THE BEATLES "Anthology 1" 1995 Apple 3 X LP Set NEAR MINT UK Import PRESS
$
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Description
THE BEATLES - "The Beatles Anthology 1" 3 x LP released on Apple Corp Records / EMI (cat # 7243 8 3445) Stereo & MONO United Kingdom import pressed in 1995.
Labels: Apple Granny Green & White Slices (Cat # on labels PCSP 727 2)
High Quality Pressing Made and Printed in The UK
This Record set is in NEAR MINT condition with full luster and shine that sparkles - beautiful wax. Nice thick thick high quality wax! Played only a couple times - light spindle rubs visible under a strong light. The records are housed in their original import poly lined sleeves. The triple fold jacket is a nice respectable VG+ with a small neat scotch tape repair for a 2" split -and light shelve wear - all else clean.
Features dialog and rare music unavailable at the time of this release.
All tracks in stereo and written by Lennon–McCartney except where noted.
"Free as a Bird" (Lennon, McCartney, Harrison, Starkey) – 4:25 Lennon demo recorded at The Dakota, New York City, 1977; The Beatles version recorded at The Mill Studio, Sussex, England, February–March 1994[citation needed] "We were four guys ... that's all" (Lennon speaking to Jann Wenner) – 0:12 "That'll Be the Day" [Mono] (Allison, Holly, Petty) – 2:08 "In Spite of All the Danger" [Mono] (McCartney, Harrison) – 2:45 Tracks 3–4 recorded by The Quarrymen at Phillips' Sound Recording Services, Liverpool, England, 12 July 1958 "Sometimes I'd borrow ... those still exist" (McCartney speaking to Mark Lewisohn) – 0:18 "Hallelujah, I Love Her So" [Mono] (Charles) – 1:13 "You'll Be Mine" [Mono] – 1:39 "Cayenne" [Mono] (McCartney) – 1:14 Tracks 6–8 recorded at McCartney's house in Liverpool, late summer or spring 1960 "First of all ... it didn't do a thing here" (McCartney speaking to Malcom Threadgill) – 0:07 "My Bonnie" (traditional, arranged by Tony Sheridan) – 2:42 "Ain't She Sweet" (Ager, Yellen) – 2:13 "Cry for a Shadow" (Lennon, Harrison) – 2:22 Tracks 10–12 recorded at Friedrich-Ebert-Halle, Hamburg, Germany, 22 June 1961 "Brian was a beautiful guy ... he presented us well" (Lennon speaking to David Wigg) – 0:10 "I secured them ... a Beatle drink even then" (Brian Epstein from A Cellarful of Noise) – 0:18 "Searchin'" [Mono] (Leiber, Stoller) – 3:00 "Three Cool Cats" [Mono] (Leiber, Stoller) – 2:25 "The Sheik of Araby" [Mono] (Smith, Wheeler, Snyder) – 1:43 "Like Dreamers Do" [Mono] – 2:36 "Hello Little Girl" [Mono] – 1:40 Tracks 15–19 recorded at Decca Studios, London, England, 1 January 1962, in audition for Decca Records "Well, the recording test ... by my artists" (Epstein from A Cellarful of Noise) – 0:32 "Bésame Mucho" [Mono] (Velázquez, Skylar) – 2:37 "Love Me Do" [Mono] – 2:32 Tracks 21–22 recorded at EMI Studios, London, 6 June 1962 "How Do You Do It" [Mono] (Murray) – 1:57 Recorded at EMI Studios, London, 4 September 1962 "Please Please Me" [Mono] – 1:59 Recorded at EMI Studios, London, 11 September 1962 "One After 909" (Sequence) [Mono] – 2:23 "One After 909" (Complete) [Mono] – 2:56 Tracks 25–26 recorded at EMI Studios, London, 5 March 1963 "Lend Me Your Comb" [Mono] (Twomey, Wise, Weisman) – 1:50 Recorded live at BBC Maida Vale Studios, London, 2 July 1963, for the Pop Go The Beatles radio broadcast "I'll Get You" [Mono] – 2:08 Recorded live on Val Parnell's Sunday Night at the London Palladium, London, 13 October 1963 "We were performers ... in Britain" (Lennon speaking to Jann Wenner) – 0:12 "I Saw Her Standing There" [Mono] – 2:49 "From Me to You" [Mono] – 2:05 "Money (That's What I Want)" [Mono] (Gordy, Bradford) – 2:52 "You Really Got a Hold on Me" [Mono] (Robinson) – 2:58 "Roll Over Beethoven" [Mono] (Berry) – 2:22 Tracks 30–34 recorded live at the Karlaplansstudion, Stockholm, Sweden, 24 October 1963, for the Popgrupp från Liverpool på besök i Stockholm (English: Pop Group from Liverpool Visiting Stockholm) radio broadcast "She Loves You" [Mono] – 2:50 "Till There Was You" [Mono] (Willson) – 2:54 "Twist and Shout" [Mono] (Russell-Medley) – 3:05 Tracks 1–3 recorded live at the Prince of Wales Theatre, London, 4 November 1963, for the Royal Variety Performance "This Boy" [Mono] – 2:22 "I Want to Hold Your Hand" [Mono] – 2:37 "Boys, what I was thinking..." (Eric Morecambe and Ernie Wise speaking to The Beatles) – 2:06 "Moonlight Bay" [Mono] (Madden-Wenrich) – 0:50 Tracks 4–7 recorded live at ATV Studios, London, 2 December 1963, for The Morecambe and Wise Show "Can't Buy Me Love" (Takes 1 & 2) – 2:10 Recorded at Pathé Marconi Studio, Paris, France, 29 January 1964 "All My Loving" [Mono] – 2:19 Recorded live at CBS Television Studio, New York City, United States, 9 February 1964, for The Ed Sullivan Show (includes Sullivan's introduction) "You Can't Do That" (Take 