THE BEATLES (ALBUM)

'''The Beatles''' is the eponymous ninth official album by The Beatles, a double album released in 1968 (see 1968 in music). It is most often referred to as '''The White Album''', as it has no text other than the band's name on its plain white sleeve, designed by pop artist Richard Hamilton. Originally planned to be titled ''A Doll's House'', the album is often hailed as one of the major accomplishments in popular music.
In 1997, ''The Beatles'' was named the 10th greatest album of all time in a 'Music of the Millennium' poll conducted by HMV, Channel 4, ''The Guardian'' and Classic FM. In 1998, ''Q'' magazine readers placed it at number 17, while in 2000 the same magazine placed it at number 7 in its list of the 100 Greatest British Albums Ever. In 2001, the TV network VH1 named it as the 11th greatest album ever. It was also ranked number 10 in ''Rolling Stone's list of the 500 greatest albums of all time in 2003.
According to the Recording Industry Association of America, ''The Beatles'' is the Beatles' best-selling album at 19-times platinum and the tenth-best-selling album of all time in the United States.

History

Increasingly diverse songwriting styles

With this album, each of the four band members began to showcase the range and depth of his individual songwriting talents and styles that would be carried over to their eventual solo careers. For one thing, some Beatles began recording some of their songs individually, a previously unheard-of practice. For another, some songs that the individual Beatles were working on during this period eventually were released on solo albums (John Lennon's "Child of Nature"; Paul McCartney's "Junk" and "Teddy Boy"; George Harrison's "Not Guilty"). The album is also marked by experimentation with different musical genres.
Lennon's contributions to the album are generally more hard-edged lyrically than his previous output, a trend which carried over to Lennon's solo career. Examples include his pleas for death on "Yer Blues", the parodic "Glass Onion" (mocking fans who read too much into Beatles' lyrics, see Paul is dead), and what are evidently references to his own drug addiction in "Happiness Is a Warm Gun" ("I need a fix..."). His intensely personal "Julia" may be seen as foreshadowing his later "Mother" from his first solo album, ''John Lennon/Plastic Ono Band''; the political "Revolution 1" begins a pattern of overtly political songs like "Give Peace a Chance" and "John Sinclair"; the stripped-down, blues-inspired "Yer Blues" bears a resemblance to solo recordings such as "Cold Turkey" and "I Found Out"; "Revolution 9" reflects extensive contribution and influence from Yoko Ono, another feature of much of Lennon's solo output. Lennon's songs on ''The Beatles'' embrace a wide array of genres as well, including blues ("Yer Blues"), acoustic ballads ("Julia", "Dear Prudence", and "Cry Baby Cry"), experimental ("Revolution 9"), and rock ("Everybody's Got Something to Hide Except Me and My Monkey").
McCartney's songs for the album include pop ballads ("I Will"), the proto-heavy metal "Helter Skelter", a Beach Boys homage ("Back in the U.S.S.R."), the Bob Dylan parody "Rocky Raccoon", the Little Richard parody "Why Don't We Do It in the Road?", the music hall style "Honey Pie", the soft acoustic ballad "Blackbird", among others. The stripped-down "I Will" and the bubblegum-twinged "Ob-la-di, Ob-la-da" foreshadow themes of McCartney's solo career.
Harrison's sparse ballad "Long, Long, Long" is stylistically quite similar to much of his solo output. His songs also included the lyrically sophisticated "While My Guitar Gently Weeps", the lighter rock song "Savoy Truffle", and the social comment "Piggies". Even Ringo Starr was given leave to include the first song composed entirely by himself to be included on a Beatles' album, the countryish "Don't Pass Me By".
As a reflection of the sharp reduction in Lennon and McCartney's joint songwriting, several fragmental, incomplete songs and song ideas were recorded and released on the album ("Why Don't We Do It in the Road?", "Wild Honey Pie") which in previous albums would have been collaboratively developed before release. This trend continued for the rest of the band's recording career, and such song fragments were presented by joining them together as a long suite of songs on side two of ''Abbey Road''.

