I wish I could say this was a joke. But the 1966 American release of “Yesterday and Today”, which I don’t remember, probably because I only remember the santiized version of this record cover, really did exist. 750,000 of these were released, but most of them had the alternative cover pasted on after the controversy ensued.
So this is how The Meat Puppets got their inspiration. It goes without saying that collectors are reportedly paying at least $40,000 for this album cover, and still more if it is one of the stereo releases.
The Beatles themselves reportedly had mixed reactions. Lennon and McCartney were OK about it, while Harrisson reportely was more retrospect. Personally, I would have left the blood and gore for Ozzy Osbourne and Alice Cooper. I can’t see McCartney biting off the heads of chickens on stage. Not even Lennon.
Even after using this sanitized album cover, this album remains as the only money loser for The Beatles that Capitol ever released, despite the hit songs that were on it: “Yesterday”, “We Can Work It Out”, “Nowhere Man” and “Day Tripper”; and despite the fact that it hit #1 on Billboard, and became certified Gold.
This is way off the other end. Clinically sanitized. The Beatles are neither extreme, and that is their whole appeal, in my view. They established their reputation by taking artistic risks while being in full control of their craft.
This is a 2005 first official release of a 1962 recording that Dave Van Ronk helped record which had been a bootleg for decades.
Now, I have nothing against Dylan making money where he can. But does anyone agree that putting “The Times They Are A-Changing” in a bank commercial, as he agreed to do for Bank of Montreal in the last decade constituted good product placement and promotion of the “Dylan” brand? Do you want that message to be given to you by a folk singer or your bank?
This album was recorded by Dylan before he became well-known. It is done in the packaging which Starbucks approved of for their 6-month exclusive 2005 deal for which he once again became infamous as a sellout. Much ink and electrons have been spilled on this topic, and I won’t venture there. More interestingly, he was also reviled by record/CD retailers such as HMV for doing this. After all, HMV feels (somewhat rightly) that they shouldn’t be competing against a coffee shop to sell CDs.
Give Dylan a break. First of all, “Live at The Gaslight” is a bootleg, and what better way to stick it to the bootleggers than having your own authorized relase? And coffee shops are where common, ordinary, grass-roots people meet, isn’t it? That is, common people who commonly order $5 lattes and $3 biscottis in fake Italian. Near where I live, such common folk walk their 3″ tall toy poodles and wear Florsheims. These customers take about 3 minutes to say the order in a nearly operatic key; then the server takes another 3 minutes to repeat the order in-tempo to another server who works the espresso machine. Who will sing their songs? Who will sing about the time that the chashier, who has a nose ring and a Master’s degree in Anthro for his thesis on “The Impact of the Roncesvalles Streetcar Terminal on Popular Culture in Toronto”, thought he nearly got skin cancer by scanning so many fifty-dollar bills under the UV? And after the customer pays an inflated price for coffee, he leaves out that tip jar. Now, that takes real guts. And no one sings their pain like Dylan.
Here’s one way to really “stick it to the man”: Go to Starbucks, and order “instant”. That ought to throw a monkey wrench in the system. I guarantee you that because most of these people are from a generation that hasn’t heard of “instant” and don’t know how to cook their own meals, no one will know how to handle the order, but everyone will feel that they absolutely must or fear getting fired. For one thing, it’s not fake Italian, and it doesn’t take 3 minutes to say.
This is also believed to be a bootleg. Now I am beginning to believe that if Leonard Nimoy can be bootleged, anyone can. Wonder what price bootleggers were getting for this album?
Two late ’60s standards are on this single. One is Peter, Paul and Mary’s “If I Had A Hammer”, and the other is Bobby Hebb’s jazz standard “Sunny”, which quickly got covered by Ella Fitzgerald, Pat Martino, James Brown, Dusty Springfield, and just about every lounge lizard act with a pulse. My father had a James Last LP with Sunny on it. Boney M even put out a disco version of Sunny.
In case you were not alive during the 60s, I started scratching around for a You Tube video to show you. The original Bobby Hebb versions are out there, but you have to go to You Tube directly to view them. Instead, I have a double-bill: a duet with Tom Jones and Ella Fitzgerald from 1970, more than likely on Tom Jones’ own variety show:
I’ve noticed that in the past copule of posts, album covers of middle eastern music/belly dancing of the ’50s and ’60s appear to prefer redheads. Here, even the blonde has to settle for being upstaged by this redhead. If the bald fella hits the gong, the performance is over and the dancer gets escorted off the stage.
