The Week "Love Me Do" Was Released…

by Stuart Penney

“Which famous 7-inch single had the catalogue number R4949?" queried Bamber Gascoigne, peering over his wire-rimmed spectacles. That question was posed around 1982 on an episode of BBC TV's University Challenge. None of the expensively educated students knew the answer. They didn't have a clue. Even their lucky gonks couldn’t help them. They punted a few wild guesses such as “White Christmas” and “Rock Around the Clock”, but to no avail. They were well and truly flummoxed. 

Watching at home I don’t usually get too many University Challenge answers correct but I do know a bit about records and this one was right up my alley. “It’s ‘Love Me Do’” I declared loudly with an air of smug self-satisfaction. As always, my moment of triumph was greeted with studied indifference from those around me. Nevertheless, for such an esoteric question to be asked on a highbrow mainstream TV quiz show was clear indication of how far the Beatles had permeated mainstream culture.

That was over 40 years ago at a time when the Beatles’ popularity was, by their standards, going through something of a slump. Since then, the Fab Four juggernaut has gained new momentum and today their cultural dominance is undisputed and absolute. Not bad for a group that split up almost 60 years ago. I was tempted to say that perhaps they are now finally “more popular than Jesus” as Lennon predicted in 1966. But with over 1.6 billion records sold to date, at least two giant Beatle museums on the way and four (yes, four) individual biopics from Sam Mendes on the horizon, that day can’t be far away now, surely?

Going back 64 years to where it all started, I’ve long been fascinated by the Parlophone release sheet from October 1962 pictured here. It lists 11 singles the label was about to unleash upon the world. The records have consecutive catalogue numbers from R4947 to R4957, implying they were released simultaneously, but it’s more likely they appeared over a few weeks during the month. As McCartney would opine in the 1975 Venus and Mars track “Rock Show”, it really is like a relic from a different age.

Many names on the list are now long forgotten, as are most of the records. They simply disappeared, taking the hopes and dreams of the artists along with them. But as we now know, one record would outlive them all.  

You don’t need me to tell you that “Love Me Do” (Parlophone 45-R4949) was the first major label release by the Beatles. They’d previously recorded a handful of low-key tracks for the German label Polydor. but this was their first shot at the big time. After all, Parlophone was part of EMI, the self-styled “Greatest Recording Organisation in the World” (it said so on their record sleeves). As label manager and head producer from 1955 to 1965, it’s only natural that George Martin’s name looms large on this list and inevitably he had a hand in many of these records.

Come with me now as we take a deep dive into the 11 Parlophone singles released on or around that memorable date of October 5,1962, a day when the earth surely shifted slightly on its axis. And if you think that’s a little hyperbolic, this piece will hopefully provide a flavour of what was happening at Parlophone before the Beatles arrived to conquer all. This is a snapshot of British pop as it was in the early 60s.

It should be noted that these are all 7-inch 45rpm singles. Major label 10-inch shellac 78rpm singles were discontinued in the UK around 1960, and the last Parlophone 78 was probably Adam Faith’s “Poor Me”/“The Reason” (Parlophone R4623) released on January 15,1960 (34 months and 326 releases before “Love Me Do”). By 1960 most people were buying the new-fangled vinyl 45s and the last few UK 78s sold in tiny numbers and are now very rare. Some developing countries continued making 78s through the 60s of course and Beatles’ 10-inch shellac singles made in India are highly prized collector’s items today.

The King Brothers

Nicola/Way Down the Mountain (Parlophone 45-R4947)

Released October 5, 1962

There’s strong Beatles connection right away with this one. “Nicola” was written by Steve Race (1921-2009) and named for his daughter who was aged 16 at the time. It was first released as an instrumental in 1960 as the B-side of Race's single “Inn For Trouble” (Gala GSP 811). After budget label Gala folded, a second version was released in March 1962, this time with “Nicola” as the A-side (Parlophone 45-R4894). This recording won Race an Ivor Novello Award in 1963 for The Year's Outstanding Light Orchestral or Other Non-Vocal Composition.

A respected jazz musician, composer and radio/TV presenter (he notably fronted the long running BBC Radio 4 panel show My Music), Race was also an esteemed author and music journalist, writing for Melody Maker. Although no fan of rock & roll, in June 1967 he was regarded by the BBC as a safe pair of hands to introduce the Beatles as they performed “All You Need Is Love” on the Our World satellite TV broadcast.

As for the King Brothers (Denis, Mike and Tony were actual siblings), the trio was six years and more than 20 singles into a successful career by late 1962. In 1957 and 1960 they were named “Top Vocal Group” in the NME readers’ poll and in 1956 became the youngest variety act to appear at the London Palladium. It’s said they were Parlophone’s most successful pre-Beatles group.

Like many British vocal groups of the era they specialised in cover versions of US hits and their biggest success came in 1960 with the single “Standing On the Corner” which reached #4 in the UK charts. Written by Frank Loesser for the 1956 Broadway musical The Most Happy Fella, it was first recorded by The Four Lads.