The recording sessions

The album was recorded between 30 May 1968 and 14 October 1968, largely at Abbey Road Studios, with some sessions at Trident Studios. Although productive, the sessions were sometimes fractious and exacerbated the growing tensions within the group. In the difficult seven months before the sessions, Brian Epstein died, and they had their first artistic and commercial failure in the Magical Mystery Tour television film, and a long trip to India to study Transcendental Meditation which ended in disillusionment for John Lennon. Concurrent with the sessions, they were also in the midst of launching their new multimedia business corporation Apple Corps, which would lead to increased conflict within the group as the year progressed. These sessions also marked the first appearance in the studio of Lennon's new girlfriend and artistic partner Yoko Ono, who would thereafter be a constant presence. Prior to Ono's appearance on the scene, the individual Beatles had been very insular during recording sessions.
Often McCartney would record in one studio while Lennon would record in another at the same time, using different engineers.^[1] In the Beatles Anthology, George Harrison explains one particular day where Lennon and Yoko Ono were recording Revolution 9 in Studio A, McCartney was recording Blackbird in Studio B, and Harrison was overdubbing horns for Savoy Truffle in Studio C. At one point in the sessions, George Martin, whose authority over the band in the studio had waned, spontaneously left on vacation, leaving Chris Thomas in charge of producing the sessions.^[2] The studio tensions carried over into the Beatles' subsequent album and film project in early 1969, ultimately released as ''Let It Be''. The Beatles' recording engineer Geoff Emerick quit during these sessions out of disgust.
These sessions also marked the change from 4-track to 8-track recording, although in essence this had started in 1966 and 1967 with the technique of 'bouncing down' several tracks onto one, to free up new tracks for recording.
While Abbey Road Studios had yet to install an 8-track machine that had supposedly been sitting in a storage room for months (due to EMI policy of testing and customizing new gear, sometimes for months, before putting it into use in the studios ) the Beatles decided to out-source to the more updated Trident Studios.^[3]

Starr's temporary departure

At one point during the recording sessions for the album, Starr suddenly walked out of the studio, feeling his role was minimized compared to that of the other members. Lennon, McCartney and Harrison pleaded with Starr to return, and after two weeks he did. In Starr's absence, McCartney played drums on "Back in the U.S.S.R." and "Dear Prudence." Upon Starr's return, he found his drum kit decorated with red, white and blue flowers, a welcome-back gesture from Harrison.^[4]

Trip to India

Most of the songs on ''The Beatles'' were conceived during the group's visit to Rishikesh, India in the spring of 1968, where they undertook a transcendental meditation course with Maharishi Mahesh Yogi. The Beatles left the course before the end for various reasons, with much media attention given to John Lennon’s statement that he left because he came to believe rumors that Maharishi had made sexual advances toward a young woman. According to several John Lennon biographies, the singer/songwriter felt "disappointed and betrayed" by Maharishi, to the extent that when Maharishi asked him why he was leaving the Rishikesh camp, Lennon reportedly snapped, "if you're so bloody enlightened, you should already know why." Paul McCartney and George Harrison disputed the rumors in subsequent interviews. Also rumored was an incident related to actress Mia Farrow, who was on the course, but her autobiography is ambiguous about the incident. However, it is undoubted that Lennon felt personally betrayed by the rumors surrounding the Maharishi: shortly after leaving, Lennon wrote a song called "Maharishi" which included the lyrics, "Maharishi/You little twat"; the song became Sexy Sadie.
According to several authors (Brown and Gaines, 1983; Miles, 1998; Spitz, 2005; Cynthia Lennon, 1978), Alexis Mardas (aka Magic Alex) deliberately engineered these rumours in a devious way, because he was bent on undermining the Maharishi's influence over each Beatle. The following statement made by George Harrison is supported by comments made by Sir Paul McCartney in his approved biography.
—George Harrison