“Orienta: The Marco Polo Adventures” could have been made in the late 50s and early 60s when most blockbuster movies consisted of stories of history and exploration. But no exact information exists.
Mambo at Midnight, by Belmonte and his Afro-American Music. At least it’s not that other Midnight Mambo: the horizontal one.
Click here to hear a sampling of what Belmonte sounds like.
I have no idea how many remakes of the Hair soundtrack there were. You know, this hippie chick looks like she has a case of running out of conditioner and shampoo. While this doesn’t hurt album sales in the least, it is still part of the problem.
Once again, we see a gorgeous naked woman but for her hair, “Hair” in large letters and “Music from” in small letters. In the same small lettering are the performers, called “The Sunshine Generation”.Would you rather hear songs like Aquarius and Good Morning Starshine from The Sunshine Generation or from The 5th Dimension and Oliver respectively?
This was not going to be a bad hair album until I realised that the lady in this photo is wearing a wig.
The plot line to the movie is something like: A bachelor tries to save a friend’s marriage only to end up getting married himself, I think, to the friend’s mistress. This is a soundtrack to this 1968 comedy starring Dean Martin opposite Stella Stevens, with music by Micheal Legrand.
Never mind what the (usually male) record company exectives tell you. The real record salesmen are women. All they need to do to sell a record, regardless of its quality, is take off some or all of their clothes and pose for the album cover. Too bad the ones in this blog are entry are nameless, as they are most of the time.
This model remains possibly clothed and looks suggestively at the camera lens. Definitely a “money shot”. Believe me, I have nothing against women who play no part in the music performance on album covers, but what makes this cover crappy is that it has little else going for it. Just a spinning globe in the forground to keep the guys guessing.
Caravelli and His Magnificent Strings seem to have the benefit of a nude model for this 1969 album in order to distract listeners from the fact that big band and non-electric music that wasn’t folk had been dead for decades.And getting a hippie chick to pose nude with the playlist painted on her skin in psychedelic lettering wasn’t going to help.
Notice that 1969 is a couple of years after Herb Alpert hit it big with his suggestive album cover for “Whipped Cream and Other Delights”. The sexy cover gained Alpert a whole audience that would not have given him the time of day. By 1969 all of the nerdy non-rock acts wanted a piece of the action.
Pancho Purcell also wants his share with his late 60s/early 70s offering “Bambuco Moves In”. It is likely to have been made around the same time, although the exact date could not be even hinted at.Bambuco is moving in, and she hasn’t got a thing to wear. She also does not appear to have a belly button.
Bambuco is a music common in South America, particluarly Colombia.
Port Said (Bur Sa’id), an Egyptian city lying on the Mediterranean Sea, was originally built in the mid-1800s, so the story goes, to house people hired to costruct the Suez Canal. The Canal runs through Port Said and ends at the Red Sea.
I would imagine that belly dancing became popular in Western culture precisely by Europeans and Americans coming to Egypt to work on the canal.
I wonder what the deal is with the concentric circles emanating from the dancer’s left nipple. It could be a GPS transmitter. Ships entering Port Said can use her as a navigation aid.
“Belly Dance Music From Port Said” is one of at least 3 albums from Saffet’s Oriental Orchestra.
Exactly how does one convey the music of belly dancing on an album cover? If you have a beautiful wife, you can photograph her in Egyptian garb and have her do various poses and contortions. Take a bunch of polaroids, and paste it as a mini-montage on a hot pink canvas, then title it using a Arabic-style calligraphy.
Many Westerners who don’t understand Islamic culture (or who understand it only enough to know the tightly-held taboos, especially on women’s mode of dress) have trouble reconciling themselves to this apparent contradiction in their acceptance of belly dancing. But I guess it wouldn’t be a true culture if it didn’t have contradictions.
Ray Mirijanian has had at least 6 albums produced in the mid to late 1960s on Middle Eastern music.
William Shatner (who played Captain James T. Kirk of the Starship Enterprise on Star Trek) recites “Lucy in the Sky”. The animator wins big for visual accompaniment. It is kitschy in exactly the right way. Guest starring Lucille Ball and Lucy Van Pelt. Cameo appearance by Ricky Ricardo and The Flying Nun (with Shatner’s face pasted on).
