With The Beatles

Cover artwork

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Although pop groups in 1963 were expected to be pictured grinning from the sleeve of their latest long-player, With The Beatles broke new ground with its artful black-and-white portraits of the group in half-shadow.

The photograph was taken on 22 August 1963 by Robert Freeman inside the Palace Court Hotel in Bournemouth, during the group's six-night residency at the town's Gaumont Cinema.

They had to fit in the square format of the cover, so rather than have them all in a line, I put Ringo in the bottom right corner, since he was the last to join the group. He was also the shortest.
Robert Freeman

The Beatles had shown Freeman the iconic images taken by Astrid Kirchherr in Hamburg, and asked if their album could be given a similar treatment. He was paid £75 for his work, three times the normal fee granted by EMI.

It was in a hotel and we had an hour in which he could take our picture. He pulled out four chairs and arranged us in a hotel corridor; it was very un-studio-like. The corridor was rather dark and there was a window at the end, and by using this heavy source of natural light coming from the right, he got that photo. He got this very moody picture which people think he must have worked at for ever and ever in great technical detail. But it was an hour. He sat down, took a couple of rolls and he had it. But Robert was very good. I liked his photography a lot. I thought he took some of the best pictures of The Beatles that way.
Paul McCartney
Many Years From Now, Barry Miles

In his book Yesterday, Freeman claimed that the picture was taken in a hotel dining room. Whatever the true location, it is known that EMI were reluctant to use a black-and-white photograph on the cover, but were persuaded otherwise by Brian Epstein and George Martin.

Freeman's image was also used on the cover of Meet The Beatles!, the group's first Capitol album in the United States.

The release

With The Beatles was released as Parlophone PMC 1206 (mono) and PCS 3045 (stereo). It was also issued in 1964 on 4" 3¾ ips twin-track reel-to-reel tape, in mono only, as TA-PMC 1206.

In order to give maximum value to the fans, it was decided that neither the group's previous singles From Me To You and She Loves You, nor their forthcoming I Want To Hold Your Hand, would feature on the album. This was a highly unusual move for 1963, a time when long-playing records typically comprised a handful of hits and plenty of filler.

With advance orders of 300,000, the success of With The Beatles was guaranteed before it was even released. The group was even awarded a silver disc for sales of 250,000, four days before the official release, on 18 November 1963.

After just seven days on sale the album had sold more than half a million copies. By the middle of January 1964 this had increased to 885,000, and by the end of the year 930,000 had been sold.

With The Beatles was the first British long player ever to sell more than one million copies, a milestone that was passed in September 1965. The 1958 soundtrack to South Pacific had also sold that amount, but a British group had never managed the feat.

Despite their fans' eagerness to hear new recordings, reaction to With The Beatles was muted in some places, due to the assassination of President John F Kennedy on its release date.

Sleeve notes

As he did for Please Please Me, the sleeve notes for With The Beatles were written by the group's press officer Tony Barrow. His notes included the phrase "the fabulous foursome", which was duly abbreviated by the media to the Fab Four.

Fourteen freshly recorded titles—including many sure-fire stage-show favourites—are featured on the two generously filled sides of this record. The Beatles have repeated the successful formula which made their first 'Please Please Me' LP into the fastest-selling album of 1963. Again they have set eight of their own original compositions alongside a batch of 'personal choice' pieces selected from the recorded repertoires of the American R.&B. artists they admire most.

The first half of the sessions gets away to a rip-roarin' start with John's powerful treatment of IT WON'T BE LONG NOW. Two more Lennon/McCartney compositions follow with these two remarkably talented tunesmiths handling their own lyrics on ALL I'VE GOT TO DO and ALL MY LOVING. On the first slower number John takes the vocal lead with Paul supplying the harmony. On ALL MY LOVING Paul stands in the vocal spotlight with John and George chanting in the background. Listen to George's superb, slightly Country and Western guitar solo, an intriguing feature of ALL MY LOVING.