The songs

Many of the songs are personal and self-referencing; for example, "Dear Prudence" was written about actress Mia Farrow's sister, Prudence, who attended the transcendental meditation course with them in Rishikesh, India, at the same time as The Beatles. Oftentimes she stayed in her room, engaged in Transcendental Meditation. "Sexy Sadie" is a veiled jibe at Maharishi Mahesh Yogi, who led the Transcendental Meditation movement.
The album runs the gamut of genres, from pop with tracks such as "Birthday" and "Back in the U.S.S.R.", hard guitar-based rock in "While My Guitar Gently Weeps", British blues in "Yer Blues", proto-heavy rock in "Helter Skelter", Honky tonk ska in "Ob-La-Di, Ob-La-Da", influential and experimental audio-montages in "Revolution 9", to acoustic ballads such as "Blackbird" and "Julia".
The only western instrument available to the group during their Indian visit was the acoustic guitar, and several of the songs (such as "Dear Prudence", "Julia", "Blackbird" and "Mother Nature's Son") were written and first performed on acoustic guitar during their stay. These songs were recorded either solo, or by only part of the group.
Yoko Ono made her first appearance, adding backing vocals in "Birthday" (along with Pattie Harrison and Linda Eastman); Yoko also sang backing vocals and a solo line on "The Continuing Story of Bungalow Bill" and was a strong influence on Lennon's musique concrète piece, "Revolution 9".
Eric Clapton, at Harrison's invitation, provided an extra lead guitar for Harrison's "While My Guitar Gently Weeps". Harrison would later return the favour by collaborating on the song "Badge" for Cream's last album ''Goodbye''. George explains in the Beatles Anthology that Clapton's presence alleviated the studio tension and all band members were on their best behavior.
Clapton was not the only outside musician to sit in on the sessions. Nicky Hopkins provided piano for Revolution and a few others; several horns were also recorded on the album version of Revolution. Savoy Truffle also features the horn section.
Several songs recorded during ''The Beatles'' sessions were not part of the final album, such as "Hey Jude" (released as a single backed with "Revolution"). Other songs recorded during this time would later surface on bootlegs as well as on ''The Beatles Anthology'', including Harrison's "Not Guilty" (which he would later re-record as a solo track and release on his 1979 self-titled album, ''George Harrison'') and Lennon's "What's The New Mary Jane".
A number of songs were recorded in demo form just prior to ''The Beatles'' sessions for possible inclusion but were not recorded properly. These were "Mean Mr. Mustard", "Polythene Pam" (both which would be used for the medley on ''Abbey Road''), "Jubilee" (later retitled "Junk" and released on McCartney's first solo LP), "Child of Nature" (recorded with drastically different lyrics as "Jealous Guy" for Lennon's ''Imagine''), "Circles" (which Harrison would return to fourteen years later on "Gone Troppo") and "Sour Milk Sea" (which Harrison gave to friend and Apple artist Jackie Lomax for his first LP ''Is This What You Want'').
The album was produced and orchestrated by George Martin, and was the first Beatles' album released by Apple Records, as well as their only original double album. Martin suggested to the group that they reduce the number of songs in order to form a single album featuring their stronger work, but the band decided against this
The arrangement of the songs on ''The Beatles'' follow some patterns and symmetry. For example, "Wild Honey Pie" is the fifth song from the beginning of the album and "Honey Pie" is the fifth song from the end. Also, the three songs containing animal names in their titles ("Blackbird", "Piggies", and "Rocky Raccoon") are grouped together. In a similar fashion, "Honey Pie" and "Savoy Truffle"(both types of deserts) play back to back. "Savoy Truffle", the fourth song from the end, contains a reference to "Ob-La-Di, Ob-La-Da," the fourth song from the beginning. In addition, the album's four Harrison compositions are distributed evenly, with one appearing on each of the four sides. Each record's first track is a return to traditional rock n' roll("Back in the USSR" and "Birthday").

Singles

Although "Hey Jude" was not intended to be included on the album, it was recorded during the White Album sessions and was released as a stand-alone single. Its B-side, "Revolution", was an alternate version of the album's "Revolution 1". Lennon had wanted the original to be released as a single because of its political slant but the other three Beatles objected because it was too slow. A new, faster version with distorted guitar was recorded but was nonetheless relegated to the flip side of "Hey Jude". This would be the first release for the new Apple Records, and would become a tremendous hit, the best selling of all Beatles' singles in the US.
The album tracks "Ob-La-Di-Ob-La-Da" and "While My Guitar Gently Weeps" were released as a single in several countries.

The mono version

''The Beatles'' was the last Beatles' album to be released with a unique, alternate mono mix, albeit one issued only in the UK. Twenty-nine of the album's thirty tracks ("Revolution 9" being the only exception) exist in official alternate mono mixes.
Beatles' albums after ''The Beatles'' (except ''Yellow Submarine'' in the UK) occasionally had mono pressings in certain countries, but these editions – of ''Yellow Submarine'', ''Let It Be'', and ''Abbey Road'' – were in each case mono fold-downs from the regular stereo mixes.
In the U.S., mono records had already been phased out, so the U.S. release of ''The Beatles'' was the first Beatles' LP issued in the U.S. - only in stereo.