Rock set to classical music, especially in the 60s and 70s, was done with no small measure of contempt for the rock genre. Here, the greater works of The Beatles is set to opera.
I can see Elanor Rigby being set to opera, or Yesterday, but Can’t Buy Me Love? Or the song Revolution?
And the line drawings on this cover is an obvious send-up to similar drawings of The Beatles’ Revolver album, which has some of these tracks on it. If it were really a send-up to Revolution, what artwork would they parody? The White Album?
This 1968 album cover is not really crappy, since the general design would be predictable for Shatner: kitschy late 60s computer lettering; Shatner in a trance; and so on.
Bunk Strutts has requested that I look at a link he sent me, and here is what I am coming back with. He had sent me a link to Franklarosa.com some weeks ago, and only now I am coming around to the requests. So, you might have to wait up to 3 weeks, since I post a couple of weeks in advance, before people actually see it.
A group called “The Pop Singers and Orchestra” has this album called “Themes from TV Hit Shows”, obviously from the late 70s/early 80s.
Get a load of these cartoony impressions of the stars of these programs. Kind of makes it look mindless. Just the way I remembered those programs. It’s just that the offerings by networks these days make these 70’s programs look like “University on the Air” by comparison.
We witness Valerie Bertinelli, the hearthrob from One Day At A Time, looking as if she has Down’s Syndrome; Angie Dickinson (Police Woman) gritting her teeth instead of smiling; Jack Lord (Hawaii Five-O) looks like Dudley Moore; and Lindsay Wagner (Bionic Woman) looks like an 18 year-old valedictorian. Archie and Meathead look like they’re gonna kiss and the ladies look terribly worried; and Sanford is going to be strangled by his son.
Michael Landon (Little House On The Prarie) looks like a seventies’ lead guitarist surrounded by his child-age female groupies (Hold it! That’s exactly how he looked on the TV show!). Lee Majors (Six Million Dollar Man), whose portrait presented here was drawn during his brief encounter with a moustache, looks sad that Charlie’s Angels has borrowed all three of his pink turtlenecks, and he had to settle for wearing a crappy orange one.
Then, there’s The Waltons. Look, I grew up on this program. It was my mother’s favourite, since she grew up in the praries in the ’30s, the same period of the program. This means that the theme is forever burned on to my cerebral cortex. Why on earth does someone feel the world needs yet another rendition of that infernal theme?
Going back a decade, Sebastian Cabot played the butler Giles French in the sitcom “Family Affair”. Here, he recites (not sings) the greater works of Bob Zimmerman (nee Dylan) in his album “Sebastian Cabot, Actor/Bob Dylan, Poet”.
I am unsure why the silhouette of Dylan is distorted near Cabot’s head. Looks like Dylan’s harmonica is trying to eat his face.
You have not lived until you have heard Sebastian Cabot read (not sing) “It Ain’t Me Babe”. I can’t seem to find an MP3 of this, but he recites it like he is reciting Shakespeare. I heard it once years ago, and I recall it was unintentionally hilarious. The “music” is in the same league as William Shatner’s “Transformed Man” made around the same time. Recall that in that album, Shatner distinguished himself by reciting (not singing) “Lucy In The Sky With Diamonds”. Or you’re maybe better off not recalling that one.
I went through his track listing, and he thankfully does not do “Subterranean Homesick Blues” or “Lay Lady Lay”.
This album has since been re-released in 2007 on CD, and is sold on Amazon, if you really want to hear “It Ain’t Me, Babe” that bad. You can download the individual MP3 from there, I believe.
Actually, I have found the song embedded in a video from You Tube:
This is Jazz artist Mike Pacheco with his 1957 LP “Bongo Date”. Back then, there was the fascination with Beatnik culture. It was the Hip-Hop of the 1950s.
Guy says to the girl: “Wanna come to my place and I’ll show you my instrument?” And the pick-up line actually works! It’s a date! Or maybe the girl is saying it to the guy. For me, it works both ways in this photo. Cherche la femme, indeed!
Johnny Puleo (1907-1983) was a pantomine artist, dramatic actor, and in his later years, master of the harmonica. He has recorded at least two albums with “His Harmonica Gang”, and has had at least two solo efforts.
He’s the short guy in the foreground. Standing at 4′ 6″ tall (1.37 metres), he would show up on Ed Sullivan playing a bass harmonica that was almost the size of his head. He started in Vaudeville playing all of the large night clubs in the United States. His last performance was on television in 1982, when he appeared once on SCTV.
