BEATLES Yesterday And Today BUTCHER COVER 1966 HOLY GRAIL 1ST PRESS LOS ANGELES

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Location: Sonoma, California
Ships to: US,
Item: 175311355875

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Artist:The Beatles
Country/Region of Manufacture:United States
Catalog Number:T 2553
Style:Beatlemania,Acoustic,Rock ‘n’ Roll,1960s,British Invasion
Material:Vinyl
Speed:33 RPM
Record Size:12″
Format:Record
Type:LP
Features:MONO!,BUTCHER COVER!,Compilation
Release Title:Yesterday and Today
Record Label:Capitol
Release Year:1966
Edition:First Pressing
Genre:Proto Psychedelic,Classic Rock,Alternative,Rock,Rock ‘n’ Roll
Number of Audio Channels:Mono

Vinyl: VG/VG+ Play Graded. Sounds Very Good! Capitol Rainbow Labels are Clean and Bright. This is the 1966 Capitol 1ST PRESSING! T-2553. Released June 20, 1966. This is the audiophile acclaimed MONO Pressing, Pressed at Capitol’s Los Angeles, CA Pressing Plant!! A “Compilation” of Quintessential Middle Period Beatles, at the very end of the Beatlemania period, released a couple months before their last public concert and before they retreated to the studio to create their Masterwork, Sgt. Pepper’s Lonely Hearts Club Band. The underbelly of this compilation, of course, is that the greedsters at Capitol had it in mind to get a “bonus” album out of The Beatles by patching together a bunch of songs they had ripped off of the Beatles’ original Parlophone releases over the years, in order to present more product to the hungry American public (compare, for example Capitol’s “Revolver” with Parlophone’s “Revolver”). Interestingly, the “chaff” that they pulled carry some of the most emblematic of The Beatles’ inimitable sound: the Motown chug of Drive My Car, the blistering multi-tracked electric guitar run that bursts open and runs throughout And Your Bird Can Sing, the sheer Rock ‘N Roll genius of Nowhere Man and George’s beautifully chiming If I Needed Someone! And of course unbeknownst to the Capitol bosses, they had played into a Faustian bargain whereupon The Beatles for their part (as one storyline plays it) decided to one up the greedsters with a visual representation of how they felt about their albums being ripped apart…See “Cover”, below 🙂 See Review Below! In the Dead Wax: Side 1: Etched: T-1-2553-F-17 and stamped 2 and * glyph ((Pressed at Capitol’s Los Angeles, CA Pressing Plant)) Side 2: Etched: T-2-2553-G-22 and stamped 1 and * glyph ((Pressed at Capitol’s Los Angeles, CA Pressing Plant)) Cover: VG+ (see photos) Includes the (correct) Capitol inner sleeve in beautiful condition, with no splits, no tears, no writing. An exceptionally well cared for, beautiful Second State Butcher Cover, that has been shelved and stored properly owing to it’s remarkably sturdy condition, despite the surface-y attempts to peel the Trunk cover. The cover is about 12 5/16″ wide, consistent for a 2nd State Butcher Cover, as the 1st State Butcher Covers (12 3/8″ wide) were trimmed on the edge where the record goes in, to accommodate for the 2nd State slick (the Trunk Cover) to be pasted over at the factory. Also, see the photos, especially the area to the right of the Trunk, where we find Ringo’s dark sweater hiding under the slick. This reveals that the Butcher Cover lies under the pasted over 2nd State Trunk Cover slick…There are also various areas of the slick where the textured cover can be seen and/or felt under the Trunk cover. Particularly: 1. In the top left corner there is an area where a peel was begun (and luckily was stopped before any damage was caused to the Butcher cover). Here, you can see the Capitol logo under the “veil” of paper residue from the Trunk cover. 2. In the bottom right portion of the cover, you can easily see Ringo’s smock and legs and Paul’s left leg, similarly under a “veil” of paper residue from the Trunk cover above it, similarly from an attempted partial peel). In this section, there is an area where the attempted peel did remove a tiny piece of the Butcher cover (see photos, especially the closeup of the only part of this Butcher that has been damaged by an attempted peel–about the area of one side of a 25 cent piece). If a professional peel were to be done on this cover, this section would not stick out much because it remarkably aligns with an area between Ringo’s legs and so this paper tear (again, about the area of one side of a 25 cent piece) would not detract from the visual enjoyment of the Butcher’s Cover. There is one other place on the front cover with a paper tear in the top left corner, but