With added lyrics by Norman Newell, their vocal recording of “Nicola” was the King Brothers’ final single for Parlophone, after which they moved between several different record labels as their popularity waned. They disbanded in 1970, with Denis King going on to become a prolific writer of TV themes and incidental music, penning music for countless television series and films. 

Norman Newell (1919-2004) was a successful record producer and lyricist and was head of EMI’s Columbia records during the 1950s and 60s.

Nicola Race was born in Watford in 1946. The last I heard she was still around and living in North Yorkshire, now in her 80s.

Johnny Angel

Better Luck Next Time/The Power of You (Parlophone 45-R4948)

Released October 1962

Not much is known about Johnny Angel. I couldn’t find his real name and what little we do know is vague and open to debate. It seems he was born in British Guiana and came to the UK to become a pilot, but a perforated eardrum soon put an end to that ambition. He moved on to writing short stories which in turn led to him penning a calypso (it says here). He was also a member of Joe Brown's original skiffle band, The Spacemen but didn’t record with them.

Not to be confused with several other artists using the name, (or the 1962 eponymous hit single by Shirley Fabares), “our” Johnny Angel released seven Parlophone 45s between March 1960 and May 1963, none of which remotely troubled the charts.

Like the other Johnny Angels, his suitably beatific name was no doubt inspired by the 1945 film noir crime-drama starring George Raft.

In February 1962 his fifth single “Look, Look, Little Angel” (Parlophone 45-R4875) was one of 12 songs entered in the BBC’s “Song For Europe” contest to decide which would represent the UK in the Eurovision Song Contest. Johnny came sixth and didn’t qualify. The winner was old stager Ronnie Carroll with “Ring-A-Ding Girl” (Philips PB1222). Eurovision 1962 was ultimately won by France with "Un premier amour" performed by Isabelle Aubret. Ronnie Carroll’s UK entry came fourth.

Beatles connection: Angel was signed to Parlophone by George Martin who produced at least some of his singles. It’s rumoured that he was offered “How Do You Do It” before both the Beatles and Gerry & the Pacemakers. The song is also said to have been offered to Adam Faith and Brian Poole and the Tremeloes around the same time.

This story gains more credence when we look at the writing credits for “Better Luck Next Time”. “A” label demonstration copies credit the song to Barry Mason, while red label stock copies (pictured here) list both Barry Mason AND Mitch Murray. And, as we know, Murray penned “How Do You Do It”. Convincing evidence, I'd say.

Barry Mason and Mitch Murray were massively successful songwriters with countless hits to their names. But their magic didn’t rub off on Johnny Angel and, like his other Parlophone singles, “Better Luck Next Time” sank without trace.

The Beatles

Love Me Do/P.S. I Love You (Parlophone 45-R4949)

Released October 5, 1962

It didn’t set the world on fire, reaching only #17 in the UK in late 1962 (and it’s rumoured Brian Epstein bought up many of those himself), but “Love Me Do” absolutely set the scene for the greatness that was to come. And, lest we forget, it was the biggest seller of all the singles discussed here and one of only two which made the charts.

There are two different recordings of “Love Me Do”. The original UK single (recorded September 4, 1962) features Ringo on drums, only weeks after he joined the group. A second version which ended up on the Please, Please Me album (recorded September 11, 1962), featured session man Andy White on drums with Ringo sidelined on tambourine.

Confusingly, early red label pressings of the single feature the September 4 Ringo take, while later black label pressings contain the September 11 Andy White album version. It seems the master tape of the September 4 take was misplaced for some years.

UK white label demonstration copies had a misprint on the label showing both songs credited to “Lennon/McArtney” (see below). Red label stock copies corrected this error, reinstating the missing “C”.

Comically, the photos EMI used on the music press ads for "Love Me Do" (seen above) showed George sporting a black eye, courtesy of a disgruntled Pete Best fan following the drummer's sacking.

In America “Love Me Do” did rather better than the UK. After a delay of 19 months, it appeared at the end of April 1964 on the short-lived independent label Tollie (T9008). Beatlemania had hit America by then and “Love Me Do” reached number one, selling more than a million copies. The Tollie label was a subsidiary of Vee-Jay records. Launched in February 1964, it closed in May 1965 after releasing only 48 singles.

In Australia “Love Me Do” was the Beatles’ fifth single released in January 1964 c/w “I Saw Her Standing There” (Parlophone A8105). It reached number one in most Aussie states (there were no national charts down under until late 1966) probably on the strength of the B-side.

“Love Me Do” was re-released in 1982 as a 7”, 12” and 7” picture disc as part of EMI's Beatles 20th anniversary programme. It re-entered the UK charts and peaked at #4. The three track 12” single contained both the Andy White and Ringo versions of the song.

On Wednesday, October 17, 1962, the Beatles made their first ever television appearance on the Granada TV early evening magazine programme People and Places. Granada was based in Manchester and transmitted only in the north of England.

They performed “Some Other Guy” and “Love Me Do” followed by a short interview. This was 12 days after the single hit the shops and I’m pretty sure it was the first time I ever saw or heard the Beatles.