DON'T BOTHER ME marks the disc debut of George Harrison as composer. It is a fairly fast number with a haunting theme tune. Behind George's double-tracked voice the rest of the fabulous foursome create some unusual instrumental effects. Paul beats out a lean, hollow-boned rhythm from the claves, John uses a tambourine and Ringo hits out at a loose-skinned Arabian bongo (don't ask me where he picked that up!) to pound out the on-beat percussive drive.

On a fair number of previous recordings by The Beatles producer George Martin has joined the group to add suitable piano sounds to their instrumental arrangements. His keyboartd contributions come a little later in this new programme but on LITTLE CHILD it is Paul McCartney who plays piano. John and Paul join forces for the vocal on this rocker and, whilst Paul was over-dubbing the piano bits, John was standing beside another microphone adding in some neatly-timed mouth-organ phrases.

Those who considered Paul's interpretation of A taste of honey to be a stand-out attraction of The Beatles' first LP will be more than pleased to hear him assume the role of romantic balladeer again on TILL THERE WAS YOU, the near-standard hit from the show 'The Music Man'.

Ringo plays the bongos behind Paul's solo performance. George and john switch to acoustic guitars for this track—only Paul's pulsating bass uses electricity.

If you have read a great deal in the musical press about Merseyside's beat basement, The Cavern, you might imagine that the cellar stompers of Liverpool would demand an all-up-tempo programme. Curiously Paul's persuasive handling of TILL THERE WAS YOU used to go down extremely well at the club long before the Love me do days when The Beatles were frequent bill-toppers at this now-famous venue.

The first half closes with another number which dates back to The Beatles' Cavern Club period. Once an American chart-topper for a recording group called The Marvelettes, PLEASE MR. POSTMAN features a double-tracked John Lennon with George and Paul in vocal support.

Chuck Berry's ROLL OVER BEETHOVEN has been one of the most requested items at recent concert performances by The Beatles. George duets with himself on this one; the boys add to the atmosphere of excitement by their hand-clapping.

Paul issues forth with the invitation HOLD ME TIGHT on the fairly brisk second track of Side Two. More handclapping and energetic vocal support from John and George.

The boys have an immense admiration for America's rhythmic group The Miracles, to whom they pay tribute via their interpretation of YOU REALLY GOT A HOLD ON ME. John and George tackle the wild, relentless vocal with Paul joining them for the chorus lines. Incidentally that IS George Martin on piano this time!

Observing the tremendous audience response that Ringo has been getting whenever he sings Boys, John and Paul put their heads together to pen a special new number for their fierce-voiced drumming man. The result is a real raver entitled I WANNA BE YOUR MAN. The Hammond organ in the background is played by John Lennon.

Though they are lesser known on our side of the Atlantic than The Crystals of The Shirelles, the American all-girl group The Donays have always commanded plenty of professional respect from The Beatles. Therefore they switched around the lyrics of DEVIL IN HER HEART and handed the medium-paced beat offering to George Harrison. John and Paul provide the harmony with Ringo using his maraccas.

The final Lennon/McCartney composition of this session features a double-tracked John Lennon singing NOT A SECOND TIME. George Martin's piano work is featured on this number and again upon the programme's closing track MONEY. Paul describes MONEY as 'a really big screamer' and he recalls the numerous Cavern Club occasions when this item brought forth the same type of overwhelming response given to Twist and Shout. Much recorded by American blues merchants, MONEY has John shouting the raw lyrics with tremendous force and feeling whilst George and Paul supply the answers.

MONEY makes a completely worthy climax to this knock-out programme. Hope it doesn't leave you too breathless to flip back to Side One for a repeat-plat session WITH THE BEATLES.


28 responses on “With The Beatles

  1. Amphion

    Iconic artwork on the cover. Although possibly a poorer representation of Astrid Kirsheners work, this was the first step to rewriting the rules on pop production. George Martin calls it their first songbook. It took me longer to get to know this album than any other Beatle album. By the time of With The Beatles, the innocence of Please Please Me had given way to an expectation. This is a fine album. But to truley appreciate what was happening with the group, you really need to listen to their first three albums, in order, one after another, and then you will actually hear The Beatles sound evolve.