Proof that the lady on Blonde Redhead’s 2007 album “23” has an infinite number of legs:
1) This woman has 4 legs
2) 4 is an even number
3) 4 is an odd number of legs for a woman to have
4) The only number that is both even and odd is infinity
Therefore, this woman has an infinite number of legs.
Tennis, anyone?
I have this one in my collection. The contents are pretty good, and the CD has had great reviews. 23 was one of the top 10 alternative albums of 2007. I’ve heard comparisons with other bands; but no — they stand on their own. They are very melodic and very listenable.
I think the reason for the crappiness of this cover is that, on one hand, it doesn’t look “alternative”, but it doesn’t look terribly normal. It’s a cover which confuses its audience. It also is not really an indication of what is inside. What’s inside is pretty consistent, well-done, and not so “weird” as this cover would suggest. The cover has since been modified.
As was mentioned by this blogger, with this 1979 album by Jimmy Sturr and his Orchestra, we witness the union of the two most repulsive words in music.
And to make things worse, it is actually a double album. But one has to realise that this album wasn’t made to further tighten the noose on disco; it was done to popularise polka. Jimmy Sturr still makes music and has his own website, sponsored by Mrs. T’s Perogies.
I can’t resist adding this second Tubby Boots album, called “Goes Topless”.Whoa.
This one is crappy on so many levels. Recall in our first Tubby Boots record shown last week that he thought he was a hipster. Now he thinks he is a female stripper. A female stripper wearing a Roman war helmet. And pink underwear with a bearded man drawn over his crotch. And, of course, the pasties.
On the bottom it says: “For the Mature-Minded Adult”. I am unsure how many “mature-minded” adults would be seen with this record. But if you are an adult and not mature-minded, you are obviously spared from having to buy this record.
Bill Carty’s album here is also crappy on many levels. Imagine pulling up your blinds, to be confronted with this guy staring back at you?We have already seen Carty’s head go into orbit with the last album we saw, when we witnnessed him as the world’s first suicide bomber. Now his head is landing in front of your window.
His eyes popping out of his head could be a mirthful look, or it could be hyperthyroidism. Or it could be his forever frozen look of surprise when he found out all he needed to set off the grenade was to pull the pin.
Comedian Bill Barner was a comedian for a short stint in the Florida area in the 1960s. His comedy records are one of the earliest to appear. However, his career didn’t go too far, according to my informants (actually, it was from an interview between Woody Woodbury and WFMU in New York, which was podcasted).
You can see clearly this is some kind of ’60s anaesthetic aesthetic. A woman is showing herself off, and Barner seems to show his appreciation.
Barner had to travel to San Francisco to get this recording made, signing up with Arrow Records. Lots of hints that this is from SF: Recording is done in “Mirth-Quake”; and Barner is standing (sort of) on a trolley.
Perhaps Duo and Arrow Records are the same company, since both have the “Mirth-Quake” monacre, and both have mostly the same messages on top and bottom as a whole. Both also show the same love for excessively large heads in the album artwork.
Barner apparently plays piano, and does so live in front of a night club audience (as was the above album). They don’t say which night club allowed them to record. It would have been great publicity for the night club. But for all we know, a laugh track may have been his only audience.
He has released six other albums that I am aware of. Those lack the requisite big heads to be in this entry, but they are still pretty bad. One of them is a sequel called Trolley Bar Party II. Some of these records, depending on the condition, are collectors’ items.
Guys, keyholes and topless women are a staple in the CAC blogosphere. This is Woody Woodbury’s big comedy album from the 1950s, Woody Woodbury Looks at Love and Life, put out by the Stereoddities label. This was one of the first comedy records ever made (probably the first), and are considered innovative. Woody put out comedy records before Bill Cosby, or Bob Newhart, or any of the other ’50s and ’60s comedians.
Woodbury was a big name, and he almost had the job of hosting The Tonight Show, except that the plum job was instead taken up by some wisecracker named Johnny Carson. Woodbury was a guest host of that talk show in the past, and thought he had the job.
Proving that the suckiness of album covers are never limited to English-speaking countries, we present Jacinto O Donzelo, looking into a keyhole of his own. When this name came up in most searches, it appeared without the comma.
