now gave way to a melody and
a record that had such greatness attached, "I Want To Hold Your Hand" had not only sold a million plus copies the
day they left EMI pressing plant for distribution, it would continue to sell and remain in the UK charts for a further
just under four months, well into 1964. Even then it was not quite done, unbelievably on the 16th May, 1964, there
were so many copies still being bought, it made a chart re-entry for a week at No.48. Records were being toppled in
all directions now, in 1963, the albums,"With The Beatles" & "Please Please Me," occupied No.1 & No.2 in the LP
charts, in the singles charts at No.1 & No.2 were, "I Want To Hold Your Hand" & "She Loves You." Meanwhile in
the EP charts in November 1963, you had "All My Loving" sitting at No.1, with "Twist & Shout" & "Beatles Hits"
hovering around the second & third positions. Never in the history of music have such phenominal feats happened
again, oh yes, there was just a little matter of convincing Capitol Records in America, that the Beatles might sell a
few copies of Capitol's records, if they cared to stop giving small record companies full rights to release them and to
take up their own options! For anyome unaquainted with the events before 1964 in America, the minor labels like
'Swan' were pressing the Beatles records, unable to offer the full might of Catitol's promotional machinery, it was
little wonder "She Loves You" failed to cause a ripple when Swan released it. In fairness Brian Epstein was asking
and prompting Lennon & McCartney to write something rather special to really grab the attention of America, they
obliged, but even then it took one individual 15 years old American Beatles fan to light the touch paper.

Marsha Albert nagged and urged Washington, DC Radio DJ Carroll James into getting an English record sent over
and James did just that. Marsha was invited in to personally introduce "I Want To Hold Your Hand" for that first
broaodcast in America, as I said earlier on, such was the true greatness of the record, the reaction to hearing it was
instantaneous. Capitol only intended releasing the single when the Beatles came to America and appeared live on
The Ed Sullivan Show. They were so annoyed about "I Want To Hold Your Hand" being played on the radio and a
positive reaction to hearing it from a UK record not their's, crazily Capitol were actually on the brink of bringing
legal action to ban it from being played by radio stations! You could not make this up if you tried, DJ's ignored the
threats and airplays were spreading across America, common sense about the free publicity won Capitol over, they
now promptly brought the single's release on their label forward to as fast as possible.

The enforced historic release of "I Want To Hold Your Hand," with "I Saw Her Standing There" as a B-side in the
States only, was on the 26th December, 1963. "I Want To Hold Your Hand" sold.... and sold, I believe the figures of
an astonishing 10,000 copies per hour in New York alone are accurate, the final total was in excess of five million!
The Beatles now had a No.1 single on both sides of the Atlantic Ocean, the seemingly impossible had happened.

The track itself stands as a definitive record, personally I would always turn to a UK first pressing to hear why, but
the main reason for it being so superior in contents and sound to all that preceeded it, was all down to Abbey Road's
studio's advances. As usual they worked with George Martin in Studio 2 on the 17th October 1963, a big difference
now was the tape used for the recording of both sides of the UK single,"I Want To Hold Your Hand" & "This Boy,"
was no longer a restricive Two-track only. By today's standards doubling up to Four-track tape recording machines
will not give the huge improvements that presented to George Martin and his sound engineers, but in particular to
the Beatles who were gleaning as much as possible about the art of making records. The best example to give is the
organ on "I Want To Hold Your Hand", such an extremely low level sound that few will have picked up on, possibly
it was played by George Martin or perhaps by John. It added extra harmonic's to John's rhythm guitar and whether
it was John playing it, one of the two extra 'new tracks' was used to record an overdub for the mixing. If it was Paul,
George or George Martin, the same was true, so here we have the start of the Beatles creating records with sounds
that would lead to some of the greatest productions of all time. In fact it was not until 1969 that EMI moved on from
Four-track tape, so "Sgt. Pepper" etc. was recorded with the same format as "I Want To Hold Your Hand", that best
sums up how significant this pair of late 1963 tracks actually were. After delving into the sales figures, I feel this is
much more important, after all the idea was to create a record that would force America to sit up and take notice of
four young lads from Liverpool. They recorded 17 Takes that day for "I Want To Hold Your Hand" and 15 Takes of
"This Boy" before being satisfied with the results that were then mixed. There was a noticable development in the
creation of a record, if you play "She Loves You" back to back with "I Want To Hold Your Hand", there's a massive
improvement in how 'thick' and textured the sound became in just those few months. The same applies to the stereo
mix, check out an original 1966, stereo, "A Collection Of Oldies" for that, this description is all about late in 1963,
it was mono or mono for singles. As such a fantastic 45 RPM mono single I still do not think the full appreciation of
"I Want To Hold Your Hand" has been given, too often dismissed as 'just another early Beatles track'. Well in 1980
John Lennon's memory provided the biggest insight into when and how it was written, and Lennon was not given to
discussing Beatles songs / recordings he was not very proud of. Everyone should have a copy of a brilliant interview
he gave Playboy magazine, here is John's quote from September, 1980, sadly only three months before his murder,
I think this quote also provided an insight into the very way the 'Lennon and McCartney' genius functioned;