Sleeve

The album's sleeve was designed by Richard Hamilton, a notable pop artist who had organised a Marcel Duchamp retrospective at the Tate Gallery the previous year. Hamilton's design was in stark contrast to Peter Blake's vivid cover art for ''Sgt. Pepper's Lonely Hearts Club Band'', and consisted of a plain white sleeve. The band's name was discreetly embossed slightly below the middle of the album's right side, and the cover also featured a unique stamped serial number, "to create," in Hamilton's words, "the ironic situation of a numbered edition of something like five million copies." Indeed, the artist intended the cover to resemble the "look" of conceptual art an emerging movement in contemporary art at the time. Later vinyl record releases in the U.S. showed the title in grey printed (rather than embossed) letters. Early copies on compact disc were also numbered. Later CD releases rendered the album's title in black or grey.
The album's inside packaging included a poster, the lyrics to the songs, and a set of photographs taken by John Kelley during the autumn of 1968 that have themselves become iconic.
Two re-issues in 1978 (one by Capitol Records, the other by Parlophone) saw the album pressed on white vinyl, completing the look of the "white" album. In 1985, Electrola/EMI released a DMM (direct metal mastered) white vinyl pressing of the album in Germany, which was imported to the United States in large numbers. Another popular white vinyl pressing was manufactured in France. The 1978 Parlophone white vinyl export pressing and the German DMM pressing are widely considered the best-sounding versions of the album. This is due to the use of the famed Neumann lathe on the 1978 export pressing and the use of the DMM process on the 1985 pressing.
This is the only sleeve of a Beatles' studio album not to show the members of the band on the front. However, in 1988, Capitol/EMI released a 2-cassette version of the album that features the bandmembers' faces on the sleeve in the same arrangement as that of ''With The Beatles''.
In 1998, a 30th Anniversary reissue of the album was released on a 2-disc compact disc version, which was imported from the United Kingdom. The packaging of this release is virtually identical to its vinyl counterpart. It has the same pure white gatefold cover, complete with the title "''The BEATLES''" in a slightly raised, embossed graphic at a slight angle. There is also the now-classic sequentially numbered signification on the front of this cover, thus making this one a ''real'' limited edition. The interior to this cover features the song titles on the left-hand side, and the four black-and-white photos of the group members on the right. This version of the cover even accurately mimics the original British vinyl pressing from 1968, with the openings for the discs at the top rather than the sides. There are miniatures of the 4 full-color glossy portrait photos included, as well as an exact replica of the poster with the photo collage on one side, and the album's complete song lyrics on the opposite side. The CDs are housed in black sleeves, which were also used for the original British album.

