In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn. On November 9, The Beatles will release a suite of lavishly presented ‘White Album’ packages (Apple Corps Ltd./Capitol/UMe). The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.
The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.
The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.
• They recorded 27 songs and we have been allowed to release all of them here.
• 19 of them ended up on the White Album with the rest either being recorded by the band or as solo later or in the case of Sour Milk Sea being given to another singer for his solo album on Apple Records (Jackie Lomax).
• 7 have previously been released on Anthology, but they were mixed with the technology of the time and now Giles has been able to really clean them up and bring out the intimate nature of the recordings.
• Look on this as The Beatles Unplugged!!!
• One of the biggest things we learned through listening to the sessions, and which the fans can hear too via the inclusion of the studio chat and banter between takes, is that while this was certainly a time of change for the guys – growing up and maybe starting to grow apart too, it was NOT the miserable experience that has become history’s view of it. They are clearly having a blast playing as a band again and supporting each other with different ideas, working out how to approach parts, etc. They had FUN in the recording of this album, amongst the angst, and this shines through more than anyone has previously realized.
• One of the big discoveries is Julia (Take 10) which was discovered at the end of a tape that was marked up as blank. Our team actually listened to 20 minutes of silence when suddenly this incredible take appeared – it shows John trying to figure out how best to play his guitar and how to sing it. Amazing stuff.
• On listening to all the While My Guitar sessions, it became clear the received history is wrong. People have always thought that Eric was brought in by George towards the end to add his playing, but we now know that he came in for a whole day of sessions and is on all of the takes from that session – over 20 takes!
• Helter Skelter – was recorded in two distinct versions. Originally there was a blues jam that was much slower and more measured – a small sample appeared on Anthology 3 – but they eventually gave up and returned to the song a couple of weeks later when it became arguably both the first heavy rock record AND the first punk record at the same time! There is a 23 minute version of the blues take which we could not include, but we have been able to use a 9 minute take as well as an alternate take of the later version.