      1. metzgermeister77

        Tony Barrow’s liner notes on page 2 here claim that it’s John, so if you have better sources that say otherwise you might want to add a note to that effect in brackets.

  2. M. Whitener

    “With The Beatles” marks their first real lasting “moment” in my book, but that is just by the cover image. The content of this album is probably my least favorite. The highs are very high, but the lows are down there among the worse stuff they did. “It Won’t Be Long” continues their trend of starting an album out 100 mph & “All My Loving” is one of their best, but it gets a bit inconsistent after that. “Little Child” & “Devil In Her Heart” just aren’t a good sound. George did well on this album & “Money” is their best cover ever for my buck. It helps to know they also did “She Loves You” during this time, but all in all, I think it’s a step down from Please Please Me as a total product.

  3. Bob Ryan

    I agree with the assessment that this album is very uneven. Having grown up with the American versions, I think it’s counterpart “Meet the Beatles” is an unqualified masterpiece. Practically all originals and nearly every song is strong. The overall effect of Meet the Beatles is “WOW!” the overall effect of “With the Beatles is “Hey cool, more Beatles songs!” Of course, Capitol cherry-picked the best songs available for their first Beatles release.

    1. Joe

      You cannot compare it to the American counterpart ‘Meet The Beatles’ as that is not an album, merely a compilation. You may as well compare it to the first disc of The Red Album if you are going to compare.

      1. JohnBeGoode

        Sure you can compare. In fact, Bob Ryan just did, so it sure looks like you can!

        And of course, the comparison is a good once since “Meet The Beatles” was the U.S. introduction of 9 of the songs on “With The Beatles” rounded out by the A- and B-side of the single recorded at the same sessions, and one song from “Please Please Me”. So it’s nothing like comparing it to the first disc of the Red Album.

        In other words, “Meet The Beatles” contains 11 of the 16 songs the Beatles originally released in the UK in November 1963–all 11 of the 11 original compositions released that month, opting to hold back the 5 cover songs for a subsequent album. In fact, tracks 4-12 on “Meet The Beatles” are the 9 originals released on “With The Beatles” in the exact same running order (sans covers) they are heard on the original album. So it’s a good way of hearing what their songwriting was like in late 1963.

        And as Bob Ryan pointed out, many fans feel it’s a better way to hear those 1963 originals than to intermix them with cover songs, some of which they’d been performing for a number of years.

  4. Bronx Boy Billy

    Great, tasteful, woefully underrated album. Interesting to note that George and Paul sing lead on only 3 songs!
    (actually GH has a bit more than PM since he sings along with John on “You really got a hold on me”).

  5. cold turkey 1987

    All ive got to do is a good example of how the beatles could have such solid numbers of songs they never did live or payed to much attention to but oher groups would have used the same material for singles. From the opening as energetic as ever sliding into all ive got to do has such a great flow. Album is better than beatles for sale which imo has the most filler of any album. Wtb is a solid beatles album.

  6. Bongo

    Freeman’s image was also used on the cover of Meet The Beatles!, the group’s first Capitol album in North America.

    This above statement is wrong. Canada’s “Beatlemania! With the Beatles” was the group’s first Capitol album in North America to use Freeman’s image, two days after the U.K. release in November 1963. Meet the Beatles came out in 1964.

  7. Joe

    I have always considered this my favourite Beatles album of the 4 early albums (PPM, WTB, HDN, BFS). Track for track it may not be the best however as an ‘album’, I have always loved how it flows from ‘It Won’t Be Long’ to ‘Money’, it just works so wonderfully well.

