Beatles – The Beatles (White Album) (2LP Vinyl) Numbered Japanese Pressing: A 400359
Apple Records (1968 / This Pressing 1976)
$150.00
Rare Numbered Early Japanese Pressing Still In Immaculate Condition! Embossed Gatefold Cover With Giant Poster, 4-Page Insert & 4 Portrait Photos!
1 in stock
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Rare Numbered Early Japanese Pressing Of The Self-titled Double White Beatles ~ Still In Immaculate Condition After All These Years! Embossed Gatefold Cover Includes Giant Fold-Out Beatles Poster (Lyrics In English On Back), 4-Page Insert With Lyrics In Japanese, Plus The Portrait Photos Of John, Paul, George & Ringo! Number: A 400359
Condition – Vinyl: NEAR MINT! Sounds absolutely fabtastic!
Condition – Cover: NEAR MINT! Tiny bit of wear. Incredible condition for 48 years old and still pure white!
Japanese vinyl pressings are highly sought after by audiophiles and collectors, due to their premium sound quality and beautifully presented packaging. The sonic quality of Japanese records is regarded as the best in the world. No wonder all the original Mobile Fidelity Sound Lab records were pressed in Japan! The covers are printed on better quality heavy stock paper too. Near Mint condition 1970s Japanese pressings are becoming scarcer ~ and therefore more collectable and valuable every year.
Side 1:
Back In The U.S.S.R.
Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
Wild Honey Pie
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
Side 2:
Martha My Dear
I’m So Tired
Blackbird
Piggies
Rocky Racoon
Don’t Pass Me By
Why Don’t We Do It In The Road?
I Will
Julia
Side 3:
Birthday
Yer Blues
Mother Nature’s Son
Everybody’s Got Something To Hide Except Me And My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Side 4:
Revolution 1
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night
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Apple Records (1968 / This Pressing 1976)
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The Beatles touch on anything and everything it can, making for a singularly gripping musical experience! Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its glorious mess.