Quite by accident I happened to catch People and Places that evening and recall the group was introduced by Bill Grundy (although others claim it was the show’s co-host Gay Byrne). Grundy said something like “Here’s a new group from Liverpool with an unusual name - The Beatles. This is their new record, and it’s called “Love Me Do”. It’s said lightning never strikes twice, but in 1976 Bill Grundy achieved fame a second time with his notorious Sex Pistols interview.

Nicky Hilton

Your Nose Is Gonna Grow/You Might Have Love (Parlophone 45-R4950)

Released October 1962

This semi novelty song was originally recorded by US actor/singer Johnny Crawford who sang it in a curiously high register, hardly surprising since he was aged only 15 or 16 at the time. A child actor, Crawford appeared in several popular TV Westerns including The Lone Ranger, The Restless Gun and Tales of Wells Fargo, but he’s probably best known for starring alongside Chuck Connors in the ABC TV series The Rifleman.

Crawford’s version of “Your Nose Is Gonna Grow” (Del-Fi 4181) was released in July 1962 and several cover versions followed within months. Along with Nicky Hilton, there were recordings by Emile Ford, Christine Quaite and Rob Robbins. There was even a French language version by Françoise Hardy “Qui Aime T'il Vraiment”.

16-year-old Nicky Hilton (real name Raymond Ensor) hailed from Coventry and “Your Nose Is Gonna Grow” was his first release. It was followed by “I'm Gonna Lock My Heart and Throw Away The Key” (Parlophone 45-R4991) and his final single “Give Us Your Blessing” (Decca F12099) came in 1965. None of them made any impact on the charts and he was never heard from again.

Shane Fenton & the Fentones

Too Young For Sad Memories/You’re Telling Me (Parlophone 45-R4951)

Released October 19, 1962

Two different people used the stage name Shane Fenton. The first was Johnny Theakston who fronted Mansfield, Nottinghamshire band Shane Fenton and the Fentones. In 1961 with a BBC radio Saturday Club session booked, plus an audition with Parlophone records looming, it seemed like success was beckoning.

Disaster struck when 17-year-old Theakston suddenly fell ill and died. Enter the Fentones roadie, Bernard Jewry. With Theakston’s mother’s blessing Jewry took the stage name Shane Fenton and fronted the Fentones from that point. They were duly signed to Parlophone and recorded nine singles between 1961-64, four of them were moderate hits. In addition, the Fentones released a pair of Shadows-style instrumental 45s in 1962, both of which crept into the top 50.

Despite the music press ads wildly claiming it was “Certain For The Charts”, “Too Young For Sad Memories” was Fenton’s first outright flop, which was surprising considering it was written by the great Lionel Bart. It did make the top 20 in Sweden, however.

His final Parlophone single was “Hey Lulu” (R5131) in May 1964. Little more was heard until 1973 when he re-invented himself as Alvin Stardust. Shamelessly riding the glam/retro rock wave, he scored 15 chart singles over the next decade, including seven top 10 hits.

Unusually, Shane Fenton and the Fentones recorded no LPs during their time together, although compilations later appeared.

Bernard Jewry/Shane Fenton/Alvin Stardust died in October 2014, aged 72.

James Brown and the Famous Flames

Shout and Shimmy/Come Over Here (Parlophone 45-R4952)

Released October 1962

Despite sounding uncanny like the Isley Brothers’ 1959 classic “Shout”, this is perhaps the most important and enduring record in our list, along with “Love Me Do”, of course. It’s also the only one not recorded locally.

Prior to 1962 the Parlophone label was reserved mainly for British acts, with American artists usually (but not exclusively) handled by EMI’s bigger imprints HMV and Columbia. James Brown seems to have been the exception that proved that rule.

Before moving across to Decca’s London label circa 1963 Brown released three singles on Parlophone: “Think”/“You’ve Got the Power” (R4667), “Night Train”/“Why Does Everything Happen To Me” (R4922) and “Shout and Shimmy”. All were licensed from Syd Nathan's King Records, a prominent American label based in Cincinnati, Ohio.

It may have been just his fourth UK 7” (including a 1960 Fontana single “This Old Heart” [H273]), but the prolific James Brown had already recorded more than 25 US singles by October 1962, all of them for the King and Federal labels.

Released June 1962 in America, “Shout and Shimmy” (King 45-5657) reached #61 in the Billboard Hot 100 and #16 Billboard Hot R&B Singles chart. Both tracks were taken from the July 1962 US compilation album Good, Good Twistin’ With James Brown (King 780). R4952 didn’t get a sniff of the British charts, of course, and James Brown wouldn’t start his long run of UK hits until 1965 with “Papa’s Got a Brand New Bag” (London HL9990).

In 1965 “Shout and Shimmy” was covered in fine style by The Who as the B-side of their “My Generation” single (Brunswick 05944).

The Temperance Seven

The Shake/Bye Bye Baby (Parlophone 45-R4953)

Released November 1962

The Temperance Seven were Chelsea Art School students who had recorded for Decca’s esoteric Argo label before moving to Parlophone. Their name was suggested by Dougie Gray of fellow comedy/jazz outfit The Alberts. Since they had nine group members Gray quipped that they were “one over the eight”, an archaic British term meaning intoxicated, hence the ironic name “Temperance”.