this doesn’t involve the Butcher photo. The paper tear involves the white background of the Trunk Cover, less than the size of one side of a 10 cent piece. So apart from these imperfections, the Cover is in remarkably beautiful condition and is intact beneath the 2nd State Slick. Many covers from this era have been heavily used, worn, written upon, have cracks in the slick along the spine, have split seams, ring and shelf wear. This Cover retains most of its luster and color glossy beauty. The 1st State Textured cover can be felt and seen at various angles, under the 2nd State Slick. The rear cover is also in nice condition. There is an abrasion on the left side of the rear cover and minor ring wear. The Front and Back of the cover artwork and text are rich, clear and bright. The seams are tight, corners and spine are all intact, and there are no bumped corners. The spine print is crystal clear! The back cover has the number 6, verifying that the cover matches the disc. That is, this is a Mono record, pressed at Capitol’s Los Angeles, CA Pressing Plant. If you have any questions about any of these particulars, including the geographical landmarks that I refer to, then please don’t hesitate to ask. By the way, interestingly, the Textured Butcher slick was photographer Robert Whittaker’s idea to make the Butcher scene look more artistic, initially envisioning the Butcher scene to be one of a three paneled triptych Cover design, a meditation on the surreal nature of The Beatles’ success… Includes a copy of the original letter from Ron Tepper, dated June 14, 1966, attempting to explain to the DJ’s they had sent Promo copies of “Yesterday”…And Today to why they were asking for these copies (with the Butcher Cover) to be returned to Capitol Records (C.O.D.! — No doubt!) I love the denigrating use of the term ‘pop art’ thrown in there, in quotations–how déclassé!!! :O See my other listings for other Beatles & Related items. I also have a treasure trove of Beatles LPs, 45s and memorabilia yet to be listed. Let me know what you’re looking for. You can also click on “Save This Seller” and you’ll be among the first to be notified when I post new listings. Goldmine Standards. I play grade every record that I sell on eBay as I have found you can’t rate an LP accurately by just visually inspecting an album. I wipe the dust off of every cover with clean, unscented baby wipes. I professionally clean the vinyl. (I also operate a Vinyl Record Cleaning business for your dusty/dirty records–if interested, send me a message). U.S. Shipping: FREE domestic shipping! Includes tracking. Also, Ebay requires “Signature Confirmation” on anything over $750. I cover the cost for this, so it doesn’t cost you anything extra. Combine any additional items and they’re also shipped FREE! If you wish to take advantage of my COMBINED SHIPPING deal, simply select your items by clicking on “ADD TO CART” on the main listing page. Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically. All records are packaged securely with the vinyl outside the jacket (to avoid seam split in transit). The vinyl and jacket are sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box. INTERNATIONAL BUYERS! EBAY’S PLATFORM DOESN’T ACCOMMODATE FOR COMBINED SHIPPING FOR INTERNATIONAL BUYERS—BUT DON’T LET THAT STOP YOU!!!—I CAN COMBINE SHIP FOR YOU AND MINIMIZE SHIPPING COSTS!!! TELL ME WHICH ITEMS YOU WANT TO BUY, AND I WILL WEIGH THEM AND THE SHIPPING BOX TOGETHER AND THEN I WILL CREATE A “LOT OF 2…” OR “LOT OF 3…”, OR “LOT OF 4…”, ETC WITH THE ITEMS YOU WANT, AND CREATE A LISTING WITH THE EXACT WEIGHT OF YOUR LOT. THIS WILL SAVE YOU A LOT OF MONEY!!! IF YOU’RE INTERESTED IN THIS, SEND ME A MESSAGE TELLING ME WHICH ITEMS YOU WOULD LIKE TO PURCHASE AND WE’LL GO FROM THERE. OR, FEEL FREE TO ASK QUESTIONS. I ship internationally through EBay’s Global Shipping Program. Check to be sure that they ship to your country. Feel free to ask any questions and happy shopping! Once you’re satisfied with your purchase, please leave positive feedback and I will do the same for you. If you’re unsatisfied, please let me know so we can resolve it. I do not give partial refunds. Take a look at my previous feedback and buy with confidence. I’ve qualified for the “Top Rated Plus” seal from eBay, awarded to the most reputable sellers who consistently deliver outstanding customer service. Check my other items this week, check back often & CLICK ON “SAVE THIS SELLER” at the top of my listings page to be notified of New Listings as I will be adding more Rare items in the coming weeks! Thanks! Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album? First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever ‘best’ tapes or digital sources are currently available) – many so-called ‘audiophile’ new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl. Why experience the worse elements of both formats? These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared. They are nearly always compressed with murky transients and a general lifelessness in the overall sound. There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm. First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider. Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive. Inner details are clearer. On first and early pressings, the music tends to sound more ‘alive’ and vibrant. The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can ‘hear’ what the mixing and mastering engineers wanted you to hear when they first recorded the music. AllMusic Review by Bruce Eder [-]Yesterday…and Today was the last Beatles album to be created exclusively for the American market without the group’s direct consent, and its tumultuous history seemed to bring the issue of those albums to a head, both for the group and Capitol Records. Owing to business and market differences between England and America, the label had reconfigured every one of the group’s long-players in America up to that point, and also generated a few LPs out of singles, B-sides, and EP tracks that had no U.K. equivalent on 12″ vinyl — the Beatles had tolerated it all quietly in the early days, content to go along amid the whirlwind of success they were riding, even in the face of such abominations as the original U.S. Help! album. By 1966, however, they were on a firmer footing, and well past being wide-eyed teenagers from the north of England; they’d also begun to express themselves creatively in media beyond music, and take themselves a bit more seriously, and having a bit more fun as well — by the spring of 1966, after all, they were neck-deep into the making of the Revolver album. When confronted with what should have been a routine matter, the proposed 11-song U.S.-only Yesterday…and Today, assembling a bunch of single sides and leftover U.K. LP tracks, they delivered the notorious “butcher cover,” depicting the quartet in butcher smocks, handling cuts of meat and pieces of dismembered baby dolls — it was all their comment on how strangely albums like this one seemed to chop up pieces of their history and repertory. Somehow, Capitol Records’ executives went along with gag and approved the initial design, and a print run of the album was ordered up, anticipating the usual six-figure release-date demand for a “new” Beatles LP. Then the negative reactions started coming in from record chain buyers and disc jockeys, and Capitol was soon faced with a crisis — everybody seemed to find the cover tasteless and even grotesque, and it was possible some department store chains would refuse to stock the album. A new, tamer photo replaced the original cover, and untold thousands of copies of the original “butcher cover” sleeves were pasted over with the new picture. In the end, between the junking of artwork and some jackets, and the overtime needed to salvage the inventory, Yesterday…and Todayended up as the only U.S. Beatles album to show a loss on Capitol’s books. From that point forward, there would be better coordination between England and America to prevent such near-disasters. As for the album itself, Capitol assembled four songs that had been removed from the British version of Rubber Soul, the singles “Yesterday,” “We Can Work It Out,” and “Day Tripper,” a pair of B-sides, and offered a “preview” of the upcoming Revolver album (released seven weeks later) in the form of “And Your Bird Can Sing” and “Doctor Robert” (neither one in its final mix). Amazingly, despite origins ranging across 18 months of the band’s history, it all hung together very well, with the country-influenced “Act Naturally” and “What Goes On” — both heavily featuring Ringo Starr — adding some unexpected roots rock elements amid the cutting-edge, riff-driven glories of “Day Tripper” and others, and the latter contrasting beautifully with McCartney’s romantic classic “Yesterday.” Despite being thrown together in a blender, the album could stand next to almost any of the competition in the summer of 1966, though it became clear with the release of Revolver, two months later, that the band had left most of the sounds represented here far behind them.

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