6) – 2:42 "And I Love Her" (Take 2) – 1:52 Tracks 10–11 recorded at EMI Studios, London, 25 February 1964 "A Hard Day's Night" (Take 1) – 2:44 Recorded at EMI Studios, London, 16 April 1964 "I Wanna Be Your Man" – 1:48 "Long Tall Sally" (Johnson-Penniman-Blackwell) – 1:45 "Boys" (Dixon-Farrell) – 1:50 "Shout" (Isley-Isley-Isley) – 1:31 Tracks 13–16 recorded live at IBC Studios, London, 19 April 1964, for the Around The Beatles television broadcast "I'll Be Back" (Take 2) – 1:13 "I'll Be Back" (Take 3) – 1:58 Tracks 17–18 recorded at EMI Studios, London, 1 June 1964 "You Know What to Do" (Demo) (Harrison) – 1:59 "No Reply" (Demo) – 1:46 Tracks 19–20 recorded at EMI Studios, London, 3 June 1964 "Mr. Moonlight" (Takes 1 & 4) (Johnson) – 2:47 "Leave My Kitten Alone" (Take 5) (John-Turner-McDougal) – 2:57 Tracks 21–22 recorded at EMI Studios, London, 14 August 1964 "No Reply" (Take 2) – 2:29 Recorded at EMI Studios, London, 30 September 1964 "Eight Days a Week" (Sequence) – 1:25 "Eight Days a Week" (Complete) – 2:48 Tracks 24–25 recorded at EMI Studios, London, 6 October 1964 "Kansas City/Hey-Hey-Hey-Hey!" (Take 2) (Leiber-Stoller/Penniman) – 2:44 Recorded at EMI Studios, London, 18 October 1964SHIPPING is $4.00 Media Mail (with Confirmation) for USA BIDDERS. International winner please wait for invoice before sending payment.
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All records are mailed in heavy cardboard LP mailers purchased from Bags Unlimited. Each is protected by cardboard inserts and LP covers are protected by poly sleeves. Records are removed (unless sealed) to avoid seam splitting. I use Goldmine's standard grading system via visual inspection. I will also play grade. See grading chart listed below.
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VINYL ALBUM GRADING/CONDITION
Guidelines for assessing the grading / condition of used records (based on Goldmine Grading for Records)
MINT (M): Perfect! This record looks like it has just left the manufacturer, with NO flaws what so ever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers address labels, writing on the covers or labels. No tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.
NEAR MINT or NM, M- : this record appears virtually flawless A very minor scuff and very little else can appear on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is be as close to perfect as can be.
EXCELLENT or EX or VG++ : minor scuffs which are only slightly visible. There may be more than a few scuffs and NO Scratches COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.
VERY GOOD PLUS or VG+ record shows wear, surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade. COVERS: A virtually clean cover, but may have small writing on it.The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage. Some minor wear to the seams or spine, but no tears or holes popping through. The corners will be slightly dog eared yet no crackly bends, defacing the artwork. In essence, a VG+ cover should have no more than 3 flaws mentioned.
VERY GOOD or VG: this record is a record that is good enough. They are not really going to look very good, but it will STILL play very good. there will almost always be some surface noise when they are played. The Dynamics should still be excellent, overpowering the surface noise. A VG record will appear well have been played but still have some luster. VG covers will look worn, used. There may be some seam splitting . There will be some ring wear, where the ink has begun to wear off. Giving the cover a look of snow falling. If the artwork looks snowy all over, it is less than VG condition. There may be some writing on the cover (still, no Large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke). Still it should be decent.
GOOD or G A good record will look very well played, dull, grayish and possibly abused. However a Good record should still play. It will have distracting surface noise. Such as crackle that is continuous or some hiss. Will also have some loss of dynamics caused from grooves being worn. It should play without any skips or any obtrusively loud pops or repeated clicks, caused by deep scratches. Good means that it will play with some form of decency, so one can still enjoy the music even though you can still hear noise caused from the wear. A Good cover will have just about everything wrong with it. It will have seam splits (possibly taped repaired, but only with scotch tape. No duct tape or masking tape repairs. These are big turn offs. May have magic marker writing on the cover but still if they are in huge letters, it is a big turn off.In essence, the cover will looked virtually trashed, but some artwork will still be noticed. If the artwork is worn, it is POOR and the cover is worthless.
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