They recorded 11 singles and two LPs for Parlophone between 1961-64, including a #1 hit with their 1961 debut “You’re Driving Me Crazy”/“Charley My Boy” (R4757). Produced by George Martin, it was his very first chart topper (his second was “Please, Please Me”). They followed this up with the #4 hit “Pasadena”/“Sugar” (R4781) also produced by George.

By the time “The Shake” was released the trad jazz revival craze was in decline and the single sank without trace (although the Bonzo Dog Band, the New Vaudeville Band and others would bring it back later in the 60s).

Perhaps the most interesting thing about this record are the composers Bill McGuffie and Max Diamond. A well-known British composer and pianist, McGuffie was a long-time member of the Joe Loss Band and wrote numerous film scores, including the 1966 Dr. Who spin-off Daleks' Invasion Earth 2150 A.D. He also made TV appearances, notably in the 60s police drama series Softly, Softly.

Max Diamond wrote several comedy songs, including “My Boomerang Won’t Come Back” a famously non-PC (even for 1961!) top 20 UK hit for Charlie Drake. It was produced by George Martin, of course.

The Temperance Seven dissolved in the mid-60s but were resurrected a few years later with new personnel. In the late 60s they were known as The New Temperance Seven with Ted Wood (elder brother of Ronnie) on vocals.

As late as 2022 a version of the band was still active, performing dates in the UK and New Zealand.

Matt Monro

My Love and Devotion/By The Way (Parlophone 45-R4954)

Released October 19, 1962

Other than “Love Me Do”, this is the only single in our list which enjoyed any UK chart success, peaking at #29 in November 1962 and winning Matt Monro an Ivor Novello Award. It was first recorded by Doris Day who scored a UK #10 hit with it in 1952. Perry Como covered it the same year, before Matt Monro picked it up a decade later.

The tune of “My Love and Devotion” is based on the theme from the second movement, “The Romance”, of “Violin Concerto No. 2, Opus 22” by Polish violin virtuoso and composer Henryk Wieniawski, which dates from 1862.

Former bus driver and the so-called “British Sinatra” Monro spent a few years at Decca before George Martin brought him to Parlophone where he enjoyed instant success, racking up 14 hit singles from 1960-1965. Predictably, there was a major Beatles connection along the way.

With almost 3,000 different versions and counting, “Yesterday” is one of the most covered songs in history. But who recorded it first after the Beatles? It was almost certainly Matt Monro who released his version (Parlophone R5348) on October 8, 1965, only weeks after the song first appeared on the Help! album. Produced by George Martin, of course, it reached #8 in the UK charts. The second cover was probably by Marianne Faithfull who released her version (Decca F12268) 12 days later on October 22.

Houston Wells & the Marksmen

This Song Is Just For You/Paradise (Parlophone 45-R4955)

Released October 1962

The name sounds like it belongs to a US soul outfit, but in fact Houston Wells & the Marksmen was a country music band from Southend-on-Sea. What’s more, all but one of their Parlophone singles were produced by Joe Meek’s R.G.M. Sound Recording, making them very collectable today.

They scored just one UK chart entry with their third Parlophone single “Only the Heartaches” (R5031) which reached #22 in August 1963.

Their 1965 final Parlophone 45 “Blue of the Night” (R5226) was a Shel Talmy production. There was also a 1968 single “Teach Me Little Children” (CBS 3572) produced by Tony Reeves who played bass for John Mayall’s Bluesbreakers, Colosseum and Greenslade.

Ken Jones and his Orchestra

Dodgy Waltz/Blue Daniel (Parlophone 45-R4956)

Released October 1962

I have no proof, but I like to think the title of this one was inspired by TV comedian Norman Vaughan’s catchphrases “Swinging” and “Dodgy”. Between 1962-65 Vaughan compered the hugely popular ATV show Sunday Night at the London Palladium and his naff catchphrases were repeated endlessly across the land. I’m tempted to say “you had to be there” but even at the time, sides remained resolutely unsplit.

Ken Jones had a long and successful music career. He was band leader for Michael Aspel’s BBC TV talk show, conducted the 1979 UK entry at the Eurovision Song Contest ("Mary Ann" performed by Black Lace) and wrote TV and film music galore.

“Dodgy Waltz” is a prime slab of early 60s jazz/pop easy listening. More interesting is the punningly-titled B-side. Written by jazz trombonist Frank Rosilino, “Blue Daniel” was first recorded in 1959 by Shelly Manne & His Men on the album At the Black Hawke Vol.1. It went on to become a jazz standard. 

Jill Graham

Blow Joe/Mr. Clown (Parlophone 45-R4957)

Released October 1962

Jill Graham was just 18 when she recorded “Blow Joe” the first of her two singles. She was discovered and co-managed by Dick James, who in February 1963 would become the Beatles music publisher.

First recorded by the “My Boyfriend’s Back” hitmakers The Angels in early 1962, “Blow Joe” was penned by Rudy Clark. He was the songwriter who gave us “If You Gotta Make A Fool of Somebody”, “The Shoop Shoop Song (It’s in His Kiss)”, “Got My Mind Set on You” and other early 60s classics.