"We wrote a lot of stuff together, one on one, eyeball to eyeball. Like in "I Want To Hold Your Hand," I remember
when we got the chord that made the song. We were in Jane Asher's house, downstairs in the cellar playing on the
piano at the same time. And we had, "Oh, you-oo-oo... got that something..." And Paul hits this chord, and I turn to
him and say,"That's it!" I said,"Do that again!" In those days, we really used to absolutely write like that..... both
playing into each other's noses."
So a huge selling UK single, but as ever my main concern is about the condition / sound of any record and the most
relevent thing about this, is the absolutely stunning condition. Every single one of those million plus made, before
and after the record's release date, can placed precisely into a manufacuring sequence thanks to EMI's indexing of
them all. With at least one side pressed from the 1st 'mother' and the other most basic details of Parlophone labels
and '1N' ending maitrix on both the sides, this is positively from the very first pressings made. With the UK 60's tax
'KT' embossed on the centre of the textured labels, that completes every requirement to be in a UK record shop on
the very first day EMI's deliveries were made in November 1963. It makes no difference at all how many millions
were pressed, the era itself and the mono record players made sure the vast majority of genuine first pressing were
in adreadful state by the Christmas of 1963, I know my original copy was. Ebay has many, many Beatles 'experts,'
full of text details that too often are incorrectly bein applied to re-issues, but nothing substitutes experiencing the
excitement of being in a record shop and buying the latest Beatles record. By that I mean, brand new condition was
the normal, sure it was then played to death but that spurs me onto finding as lose to 'brand new;' as I can get after
nearing half a century later. This is in that staggering 'as new' condition, a major rarity for such an early pressing
surviving miraculously, I've sold one or two top condition Beatles singles in my time, including my own treasured
pesonal copy of "I Want To Hold Your Hand," this is a very special record and certainly is one of the most stunning
condition first pressing I have ever handled.

Both side's labels are in as new, pristine condition, without any scuffing or wear, let alone any positive spindle use
signs, I try my hardest to take label pictures that display such awesome condition, you can view this pair to see why
I feel I am dealing with an unplayed record here. I cannot dismiss the possibilty of a 100% alignment onto an early
1960's / late 1950's spindle, being realistic with these matt textured labels, I cannot seriously take in that anyone in
1963 had the slightest awareness they were leaving visible tracesby playing a record. The spring loaded clip that was
there to stack records for automatically dropping, accounts for the severe wear you normally find around the centre
holes. The vinyl is in astonishing condition, with both sides gleaming as new without any marks, as I constantly say
about ultimate condition 60's records, they were handled at several stages before even being bought. All this record
and labels have are the very faintest, few wisps of handling signs, on the record they are close to being invisible, as
expect the same from factory sealed records, DVD's and CD's! A stunning looking record and I have no hesitation
in grading this gleaming vinyl and superb labels, as being in Mint- condition. I realise the contradictory nature of
questioning the possibilities of an unplayed record but the above statement about sealed up items answers that one.
In the name of honest and accuracy I include the microscopic, I also have limits to how far to take that for a record
from 45 years ago. A beautiful record like this, in an equally superb original 1963 Parlophone sleeve, means I have
to stop to consider if playing it for my own interest is ethical, I take long years spent as a professional record seller
very seriously. I do not quickly list records on ebay and go off to work, finding and presenting them Is my work and
it was long, long before anyone even thought of an Internet. So I took one undetectable play to confirm the sound
was as perfect as I anticipated, it was indeed and it's not neccessary to play it again to describe two such well known
Beatles songs. Any pressing surface sound was at an absolute minimum and as expected from Abbey Road's superb
mastering and EMI's immaculate pressing.

The original 1963 Parlophone sleeve is in outstanding condition, the front's green colour is unfaded and unscuffed
without any blemishes at all. The edges at the record's contact points have no splits and are at full strength there,
the back has a near pure white colour to the green printed EMI adverts for their own products. They include record
tokens, "Emitex" record cleaning cloths and their musicpaper "Record Mail". With only the expected record shape
impression and associated extremely gentle creases, well, more like naturally formed paper ripples. The top edge
has the record shop written artist and song title of the A-side, a common enough practice and as I wrote above in my
headings, the record and sleeve have been together since day one in 1963.
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. Over twenty years ago now 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 ebay. 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
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