From what I can make out, Jacinto has made what appear to be comedy records, well into the 1980s. He has sold apparently well in Spain, Portugal, and Brazil. MP3s of his comedy are ripped and traded on several websites.
I shall declare that this cover is so bad, that merely gazing upon it will make you feel as though you stepped on something warm and brown. I’ve called the cops, Jacinto. They’re on their way down.
The photo of Jacinto and the keyhole was photoshopped at lpcoverlover.com, who uses the photo as an overlay to indicate that the album cover “underneath” is X-rated. It is not so much serving as a warning, and more like an urging to “click here you idiot if you want to see some nudes”. Great system they have. Anyone who is highly moral has to put up with having to stare at Jacinto eternally pointing at the keyhole, which by itself simply forces visitors to click on the photo if they want to make Jacinto go away. Once they do, they see the album cover depicting nudes underneath. Prudishness is inherently maladaptive in the blogosphere.
My blog isn’t nearly that high-tech. I put “Adult Content” in my title as a warning, telling patrons that they should visit my site as an invitation to see a really cool posting. Isn’t that how it’s supposed to work? Every time I view a movie on TV that has an announcer saying “This movie may involve mature subject matter and scenes of sex/violence/coarse language” what the television folks are really saying is “whoa, this show is really cool, folks — watch this one!!” Just imagine that if they didn’t use that disclaimer and you didn’t know the movie, would you really watch it? I almost never do. And I think that the TV folks know me, since I think they make that disclaimer in almost evey movie. I think I even saw it once on Bambi. That’s for the part that when Bambi’s mother dies, I think I heard Bambi say something like “Oh, shit”. Of course you have to keep kids away from that kind of nonsense.
1960 crappy album cover (CAC) maker and, oh yeah, comedian to boot, Bill Carty has a variety of albums which all fit the high standards of crappiness that gives this blog such longevity. Here, we see a standard technique for CAC making that has been imitated by many CAC makers in many countries worldwide: thoughtless photo retouching.Workers at a construction site on the other side of Pompano Beach were probably scratching their heads after it appeared that ten of their blasting caps went missing.If Bill Carty is really “Blasting Off”, it’s only his head that is blasted off. Spectators below stare aghast at this horrid spectacle. This would mean that the late 60s the audience in The Space Sattelite Motel in Pompano Beach, Florida were witness to the world’s first suicide bomber. In those days, they didn’t have Homeland Security, either.
The Space Sattelite Motel, which was located in a city located north of Miami and closer to Fort Lauderdale was the epitome of 50s kitch. Carty would have been placed on a stage in the middle of an audience and a bar which surrounded the stage. The motel does not show up anywhere I have looked in the Pompano Beach area, and it may no longer exist.
lpcoverlover.com says this is from “Stere Oddities”, but I think that on seeing another record from the same label, I think it should be “StereOddities”.
This is the other record I saw. See? The words are closer together. StereOddities just seem to love big heads on their records. And there are more. Many more. CAC collectors even have a special section for albums depicting disproportionately big heads (or disembodied big heads) of the artist on their covers. This is true for lpcoverlover, and it is also true of another account of a curio record store in the states that I have heard about.Nino Nanni (b. ?- d. circa1991) was another comedian on the same label. Both Nanni and Carty are mentioned in WFMU’s Beware of the Blog as “Nobodies”. Nanni did in fact have a great braritone voice, and perfect enunciation, apart from his talent with the piano. The main attraction from Stereoddities will be presented later in this series.
Both of these albums are rare, and are discussed at length, halfway through this WFMU podcast, starting at about 30 minutes:
A French vid (no words) from Daily Motion.Com. I believe these stunts were totally unintended. I imagine that people get hurt in many of the car scenes, but take a look at how close the pedestrians came to getting killed or seriously injured, instead coming out unscathed.
Before I start, I would also like to say, that you can also access my front page when there are no crappy albums for other interesting and amusing articles. They tend to be published almost every second day starting from Sunday: Sunday, Tuesday, Thursday, and sometimes on Friday. Right around this time, there have been articles on The Politics of Dancing, a series of 3 articles named after a song from 1983 that I knew from the band Re-Flex. This time, I try to breathe some meaning into the title. But it shouldn’t be a heavy read.
Someone, somewhere, some time ago, there was an album where someone went around with a mike and recording equipment and recorded the voices of people said to be possessed by demons.