Several of Clark’s songs were recorded by James Ray, an R&B singer much beloved by the Liverpool groups. In fact, in September 1963 when George Harrison visited his sister Louise in America, one of the records he brought back was the 1962 album James Ray (Caprice LP1002). 

 The Beatles played “If You Gotta Make a Fool of Somebody” onstage in their early days before Freddie and the Dreamers took it to #3 in 1963. George himself later covered “Got My Mind Set on You” on his 1987 Cloud Nine album.

Weird Scenes Inside The Gold Mine - Record Store Tales

Anyone who has worked in a record shop for any length of time will have stories to tell about the customers they encountered. All human life is there, after all. Most people are nice, some are annoying, others are eccentric and a few are just plain weird.

Whether it’s the boring know-all droning on about matrix numbers and the mono versus stereo debate, or the obsessive Beatles fan out to collect every variation of Sgt Pepper released in Sub-Saharan Africa (more common than you'd think), they can drive you nuts. And not in a good way.

I ran a second-hand record store in Australia for 30 years from 1985 to 2016 and, unsurprisingly, after dealing with the public for so long, I have a wealth of tales to tell.

For example, there was the time a respectable middle-aged lady came in and bought a CD by the 90s punk metal outfit Ugly Kid Joe. She definitely didn’t look the type, but I thought perhaps she was picking it up as a gift for her son or teenage nephew. Sure enough, she came back the very next day to get a refund looking embarrassed and a little irate. It transpired that she thought she was buying a CD by, and I shit you not, the world music/Afrobeat singer Angélique Kidjo. She’d misread the cover. Well, Ugly Kid Joe and Angélique Kidjo, it’s an easy enough mistake to make.

Another time a chap bought an LP by the Doors and before leaving the shop he made a point of mentioning, with obvious nationalistic pride, that the “Light My Fire” hitmakers were a local act, formed in Australia. He even declared that Jim Morrison was born down under. I really should have humoured him and let it go at that point. But I just couldn’t resist picking him up on this ridiculous claim. 

He became quite heated when questioned, insisting that, yes, of course the Lizard King hailed from Melbourne and what an idiot I was for not knowing that fact. That’s when the penny dropped, for me at least. Yes, it’s perfectly true, Jim Morrison was born in Melbourne right enough, but the tiny city of Melbourne in Florida, a mere 15,674 kilometres away from the Victoria state capital! 

He’d obviously read about Morrison’s birthplace somewhere, but stopped reading after the first line, having gleaned all the information he needed. This was before Google so I couldn’t even show him the damning evidence on my phone. He left the shop looking disgruntled and I often wonder if, 20 years later, he’s still labouring under his bizarre misapprehension.

Best of all was the strange case of Bob Dylan and the lesbians. One day, a pair of butch-looking young ladies came in the shop. I hate to jump to conclusions, but the viciously cropped hair, dungarees and Doc Martens were quite a giveaway. Also, the fact they were kissing and cuddling the entire time was further proof. Nothing wrong with that of course. Live and let live, I say.

We happened to be playing a Dylan compilation at the time and right on cue, his biggest hit “Lay Lady Lay” started up. As it reached the immortal line “Lay across my big brass bed” one of the girls pointed at the loudspeaker on the wall and snorted with derision, loud enough for the entire shop to hear, “Yeah, right! In yer bloody dreams, mate!” and they both howled with laughter at Bob's outrageous and unforgivable misogyny.

But they weren’t done yet. The Basement Tapes version of “This Wheel’s On Fire” then began to play and the girls seemed genuinely confused. “This is the Absolutely Fabulous theme, isn’t it?” said one. “But this is rubbish" added her friend. "I much prefer the Ab Fab version from the TV show”. Poor old Bob had been put firmly in his place.

The Epiphone Texan Story - A Guitar Fit For A Beatle

by Stuart Penney

In the hierarchy of great American guitar makers, the Epiphone company was once right up there with Gibson, Fender and Gretsch. And in the world of vintage acoustics only Martin and Gibson were more important.

I’ve had a fascination, bordering on obsession, with Epiphone guitars for seven decades. It all started in August 1965 when I saw Paul McCartney playing his blonde Texan acoustic on the TV variety show Blackpool Night Out.

Sharing the bill with the Beatles that night were the easy listening duo Pearl Carr and Teddy Johnson, choreographer Lionel Blair and comedians Mike and Bernie Winters. I won’t say the show was painfully outdated, but six years earlier Pearl and Teddy had represented the UK at the 1959 Eurovision Song Contest, where they were runners up with the execrable “Sing, Little Birdie.” In case anyone was wondering (and I’m sure you were), the Netherlands romped home winners at Eurovision 1959 with the song "Een beetje" (“A Little”), performed by Teddy Scholten. You’re welcome.

As for Mike and Bernie Winters there’s a tremendous anecdote about the comedy double act which may or may not be apocryphal. It’s said they were playing the famously tough Glasgow Empire during their formative years on the comedy circuit. Mike came out on stage first and after struggling to make the punters laugh for some minutes, he was joined by brother Bernie. “Aw fer fuck’s sake,” heckled one Scot from high up in the gods, “there’s TWO of ‘em!” It’s one of those stories which really should be true. But I digress.