  8. Graham Paterson

    What a follow up to Please Please Me and only just over 6 months later. As with all their albums a great cover. This is a groundbreaking album and the progressions from the first one are their for all to see, especially in the song writing of John Lennon and Paul McCartney.I got my copy of this for Christmas 1979. Paul McCartney comes up with his first great standard in All My Loving. John Lennons All Ive Got To Do is a lovely song.And It Wont Be Long,(which apparently nearly got released as a single, but along came I Want To Hold Your Hand),Little Child, Hold Me Tight and Not A Second Time are infectious. Two of my favorite Beatles covers are on this. Roll Over Beethoven and Money. Like Twist and Shout did on the first album, Money is a great way to finish a record. John Lennons lead vocal on this is amazing. And I have alot of time for George Harrisons first foray into song writing , Dont Bother Me.Ringo has the lead on I Wanna Be Your Man, but I must admit I have always preferred the Rolling Stones version of this. John and Paul suggested this to Mick Jagger when the Stones were stuck for a second single. I just love the break neck speed of the Stones version and Brian Jones great guitar solo break.

  9. Robert Spinello

    Mom bought me Meet the Beatles (US version of With the Beatles) at my request for a Beatles album when I was 10 (in 1970) I was hooked after that.

  10. Biased Lennon-Harrison fan

    John wrote and sang lead on It Won’t Be Long, All I’ve Got To Do and Not A Second Time for this album and collaborated with Paul and sang lead for Little Child. He also sang lead on the covers Please Mister Postman, You’ve Really Got A Hold On Me and Money.

    Paul only wrote and sang lead 2 songs, the stereotypical All My Loving and the poorly performed Hold Me Tight, along with singing lead on the cover Til There Was You.

    George wrote Don’t Bother Me and sang lead on it as well as 2 covers, Roll Over Beethoven and Devil In Her Heart. He also sang duet harmony with John in most of Hold On Me.

    So that is 7 lead vocals for John,
    3 1/2 for George (counting his prominent vocal in Hold On Me),
    3 for Paul
    And I Wanna Be Your Man for Ringo

    Notice how George’s contributions were actually greater than Paul’s.

    At this point, it looked like George was set to usurp Paul’s role as the second Beatle
    (John was entrenched as the leader by now). Clearly desperate, Paul made sure that George didn’t get more than one song on their next 2 albums. It’s interesting to see how close we were to Lennon-Harrison though

  11. Biased Lennon-Harrison fan

    I like to listen to this album with a modified order, using the 1963 singles as well.

    Side one

    1. It Won’t Be Long
    2. All I’ve Got To Do
    3. All My Loving
    4. Don’t Bother Me
    5. She Loves You
    6. Little Child
    7. Til There Was You
    8. Please Mister Postman
    9. Money (side one closer)

    Side two

    10. I’ll Get You
    11. Roll Over Beethoven
    12. Hold Me Tight
    13. You Really Got A Hold On Me
    14. I Wanna Be Your Man
    15. This Boy
    16. Devil In Her Heart
    17. Not A Second Time
    18. I Want To Hold Your Hand (album closer)

    I like the transition from Don’t Bother Me to She Loves You, the Beatles had an affinity, if even they were unaware of it, of finishing the story they started. Another example of this is It Won’t Be Long being answered a year and a half later by Wait.

  12. Marc Pepin

    My only complaint about this album as a bass player, the bass is mixed so low on this album you can barely hear it.On Please Please Me it’s louder .The only other thing that I can discuss here, for the cover shoot,only two Beatles were present,the other two were missing. Look at the cover again,the two Beatles where you can see their necks were present for the shoot,the other two Beatle photos with no necks showing,those two photos were pasted on.I read that somewhere.

  13. Bongo

    The below statement blows my mind regarding mono vs stereo. My, times have changed!

    Mono was still the preferred format in 1963. Stereo mixes were made, but The Beatles attended none of the sessions. The stereo mixes were primarily intended to feature a balance between the vocals and instrumentation, with each typically filling one of the available recording tracks.

  14. Reuven Gershon

    Sorry but that’s not true. The photo shoot for With…. Was done in a hotel dining room in Bournmouth with the Beatles back against a window by Robert Freeman.

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