FACTOID #53: If you thought Antarctica was inhospitable, think again - its land area is only ninety-eight percent ice. Reassuringly, the other 2% is categorised as "barren rock".
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The Beatles' Beatles For SaleEP was released April 6, 1965. The EP was only released in Mono and never released in Stereo. It's catalogue number is Parlophone GEP 8931. The Beatles (1960-1970) were an English music group from Liverpool who were the most critically acclaimed, commercially successful artists of their time[1][2]. They continue to be held in the highest esteem for their artistic achievements, their huge commercial success, their groundbreaking role in the history of popular... EP can stand for: EP is the IATA code for Iran Aseman Airlines Extended play, a music recording (usually consisting of several tracks, but shorter than a typical album) European Parliament, the parliamentary body of the European Union Evolutionary psychology, a belief that psychology can be better understood in light... Parlophone is a record label which was founded in Germany prior to World War I by the Carl Lindstrom Company. ...
The Beatles stay more slavishly close to the originals this time around than they had before, in spite of an earlier trend toward liberal reworking noted on WTB and LTS; perhaps a side- effect of the relative haste with which this album is known to have been put together.
The Beatles make a small but persuasive chord change at the end of the first verse; changing measure 12 to the V chord (instead of sustaining the I chord from measure 11), all the better to motivate the next section.
Granted, the refrains here are in the straight blues form, but the 12-bar verses incororpate a rather Buddy-esque use of the flat-VI chord, and the guitar solo sections are actually a clever 8-bar contraction of the verses in which the eighth measure moves to V instead of sustaining the flat-VI from the previous measure.
Beatles for Sale marks a strange interlude in the rapid and prolific career of the Beatles.
Beatles for Sale has been critically neglected, on the whole, because it doesnt fit the paradigm of genius-arists writing their own material.
It was a hiccup on the way to their classic mid- to late-60s recordings, back to the formula of 8 originals and 6 covers, a reminder that record companies are part of large corporations with an interest in clawing some songwriting royalties back from the artists on their roster.
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