In Blackpool, the Fab Four thoroughly undermined proceedings with their irreverent, self-deprecating humour and spoof announcements - “Thank you Ringo” deadpanned Lennon as McCartney brought his solo performance of “Yesterday” to a close, “that was wonderful.”

But it was Macca’s guitar which captivated me just as much as his musical prowess on the night. The one thing even the most casual fan knows about Epiphone guitars is they were used extensively by the Beatles, both onstage and in the studio. John, Paul and George each played Epiphone Casino thinline hollow body electrics, while McCartney’s 1964 Texan was used to record the aforementioned “Yesterday,” possibly the most covered song in pop history, plus “Michelle”, “I've Just Seen A Face” and later solo acoustic tracks such as “Calico Skies” and “Jenny Wren”.

As we know, Macca is left-handed, so his right-handed Texan was flipped over, re-strung and played upside-down. That meant the pickguard, complete with its “e” epsilon, sat on the top bout of the guitar, unused and serving little purpose (see the above picture). Back then lefties weren’t nearly as well served in the guitar world as they are today - Jimi Hendrix is another notable example of the makeshift right-to-left method.

Until 1969 Epiphones were made in America, which meant they were hugely expensive in the UK and often beyond the reach of the average British amateur strummer. All that would change when, in the face of cheaper guitars coming in from Japan and the far east, the Epiphone company was moved offshore to become a budget brand.

We need a brief history lesson at this point. Epiphone is one of the oldest US guitar brands still in existence. The company was founded in 1872 in Smyrna, (then in Greece but now part of Turkey) by Anastasios Stathopoulos, who migrated to New York City at the start of the 20^th century. When Anastasios died in 1915 his son Epaminondas took over and re-named the company “Epiphone,” a combination of his own nickname “Epi” and the suffix “phone” (from the Greek phon, meaning “voice”). By the late 1920s the company had begun making guitars.

For 30 years Epiphone was a highly respected instrument maker and Gibson’s closest competitor. In fact, until he was lured away by Gibson around 1950, Les Paul (the man, not the guitar) was a dedicated Epiphone user. As well as archtop jazz guitars, they also sold banjos, mandolins, ukuleles, double basses and amplifiers.

By 1957 the company had fallen on hard times. Crippled by labour problems (they lost much of their workforce to the newly established Guild guitar company) and financial woes, Epiphone was purchased by Gibson for just $20,000. Initially it was only Epiphone’s upright double bass design and technology which Gibson assumed they were buying but, almost by accident, they ended up acquiring the entire company, including all the guitar models and inventory.

This is where it gets interesting for vintage guitar aficionados. Although the double bass was soon dropped from the catalogue, from 1958 to 1969, Epiphone guitars were built at the Gibson factory in Kalamazoo, Michigan by the same craftsmen using the same wood and other materials as other Gibson models. This meant they were of equal (or, in some cases, higher) quality as their Gibson counterparts despite maintaining their own individual brand identity.

This was done for a couple of reasons. One was to keep the venerable Epiphone name alive, and another was to avoid handing out too many Gibson franchises within the same proximity. If, say, a guitar store opened down the street from an existing Gibson dealer, the new store could be offered an Epiphone dealership instead, thus avoiding a conflict of interest.

A similar situation happened in the UK when Marshall amplifiers took off in the late 60s/early 70s. To meet demand Marshall launched a new brand they named Park. In almost every respect other than cosmetically, Park amplifiers were identical to Marshalls. So, if a dealer couldn’t get a Marshall franchise for whatever reason, they could become a Park retailer instead and (in theory) everyone was happy.

But let’s get back to Epiphone. For those of us who live and breathe vintage American guitars, Epiphone’s golden era was undoubtedly the decade 1958-69. This is when their guitars were made in the Kalamazoo factory but were just different enough from Gibsons to retain their own individuality. To separate the brands even further as far as UK buyers were concerned, the British distributor for Gibson guitars was Selmer, while Epiphones were imported by Rose-Morris, who also shipped Rickenbackers into the UK.

Throughout the 60s almost every Epiphone model was, to some degree or other, based on an existing Gibson guitar or bass and the UK was a booming market for these instruments. When we saw those beat groups on British TV you could bet your life just as many Epiphones were on display as Gibsons or Fenders.

All three Beatle guitarists favoured Epiphone Casinos (Lennon and Harrison onstage and all three in the studio) and, no doubt helped by its association with the Fab Four, the Casino was one of the few Epiphone models which outsold its Gibson equivalent, the virtually identical Gibson ES-330.

Likewise, sales of the Epiphone Rivoli bass probably outstripped its sister model the Gibson EB-2, certainly among the 60s UK beat groups. The EB-2 was a rare beast in 60s Britain, while the Rivoli was favoured by Chas Chandler (the Animals), Paul Samwell-Smith, (the Yardbirds), Les Chadwick (Gerry & the Pacemakers), Ronnie Lane (the Small Faces) and many others. While sunburst was by far the most popular finish, Scott Walker played a rare blonde Rivoli with the Walker Brothers and so did Andy Fraser (Free), Chas Hodges (the Outlaws, Chas & Dave) and Bob Lang (Wayne Fontana & the Mindbenders).

