BEATLES I SAW HER STANDING INSANELY RARE ORIG '63 UK EMIDISC ACETATE DIFF TAKE

$

1,913

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·       THE BEATLES  - I SAW HER STANDING THERE (LISTED UNDER IT'S ORIGINAL, FIRST TITLE ("SEVENTEEN") WHICH WOULD BE SOON ABANDONED IN FAVOR OF IT'S BETTER KNOWN, MORE FAMILIAR TITLE ("I SAW HER STANDING THERE) - INSANELY RARE, ALMOST CERTAINLY ONE-OF-A-KIND ONE-SIDED EMIDISC ACETATE  ORIGINAL 1963 BRITISH EMIDISC  MONO ACETATE SET (NO NUMBER)

·       ORIGINAL U.K. PRESSING

·       THE LABEL ON THIS ONE-SIDED ACETATE IS VERY RUDIMENTARY, CONTAINING ONLY THE ORIGINAL SONG TITLE ("17") TRACK TIMING (2 MINUTES, 49 SECONDS), THE NAME OF THE ARTIST (THE BEATLES) , THE RECORDING DATE (FEBRUARY 11, 1963)  AND THE NAME OF THE ASSOCIATED EMI LABEL (PARLOPHONE). NO OTHER INFORMATION OTHER THAN EMIDISC LOGO AND THE PRE-PRINTED GENERAL INFORMATION PRESENT.

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       *** INSANELY RARE ORIGINAL 1963 EMI/PARLOPHONE WORK-IN-PROGRESS ACETATE WITH THE SLIGHTLY DIFFERENT TAKE OF THE LEGENDARY SONG The differences between this demo take and the final, released version of the song are small and subtle, but fairly audible. Firstly, on this version, the spoken intro (1...2....3....4...) is significantly less audible than on the released version (it is present, but appears somewhat subdued or supressed); some of George Harrison's lead guitar lines are slightly, yet audibly, different; finally - and this is perhaps the most pronounced difference - the backing vocals are much more crude and unpolished and much less synchronized than on the final, released version. There are also other minute and subtle differences in the levels of and relations of instruments, but they are too ephemeral and metaphysical to be of major significance or to merit much discussion here.

     YOU ARE LOOKING AT THE DEMO VERSION OF THE SONG THAT MANY BELIEVE TO BE THE SINGLE MOST PRIMAL, POWERFUL. PROTO-GARAGE  ROCK ASSAULT IN THE HISTORY -- THE 1, 2, 3, 4 PUNCH THAT WOULD BE HEARD ACROSS THE GLOBE AND CHANGE FOREVER ROCK'N'ROLL (AND POPULAR) MUSIC AS WE KNOW IT TODAY.

·       THIS IS THE ORIGINAL, AUTHENTIC, U.K. ACETATE ; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING

·       COPYRIGHT NOTICE: THIS TITLE IS BEING OFFERED FOR SALE AS IT IS DEEMED TO BE (OR HAVE BEEN) PUBLICLY AND COMMERCIALLY AVAILABLE. IF YOU ARE THE OWNER OF THE COPYRIGHT AND HAVE QUESTIONS, COMMENTS OR DOUBTS, PLEASE CONTACT US DIRECTLY THROUGH EBAY.

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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"I Saw Her Standing There" is a song written by John Lennon and Paul McCartney, and is the opening track on the Beatles' debut album, Please Please Me, the United Kingdom by Parlophone on 22 March 1963.

In December 1963, Capitol Records released the song in the United States as the B-side on the label's first single by the Beatles, "I Want to Hold Your Hand". While the A-side topped the US Billboard charts for seven weeks starting 18 January 1964, "I Saw Her Standing There" entered the Billboard Hot 100 on 8 February 1964, remaining there for 11 weeks, peaking at #14. The song placed on the Cashbox charts for only one week at #100 on the same day of its Billboard debut. In 2004, "I Saw Her Standing There" was ranked #139 on Rolling Stone's list of the 500 Greatest Songs of All Time.

The song was a Lennon and McCartney collaboration based on McCartney's initial idea[1]. Originally titled "Seventeen", the song was apparently conceived by McCartney while driving home from a Beatles' concert in Southport, Lancashire as a modern take on the traditional song As I Roved Out, a version of Seventeen Come Sunday that he had heard in Liverpool in 1960. The song was later completed at his Forthlin Road home with Lennon.[1] McCartney later described in Beat Instrumental how he went about the song's composition: "Here’s one example of a bit I pinched from someone: I used the bass riff from 'Talkin’ About You' by Chuck Berry in 'I Saw Her Standing There'. I played exactly the same notes as he did and it fitted our number perfectly. Even now, when I tell people, I find few of them believe me; therefore, I maintain that a bass riff hasn’t got to be original".The lyrics were written on a Liverpool Institute exercise book. Remember, a book by McCartney's brother Mike McCartney, includes a photograph of Lennon and McCartney writing the song while strumming guitars and reading the exercise book. It was typical of how Lennon and McCartney would work in partnership, as McCartney later commented: "I had 'She was just seventeen,' and then 'never been a beauty queen'. When I showed it to John, he screamed with laughter, and said 'You're joking about that line, aren't you?'". "It was one of the first times he ever went 'What? Must change that...'" The songwriting credit on the Please Please Me liner notes is "McCartney–Lennon" which differs from the more familiar "Lennon–McCartney" that appears on subsequent releases.

The song was recorded at EMI Studios on 11 February 1963 (please see the date on our acetate!), as part of the marathon recording session that produced 10 of the 14 songs on Please Please Me. The Beatles were not present for the mixing session on 25 February 1963.It was not common practice for bands to be present at such sessions at that time.

