Rickresource Rickenbacker Forum

QUOTE:
" ...So I would argue that your posts are nothing but BS".


Does "BS" stand for Brian Simer???

Kris, it's not the Abbey Road tape masters in question

It's the muddy quality of safety copy masters in question and Capitol's inprecise mechanical lacquer disk cutting, low quailty of vinyl used for the records and inprecision pressing equipment orginally used in the States and in Canada.

Kris,

One ever single original British vinyl verses the
American Capitol version I've heard in my lifetime, it's exactly (sonically) the same deal.

And this began with the very first British vinyl I ever heard, which was the British stereo vinyl version of BEATLES FOR SALE in late 1964.
This ...

Hey Brian

I'm just straight to the point and direct.
No b.s.

Kris, If you can't tell the fidelity sonic differences between the original 1967 USA and 1967 British vinyl versions issued in 1967 you either have a total junk sound system with a 29 cent cartridge worn out stylus or you are in very desperate need of some serious ear surgery.

"Sorry David, but you've got the cut-outs backwards. It was the U.K. pressings that used thin, glossy paper - American issues had the thicker cardboard stock. I know because I have several copies of each. All the U.S. issued cut-outs have the catalog number (S)MAS-2653 printed on them."

Well Kris ...

And let's remember this viewed from a Capitol Records perspective for most of the sixties. Going back to their original founding roots of the 1940's, Capitol first and foremost always considered themselves to be a "snob" label and also the final judge of good taste which was highly biased in the ...

Except ...

Impossible as it seems, Capitol Records/USA still managed to botch the USA release of SPLHCB.

First off they way Capitol manufactured their album cover jackets made them look very cheap, cheesie and shlock (I also quickly mail ordered for the original EMI/Parlophone British version ...

Interesting on the entire mystique regarding Ringo's drums!

So much has been researched and written about the Beatles guitars and such (at this point of time at least) a relative very small amount of data regarding Ringo's drums.

One other thing about he logo on Ringo's drumhead.
Ringo ...

QUOTE;
" ...They were the ones who designed the new Beatles logo - And only charged them something like £5."
END QUOTE

And isn't that fascinating prescience of what lay ahead!

I have always thought logo with the way the letter "T" was done was an extremely clever triple entendre.

First ...

Now the big question is:

Who bought Ringo's used Premiers from Drum City?
And do they still exist somewhere?

FYI. Rick Rowe at Decca, their A and R guy who turned The Beatles down latter redeemed himself in a huge way.

In 1963 Beatle George Harrison referred Rowe to The Beatles then unfamous friends, The Rolling Stones and Dick Rowe signed them.

http://www.ludwig-drums.com/content/article.php?id=24

This above link will lead you to site the pretty much tell's the whole story on Ringo's Ludwig's

A partial "comp-job" hence no more Ringo Premiers

Hi Glenn,

Once again from you we get some very astute and excellent observations.

Yes, in many many ways Revolver was the gateway to Pepper. Witness the invention of ADT and vari-speed by Abbey Road's Ken Townsend. Witness all those "flown in " effects, such as tape loops, "backwards" guitars ...

Yeah!

I've read that above story from a web source.
The drums and Ringo's Ludwigs are of course a story within themselves as to the how and why Ringo chose Ludwigs and the eternally iconish "The Beatles" logo on the bass drumhead.

One thing for certain. The guitar and drum industry was to ...