As noted, most 60s Epiphones were variations of existing Gibson models, and the Texan is closely released to the slope shouldered Gibson J-45, albeit with fancier appointments. Dubbed the “workhorse” the J-45 has long been the company’s most popular acoustic. But, with its elongated headstock and parallelogram pearloid neck inlays, many feel the Epiphone is a more attractive guitar than the comparatively plain J-45. 

Like the J-45, the Texan was constructed with a spruce top, Honduras mahogany neck, back and sides and Brazilian rosewood bridge and fingerboard. The one major difference between the two instruments is the scale length (i.e. the distance between the nut and the bridge). The Gibson has a 24.75” scale, while the Epiphone comes in at 25.5”. The longer scale length supposedly gives the Texan a snappier tone. Although, speaking as someone who has owned 60s examples of both guitars for decades, I can’t say I’ve noticed too much difference in the way they play or sound.

1966 UK Epiphone Catalogue - Prices Shown In Guineas

The official factory designation of the Epiphone Texan was the FT-79, with “FT” standing for flat top. Epiphone produced an acoustic guitar they called the FT-79 from the late 40s and through the 50s. This was re-named the FT-79 Texan in 1959 after the Gibson takeover. The earlier guitar was a mid-sized instrument, very different to the slope shoulder J-45 lookalike model it became. Jimi Hendrix had one of the pre-Gibson FT-79s which he apparently used at home and when travelling.

In 1969 Gibson recognised the threat of cheap imported guitars and Epiphone production was moved offshore, first to Japan and later to Korea, China and Indonesia. A strictly limited number of historic Epiphone models continued to be made in the USA, but most Epiphones made after 1969 were budget models which have little or no interest to vintage guitar collectors.

Around 2019 the Epiphone brand received a major re-boot and began producing higher quality guitars again, including decent mid-price versions of some famous 60s models (Casino, Coronet, Texan etc.) along with cheaper Epiphone versions of classic Gibsons (Les Paul, SG, J-45 etc.). Most are made in China and Indonesia, although a select few are now built in the Gibson Montana factory, with a hefty price tag to match.

Shipped from the Kalamazoo factory in May 1964 with serial number 194959, McCartney’s Epiphone was one of 690 natural finish Texans made that year (see shipping totals below). He is said to have purchased the guitar from Sound City on Shaftesbury Avenue, Soho in late 1964 or early 1965.

Macca’s Epiphone has been reissued several times both as US and Japanese made versions. There was even an exact replica, hand-aged with scratches, dings and the famous Detroit Red Wings ice hockey team sticker. A fan gave the sticker to Paul when Wings played Detroit’s Olympia Stadium in May 1976, and it’s been seen on his guitar ever since. 

Like many acoustic players, McCartney subsequently replaced the adjustable ceramic bridge on his 1964 Texan with a fixed saddle during the 70s and all re-issues/replicas of the guitar seem to reflect this change. Although common on Gibson and Epiphone acoustics throughout the 60s, adjustable bridges are not considered to provide the best tone and have fallen out of favour on all but the most accurate 60s spec re-issue guitars.

The limited-edition USA-made replicas were available in two batches of 40 and 250 examples, some of them were signed on the blue label inside the sound hole or on top of the guitar. These now sell for huge sums, often exceeding the price of 60s originals.

Along with Paul McCartney, other famous names who have played original 60s Texans include Tom Robinson (TRB), Peter Frampton (with Humble Pie and beyond), Al Stewart, Graham Nash (with the Hollies and CSN), Ronnie Lane (with the Small Faces), Wizz Jones and Steve Took (Tyrannosaurus Rex) to name just a few. 

I’ve owned the sunburst 1964 Epiphone Texan (serial #207361) pictured below for 50 years. It’s still my go-to acoustic guitar (and I’ve owned a lot of guitars over the decades) and could be my most treasured possession. It came from a furniture auction sale outside of London in 1976 for the princely sum of £120. That converts to around £850 in today’s money, but it’s probably worth more like £3,000 on the vintage guitar market. I really wanted a blonde Texan like McCartney’s, but beggars can’t be choosers.

Other more famous musicians clearly treasure their Epiphones too. McCartney’s priceless Texan was even pictured on the sleeve of his 1971 Wings LP Wild Life and he clearly has great affection for the guitar. Graham Nash still owns the hand decorated Epiphone he used with the Hollies and CSN and Peter Frampton recently received a signature model of the beloved Texan he first played in Humble Pie.

While writing this piece I spoke to erstwhile punk musician, broadcaster and LGBT rights activist Tom Robinson on Twitter/X. Let’s leave the final words to him:

“I worked hop picking all summer to save up £69 to buy my Epiphone Texan second-hand in 1970. Moved to London in 1973 and sold it the following year when short of cash. Not the worst decision I ever made, but fucking close”.