Even if this were real, would it really matter? The only evidence of demonic possession will be the voices on an album, and for all you know they could be acting in a cushy air-conditioned studio and drinking chilled Perrier during their breaks.
Now the question is, is the guy on the album the demon or the body possessing it? To me, he just looks goofy.
“Satan is real unless declared integer” is a twist on an old computer programmers’ joke, known to those who programmed in FORTRAN 77 and earlier. Actually the joke was supposed to settle the theological question of God’s existence: “God is real unless declared integer”. It also was a play on the idea that the default variable type in FORTRAN was floating-point, for which FORTRAN used the keyword “real”.
Charlie and Ira Louvin are stitched into Americana about as much as apple pie. They were an integral part of The Grand Ole Opry for 8 years from 1955 to 1963, recorded with Chet Atkins, and played everything from Gospel to Waltzes. Ira Louvin died in a car crash in June 20, 1965. Charlie, now over 80 years old, has seen himself and his brother mentioned in the Country Music Hall of Fame in Nashville.
You know that after all that has pased through this blog, I wouldn’t have to put up a warning like that. But I do, if you scroll down.
Look at that pizza. It could easily feed a small army, but these 7 adults are having it all to themselves. Where did they get an oven big enough to fit this monster?This album is called “Pizza Party”, with Joe Biviano on accordion. He, along with two other performers, Abe Goldman and Gene von Hallberg, were the first accordionists to make it to Canegie Hall, where they apparently appeared together for a 1939 performance.He was said to have gone consistently low-brow in music, to which the theme of this album testifies. He had gone as far as any accordionist can expect to go in his career. Unless your name is Weird Al Yankovic.
Kraut Rockers Eulenspygel’s first album in 1971, called “2”, had a cover with a controversial design (this one) that was soon replaced by something more appetizing. They survived long enough to do a second album in 1972 called “Ausschuss”, recorded at Apple Studios in London. After a breakup, a reunion, and several lineup changes, they made a third album in 1979 and finally broke up in 1983, and haven’t been heard from.
This is the original Herb Alpert album, playing mostly in-tune by the owner of A&M Records and his Tijuana Brass, called “Whipped Cream and Other delights”, released in April of 1965.There is a lot of food referred to in the song titles. There is mention of lemons, tangerines, peanuts, green peppers, lollipops, and honey.The album cover, depicting a young lady covered in whipped cream who would feel a whole lot better if ten guys came and licked it off her, was of such a borderline tasteless nature that it BEGGED for parody, and the two below are likely the most famous examples.
This 1966 album from The Frivolous Five called “Sour Cream and Other Delights”. This album contains lots of standard instrumentals made famous by Alpert, and from time to time they seem to go off-key. They’ve got Tijuana Taxi, A Taste of Honey, Spanish Flea, Lemon Tree, and they even cover The Beatles’ “All My Loving”. Of course, The Frivolous Five can’t have an album cover without chicks. You have to wonder how did they get access to enough sour cream to cover these five middle-aged ladies? Also, notice one of them is holding a single long-stemmed rose, just like the lady in the original Herb Alpert album cover.
During the same period, stand-up comedian Pat Cooper made this album called “Spaghetti Sauce and Other Delights”. Now, do you think he was parodying The Tijuana Brass? Naww… Can’t be …At least he isn’t holding a rose.Somebody get a fork …Cooper was doing stand-up and hit it big on The Jackie Gleason Show in 1963. His Italian-American brand of ethnic comedy got him into bigger venues, appearing with Sinatra, Steve and Edie, Tony Bennett, and Connie Francis.
He currently appears occasionally on comedy channels and has been featured on Howard Stern a few times, and has appeared on sattelite radio stations as late as 2007.
Here, Cooper takes liberties with American history:
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I wish I could say this was a joke. But the 1966 American release of “Yesterday and Today”, which I don’t remember, probably because I only remember the santiized version of this record cover, really did exist. 750,000 of these were released, but most of them had the alternative cover pasted on after the controversy ensued.
Even after using this sanitized album cover, this album remains as the only money loser for The Beatles that Capitol ever released, despite the hit songs that were on it: “Yesterday”, “We Can Work It Out”, “Nowhere Man” and “Day Tripper”; and despite the fact that it hit #1 on Billboard, and became certified Gold.
This is a 2005 first official release of a 1962 recording that Dave Van Ronk helped record which had been a bootleg for decades.