On the album, the song starts with a rousing "One, two, three, four!" count-in by McCartney. Usually, these count-ins are edited off the final audio mix. However, record producer George Martin wanted to create the effect that the album was a live performance: "I had been up to the Cavern and I’d seen what they could do, I knew their repertoire, and I said 'Lets record every song you’ve got, come down to the studios and we’ll just whistle through them in a day'". Martin took the count-in from take 9, which was considered 'especially spirited' (we suspect that what we have here is the "take 9", but we are not entirely certain -- op.ed.) and spliced it onto take 1. Music journalist Richard Williams suggested that this dramatic introduction to their debut album was just as stirring as Elvis Presley's "Well, it's one for the money, two for the show…" on his opening track, "Blue Suede Shoes", for his debut album seven years earlier. In addition it also made the point that the Beatles were a performing band as, at that time, they opened their live set with this song. On the first American release of the song, issued on Vee Jay Records, the count was edited out—but the "Four!" is still audible.

The full take 9 version of the song appears on the Free as a Bird CD single (long, long out of print) as a B side, released for the first time.

 (EXCERPT FROM AN ONLINE ARTICLE AT WIKIPEDIA.ORG)

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While this acetate is in a VERY NICE  state of preservation, we do expect bidders to understand that the aluminum-based, shellac-coated acetates can never be graded by using the exact, same stringent standards used by collectors for modern long-play, hi-fi LPs or singles. The buyer – if not familiar with acetate (reference) recordings - should be cautioned that these discs were intended for brief, limited use only; they were meant to be played only a few times, then discarded or destroyed. In view of this, the surface layer of the disc is manufactured in such a manner that it will wear off pretty quickly, even under normal conditions -- and specially if not handled with due care. Each subsequent playing increases wear and tear of the disc’s surface layer and diminishes the disc’s playability. This disc appears to have been unplayed recently and the grooves are still well-formed and fully visible.

This acetate is in about VERY GOOD (VG) condition, with many small, but entirely light and superficial scuffs. Absolutely NO part of the shellac (surface layer) of the disc is  missing, and the surface layer is NOT dented, chipped, broken or otherwise compromised.

ON A SCALE FROM 1-10 (where 10 is the best), WE GRADE THIS ACETATE  AS 5

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·       COVER (SLEEVE) : This acetate comes with an original stock, brown Parlophone sleeve with an image printed in red, showing the couple dancing under the falling confetti. The jacket is tattered and torn in two places, as well as taped along all four sides with an unseemly 2" packaging tape (which might be possible to remove, but we did not attempt to), but appears to be whole and complete (no part of it seems to be missing); it will be shipped in a plain, generic, white cardboard cover for added protection and buyer's convenience.

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POSTAGE & SHIPPING:

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INTERNATIONAL POSTAGE rates vary from country to country. For SPECIFIC international and domestic postage rates ►click here. While you can be rest assured that ►our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

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© 2001,2007 MDJ. All rights reserved.

·       On April 1, 2012 we  received the following eBay message:

·        

·       From: (xxxxx)

·       To: bobdjukic

·       Subject: (xxxxx) has sent a message

·       Sent Date: Apr-01-13 15:46:01 PDT

·        

·       Dear bobdjukic

·        

·       Bob:

·       Took this offline.  The Beatles acetate you have for sale has made it rounds over the years and was offered to me/others by the owner in NYC late last year. Under close scrutiny to validated EMIDiscs, the acetate did not pass. In addition, it is widely stated that the original that this was based upon is this one sold in 2004 . http://www.popsike.com/Beatles17-MEGA-RARE-7-UK-ACETATE-/4041693442.html. This version popped up for sale in 2007 out of Europe during a time when many fakes were being pushed out by the same seller that this one came from. Just an FYI for what it is worth.

·        

·       - (xxxxx)

·       Our response was as follows:

·        

·       Dear (xxxxx)

·        

·       A few quick questions:

·        

·       You say that the "the acetate did not pass".

·        

·       - Who is doing the passing and how?

·        

·       You say that that " it is widely stated that the original that this was based upon is this one sold in 2004"

·        

·       - Who is doing the wide-stating, where and how, and do those individuals have any concrete evidence to show?

·       - Did the 2004 copy "pass" ?

·       - What leads you to believe that the the 2004 copy "passed" and mine did not?

·       - Is it possible that EMI manufactured more than one acetate?

·        

·       Thanks.

·        

·       Bob Djukic

·        

·       We are not sure what "took this offline" means. We assume this means that a group of Beatles vigilantes monitoring all Beatles transactions online is trying to indelicately dispute the authenticity of this item by using off-eBay online forums. As of today, April 3, 2013, our questions remain unanswered and we do not expect that they will ever be fully and properly answered.  We are not aware of this item "making the rounds" and no information of any kind exist that would back up such claim. Anyone holding the CREDIBLE, VERIFIABLE information disputing the authenticity or genuineness of this item, please come forward and your information WILL be appended to the auction page.

·       We stress that the acetates are inordinately difficult to produce, let alone REproduce (particularly in this day and age); and that it would require superhuman effort and inordinate cost to produce a fake, and to a very limited material gain, specifically because the distribution of such counterfeited items could only be extremely limited (probably not more than five copies, if even). Creating a VIABLE fake which bears ALL the marks of the late '50's / early '60s technology would require significant additional cost and effort, which would all but wipe out any of the proceeds of illicit production. Of course, the bootlegged would also have to evade the law-enforcement and prevent each buyer from seeing any other buyer's transaction, which is for all practical purposes impossible to accomplish.

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PLEASE BE GUIDED ACCORDINGLY.