Texans Ahoy! Clockwise from top left: Tom Robinson, Peter Frampton, Graham Nash, Ronnie Lane, Wizz Jones, Al Stewart

Shipping totals courtesy of: Vintage Guitar & Bass

The Ones That Got Away: Near Misses With Rare Records - #3 Led Zeppelin

Here’s another sorry tale of how I let a rare and valuable record slip through my fingers. Like the earlier pieces this one also concerns Led Zeppelin – their debut album, in fact. But unlike those other records I did actually own this LP for quite some time. Although that probably only makes this saga even more lamentable.

So what? you may say. LZ’s albums sold by the squillons after all. Not this version, however. In the strange and obsessive world of record collecting this could be the single most desirable Zeppelin artefact of all, at least among the records which were sold commercially (ie not promotional releases). I’m talking about the very first UK pressing of Led Zeppelin (Atlantic 588 171). To be specific, it’s the one with the album title and Atlantic Records logo printed on the front in turquoise, with a thin but distinctive grey stripe/border along the bottom edge of the sleeve.

Why is this album so rare? It’s because only a very limited number (at a guess, maybe just a couple of thousand copies, although don’t quote me on that) escaped into the world before the sleeve was reprinted and the turquoise print was replaced with the orange lettering we are so familiar with today. Also, this version identifies the record as an undisputed, genuine first edition and, just as in the world of rare books, that carries great weight in terms of value and collectability, especially with an artist as important as Zeppelin.

I’ve never heard a convincing explanation as to why this variation came to be. Perhaps it was a mistake, but I like to think was something as simple as the printer running out of turquoise ink. Such slipshod cost cutting measures were not uncommon back in the 60s. It was only rock & roll, after all. Whatever the reason, this early version of the album sold out within weeks (if not days) making it incredibly rare and desirable today among those who value such things.

A change in the colour of the print may seem like a trivial thing to get all fired up about, but that kind of detail is meat and drink in the world of record collecting. And Led Zeppelin collectors are some of the most obsessive of all, probably second only to Beatles fans in that respect. I should mention that apart from the sleeve, there are several other tiny differences/discrepancies which distinguish the early pressings of this LP, but we won’t go there. Uncorrected matrix numbers and amended publishing credits are way beyond the scope of this blog, besides which that way madness lies for sure.

But what of the record itself? It’s impossible to overstate the importance of the debut Led Zeppelin album. Released in early 1969, it was a towering achievement which swept all before it. “Communication Breakdown”, “How Many More Times”, “You Shook Me”, “Dazed and Confused” and the rest created shock waves which are still felt throughout rock today. Following on from the Mayall/Clapton “Beano Album” and Jeff Beck’s Truth debut, Jimmy Page saw a lucrative gap in the heavy rock market and claimed it for his own.

I’d seen Zeppelin play at Sheffield University on November 23, 1968, over four months before the album hit UK stores. Discounting a few warm-up dates in Scandinavia, Sheffield was just the 8th gig they ever played and, in fact, the advance posters were still billing them as “The New Yardbirds”, although the new name was in place by the time I saw them. Today it would be unusual for a band to tour without a record of some kind in the shops, but that’s exactly what Zeppelin did in late 1968.

I bought my copy of Led Zeppelin I (as it became known retrospectively) in mid-April 1969 at Bradleys Record Centre in Sheffield city centre, just days after it was released. The price of a new LP at the time was around £2. I kept it for a few years before trading it in at Honest Jon’s record store on Portobello Road. You did that kind of thing back then. If you needed money to pay the rent on your grotty bed-sit, or cash to buy more records, you’d take an armful of LPs down to the local second-hand store. Rare records were not yet a thing in the early 70s and the turquoise sleeve variation meant absolutely nothing to me at that time. The store paid the going rate of one or two pounds for each album, if they were in good condition, which we happily accepted.

So that’s where my rare turquoise copy of the first Led Zeppelin LP ended up - traded in for a quid at Honest Jon’s. Today, things are very different, and in recent years we’ve seen the value of this record go stratospheric. The highest selling price I could find on Discogs was around £8,000 while several copies between £5,000 and £7,000 have been recorded on Popsike.com. In June 2024 esteemed music journalist and broadcaster Danny Baker sold his personal copy at auction for £2,800 which almost seems like a bargain for the lucky bidder. In the Omega Auction catalogue notes Danny wrote:

"Bought, LATE 70S, in Greenwich upstairs in a commercial duplex that mainly sold old books and magazines. Long gone now. I didn’t have a copy of LZ at the time and had no clue about the colours on the cover. It was ten pounds and the man reiterated the price to me before putting it in a bag. It was ten times dearer than anything else in his racks."

Polydor handled the Atlantic label in Britain until 1971 when distribution switched to Kinney/Warner Bros. That’s when the Atlantic labels changed from their familiar plum/orange to green/orange (see below). Kinney was superseded by WEA Records in 1972.

While my turquoise copy may be long gone, I do still have three early vinyl copies of Led Zeppelin I (of course I do) comprising a couple of plum label pressings and an early 70s Kinney/Warner Bros issue, all with orange lettering, naturally. And that’s before we get to the many and varied CD releases. But that’s probably enough tedious information for one day.