Legacy

The album's cover, though very basic and simple, has been very influential. Goth Rock band The Damned released ''The Black Album'' in 1980, and is considered the first album to draw influence from the cover, as well as the first band to use the term "Black Album". The 1984 Rob Reiner 'rockumentary' Spinal Tap also pays homage with their own 'Black Album', which is juxtaposed to the original by A&R staff Bobbi Fleckman, who notes in a debate about appropriate packaging material: 'What about the White album? There's was nothing on that cover'. The band are generally less enthusiastic, referring to it variously as 'a black mirror', 'none more black' and 'death'. In the 1990s, both Prince and Metallica released self-titled albums with their names printed against mostly plain black covers, and are both informally referred to as "The Black Album". In 2003, rapper Jay-Z released an album officially called ''The Black Album''. Two compilations of Beatles' material, released in 1973 as ''1962–1966'' and ''1967–1970'', are often referred to as "The Red Album" and "The Blue Album" respectively, in reference to their colour scheme. Both of Weezer's self-titled albums borrow from this idea as well and fans refer to them respectively as "The Blue Album" (1994) and "The Green Album" (2001). 311's self-titled release from 1995 is often referred to as "The Blue Album", and the Dells 1973 self-titled album is often known as "The Brown Album", as is The Band's 1969 self-titled album.
Bob and Tom's first comedy album, ''The White Album'', released Christmas 1986, borrows its name from the Beatles' album, though the cover does not - rather, it features cartoon caricature portraits of the show's titular stars Bob Kevoian and Tom Griswold. This is the first of two Bob and Tom compilations to be named after or parody Beatles' albums (the other being their second release, ''Shabbey Road''.) Both albums are out-of-print.
In 1979, the writer Joan Didion published a collection of essays in a volume entitled ''The White Album''.
Washington based band Sunny Day Real Estate released an album with an entirely pink cover, which became to be known as ''The Pink Album''.
They Might Be Giants' 1986 self-titled debut album is referred to as ''The Pink Album'' for the colour of the record's centre label (and later the colour of the CD label), as well as to avoid confusion with the band's name and their later song "They Might Be Giants."
In 1987, ''Saturday Night Live'' comedian Dennis Miller released his first comedy album, entitled ''The Off-White Album'', recorded live at George Washington University, featuring a likewise coloured album cover.
Electronica duo Orbital's first two albums are both titled ''Orbital'' and known colloquially as the "Green Album" (1991) and the "Brown Album" (1993), whilst their 2004 release has the formal title ''Blue Album''.
In 1995, the Australian comedy duo Martin/Molloy released a double CD officially called ''The Brown Album'', and in 1997 the band Primus released a CD with the same title.
In 1998, an album of new songs from ''The Simpsons'', titled ''The Yellow Album'', was released. The album's cover was a parody of the cover of ''Sgt. Pepper's Lonely Hearts Club Band'', which had already been done as a couch gag for an episode in the series.
In 2000, comedian Lewis Black released an album titled ''The White Album'', with similar cover art, down to the capitalisation scheme of "Lewis BLACK".
In 2004, Brian Burton (also known as Danger Mouse) released ''The Grey Album'', an unauthorised mashup remix album later distributed on the Internet using samples from ''The White Album'' against the a cappella version of Jay-Z's ''Black Album''. EMI and Apple sent Brian Burton cease and desist letters, which prevented official distribution of ''The Grey Album''.
Also in 2004, Australian alternative band TISM released a 2 DVD/1 CD pack called ''The White Albun''. An intentional misspelling of ''The White Album'', its packaging was a white box with 'TISM' embossed on the front. At the end of the song "Cerebral Knievel" there is a short parody of "Revolution 9".

Tributes and popular culture references

★ At some point in the early-to-mid 1980s, Sonic Youth planned to cover the entire album, but this never saw the light of day. The project became the experimental pop satire ''The Whitey Album'', which was released under the name Ciccone Youth.

★ During a concert on October 31 1994, Phish played all the songs from ''The Beatles'' (except "Good Night") as one of the band's "Halloween " extravaganzas. The show has been released in its entirety as ''Live Phish Volume 13''.

★ In December 2005, the BBC show ''One World'' broadcast a two-hour retrospective on ''The White Album''. Narrated by former Beatles' co-producer Chris Thomas - who went on to produce such luminaries as Pink Floyd, Sex Pistols, Roxy Music, and Brian Eno - the broadcast features reworkings of songs from ''The Beatles'' from a large and diverse roster of independent artists such as Bardo Pond, Deerhoof, Toy, and Bedouin Soundclash.

★ In ''The Simpsons'' episode "Homer's Barbershop Quartet", many Beatles references appear relating to Homer's group The Be Sharps. One such reference occurs when Barney introduces the rest of the band to his new girlfriend, a Japanese conceptual artist. In a parody of "Revolution 9", they demo a song which features a tape loop of Barney's belches with his girlfriend intoning "Number 8" over and over again.

★ In ''Men in Black'', as Agent K (Tommy Lee Jones) is explaining to the newly-recruited Agent J (Will Smith) that alien technology permeates Earth society, he holds up a small (perhaps an inch in diameter) shiny disc (supposedly the latest music media) and laments, "Guess I'll have to buy the White Album again."

★ In the movie ''This Is Spinal Tap'', Polymer Records executive Bobbi Flekman is explaining to the band's manager that their proposed cover for ''Smell The Glove'' has been deemed sexist and will have to change. She comments "And I don't think that a sexy cover is the answer for why an album sells or doesn't sell, because you tell me....the White Album, what was that? There was nothing on that goddamn cover." Spinal Tap later releases ''Smell the Glove'' with an all-black cover, which is similar to the White Album's all-white album cover.

★ Nickelodeon released an album with songs from its popular children's series, ''SpongeBob SquarePants'', titled '' with a cover very similar to the ''White Album''.

★ An episode of ''Saturday Night Live'' features a skit about a fried chicken restaurant run by a reunited John Lennon and Paul McCartney. In the skit, Lennon keeps saying into the mic in reference to a customer's order, "Number 9, Number 9, Number 9, who ordered the Number 9?" In another episode, during a ''Celebrity Jeopardy'' skit, one of the questions under the category "An Album Cover" was "The color of the Beatles White Album cover." Catherine Zeta Jones buzzed in and said, "Who are the Beatles?" When asked what she meant by Alex Trebek, she said, "I don't know who they are."

Track listing

All songs credited to Lennon/McCartney, except where noted.

Side one

#"Back in the U.S.S.R." – 2:43
#"Dear Prudence" – 3:56
#"Glass Onion" – 2:17
#"Ob-La-Di, Ob-La-Da" – 3:08 ''()''
#"Wild Honey Pie" – 0:52
#"The Continuing Story of Bungalow Bill" – 3:13
#"While My Guitar Gently Weeps" (George Harrison) – 4:45 ''()''
#"Happiness Is a Warm Gun" – 2:43

Side two

#"Martha My Dear" – 2:28
#"I'm So Tired" – 2:03
#"Blackbird" – 2:18 ''()''
#"Piggies" (Harrison) – 2:04
#"Rocky Raccoon" – 3:32
#"Don't Pass Me By" (Ringo Starr) – 3:50
#"Why Don't We Do It in the Road?" – 1:40
#"I Will" – 1:45
#"Julia" – 2:54

Side three

#"Birthday" – 2:42
#"Yer Blues" – 4:00
#"Mother Nature's Son" – 2:47 ''()''
#"Everybody's Got Something to Hide Except Me and My Monkey" – 2:24
#"Sexy Sadie" – 3:15
#"Helter Skelter" – 4:29 ''()''
#"Long, Long, Long" (Harrison) – 3:03

Side four

#"Revolution 1" – 4:15 ''()''
#"Honey Pie" – 2:40
#"Savoy Truffle" (Harrison) – 2:54
#"Cry Baby Cry" – 3:02
#"Revolution 9" – 8:13 ''()''
#"Good Night" – 3:11

Other tracks of the period

The following were rejected before the original release and final mixing:
#"What's The New Mary Jane"
#"Not Guilty"
#"Etcetera"
Note: "Hey Jude" was always intended to be a stand-alone single and therefore was not ''rejected'' for the album (ref pg.145).
The following songs were in an early form and may or may not have been considered for the album:Lewisohn, Mark (1996). ''The Complete Beatles Chronicle''. Chancellor Press. ISBN 0-7607-0327-2.
#"Junk" (known at the time as "Jubilee", released on McCartney's first solo album ''McCartney'')
#"Circles" (later released on Harrison's solo album ''Gone Troppo'')
#"Sour Milk Sea" (later recorded by Jackie Lomax)
#"Something" (later featured on ''Abbey Road'')
#"Mean Mr. Mustard" (later featured on ''Abbey Road'')
#"Polythene Pam" (later featured on ''Abbey Road'')
#"Child of Nature" (inspired by the same Maharishi lecture as Paul McCartney's "Mother Nature's Son", its lyrics were too similar to Paul's composition for it to be considered for the album - a reworked version of this song later appeared as a hit single from John Lennon's solo album "Imagine" in the form of "Jealous Guy")

Release history

Country	Date	Label	Format	Catalog
United Kingdom	November 22 1968	Apple Records	mono double LP	PMC 7067-8
United Kingdom	November 22 1968	Apple Records	stereo double LP	PCS 7067-8
United States	November 25 1968	Apple, Capitol Records	double LP	SWBO 101
Worldwide reissue	July 20 1987	Apple, Parlophone, EMI	double CD	CDP 7 46443-4 2
Japan	March 11 1998	Toshiba-EMI	double CD	TOCP 51119-20
Japan	January 21 2004	Toshiba-EMI	remastered LP	TOJP 60139-40

References

1. Lewisohn, Mark(1988). ''The Complete Beatles Recording Sessions''. Hamlyn Publishing Group. ISBN 0-600-55784-7.
2. http://www.bbc.co.uk/nottingham/content/articles/2006/03/23/white_album_review_event_feature.shtml
3. Lewisohn, Mark (1988). ''The Complete Beatles Recording Sessions''. Hamlyn Publishing Group. ISBN 0-600-55784-7.
4. The Beatles Anthology (1995)

External links

★ [1]

★ [2]

★ Further information, including photographs of the packaging

★ Beatles comments on each song

★

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