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The Beatles - Anthology 1 (3xLP, Album, EMI) (Very Good Plus (VG+))

The Beatles - Anthology 1 (3xLP, Album, EMI) (Very Good Plus (VG+))

Apple Records,Apple Records

$60.00 USD
$60.00 USD
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Media Condition:  Very Good Plus (VG+)
Sleeve Condition: Very Good (VG)
Country:    Europe  
Released:  20 Nov 1995
Genre:       Rock
Style:         Rock & Roll, Pop Rock, Beat
Location:   

Comments:
Records are overall VG+. Side 1 is VG+, all other sides 2 through 6 are NM. Sleeve is VG w/scuffs and scratches on back cover. Includes OG Inners.
 

Notes:

Vinyl pressed by [l754 (identified by machine-stamp in runout)

Tri-fold sleeve (6 panels, 2 spines).

A1 Recorded: New York, circa 1977, and Sussex, England, February / March 1994
A2 & C5: 8 December, 1970, New York City. Special Thanks to Jann Wenner & Rolling Stone Magazine. ©1970 Jann Wenner.
A3 & A4 Recorded: Phillips Sound Recording Service, Liverpool, 1958
A5: 3 November 1994, London
A6 to A8 Recorded: Liverpool, 1960. Recorded in rehearsal in Paul McCartney's home in Liverpool.
A9: Recorded 27 October 1962 backstage at Hulme Hall, Port Sunlight, Cheshire.
A10 to A12 Recorded: Friedrich-Ebert-Halle, Hamburg, , 22 June 1961
B1: [for BBC Radio 1 programme Scene and Heard (Broadcast November 1971). Interview recorded October 1971, in New York City.
B2 & B8 Recorded: EMI Studios, London, 13 October 1964. Extracts from [Brian Epstein's autobiography A Cellarful Of Noise. Special Thanks to Queenie Epstein.
B3 to B7 Recorded: Decca Studios, London, 1 January 1962
B9 & B10 Recorded: EMI Studios, London, 6 June 1962
B11 Recorded: EMI Studios, London, 4 September 1962
B12 Recorded: EMI Studios, London, 11 September 1962
C1 & C2 Recorded: EMI Studios, London, 5 March 1963
C3 Recorded: BBC Maida Vale Studios, London, 2 July 1963. Broadcast on the 5th edition of the BBC Radio programme Pop Go The Beatles.
C4 Recorded: London Palladium, 13 October 1963. From a TV broadcast 13 October, 1963 on Val Parnell's Sunday Night At The London Palladium.
C6 to C10 Recorded: Karlaplansstudion, Stockholm, 24 October 1963. Recorded for Sveriges Radio broadcast 11 November 1963.
D1 to D3 Recorded: Prince of Wales Theatre, London, 4 November 1963. for TV broadcast on the Royal Command Performance, 10 November 1963.
D4 to D7 Recorded: ATV Studios, Borehamwood, 2 December 1963. from the Beatles appearance on The Morecambe And Wise Show.
D8 Recorded: Pathé Marconi, Paris, 29 January 1964
E1 Recorded: CBS television studio, New York, 9 February 1964. The first song from The Beatles' first appearance on The Ed Sullivan Show.
E2 & E3 Recorded: EMI Studios, London, 25 February 1964
E4 Recorded: EMI Studios, London, 16 April 1964
E5 to E8 Recorded: IBC Studios, London, 19 April 1964. recorded for the TV special Around The Beatles.
E9 & E10 Recorded: EMI Studios, London, 1 June 1964
F1 & F2 Recorded: EMI Studios, London, 3 June 1964
E3 & E4 Recorded: EMI Studios, London, 14 August 1964
F5 Recorded: EMI Studios, London, 30 September 1964
F6 & F7 Recorded: EMI Studios, London, 6 October 1964
F8 Recorded: EMI Studios, London, 18 October 1964

A1 ℗ 1995 The John Lennon Estate, Paul McCartney, George Harrison and Ringo Starr under exclusive license to EMI Records Ltd;
A2 & C5 ℗ 1970 Jann Wenner under license to Apple Corps Ltd;
A3 & A4 ℗ 1995 The John Lennon Estate, Paul McCartney, George Harrison and Apple Corps Ltd under exclusive license to EMI Records Ltd.
A5 ℗ 1995 MPL Communications Ltd under exclusive license to Apple Corps Ltd;
A6 to A8 ℗ 1995 Paul McCartney under exclusive license to Apple Corps Ltd;
A9 ℗ 1986 Mark Lewisohn under license to Apple Corps Ltd;
A10 to A12 ℗ 1961 Polydor International GmbH Hamburg under license to Apple Corps Ltd;
B1 ℗ 1976 Polydor Ltd (UK) under license to Apple Corps Ltd;
B2 & B8 ℗ 1995 The Estate of Brian Epstein under license to Apple Corps Ltd;
B3 to B7 ℗ Apple Corps Ltd under license to EMI Records Ltd;
B9 to C2, D8, E2 to F8 ℗ 1995 EMI Records Ltd;
C3 ℗ BBC under exclusive license to EMI Records Ltd;
C4, D1 to D7 ℗ 1995 Polygram International Music BV under license to Apple Corps Ltd;
C6 to C10 ℗ Swedish Broadcasting Corporation under license to Apple Corps Ltd;
E1 ℗ 1995 Sullivan Productions Inc. under exclusive license to Apple Corps Ltd;
E5 to E8 (courtesy of Dave Clark)

Publishers:
A1 Lenono Music Inc;
A3, E6 Peermusic (UK) Ltd;
A4, A7, A8, B10, D2 MPL Communications Ltd;
A6, A10, B3, B4, C3 Carlin Music Corp.;
A11 Lawrence Wright/EMI;
A12 Harrisongs Ltd;
B5 B. Feldman/Redwood Music;
B6, B7, C1, C2, C4, C6, C7, D1, D4, D5, D8, E1 to E5, E9, E10, F2, F5 to F7 Northern Songs;
B9 Latin American Music;
B11, B12, F6 Dick James Music Ltd;
C8, C9 Jobete Music (UK)
C10 Jewel Music Publishing Co. Ltd;
D3 EMI Music Publishing;
D7 Redwood Music Ltd;
E7 Ardmore and Beechwood/EMI;
E8 Windswept Pacific Music Ltd;
F3 BMG Music Publishing;
F4 Warner-Chappell/Lark Music Ltd;
F8 Peter Maurice Music Co.- EMI/ATV Music

A3, A4, A6 to A8, B3 to B7, B9 to C4, C5 to D5, D7, E1: MONO tracks

Runouts are stamped, only the three-digit numbers at the end are etched.
On side F, variant 7,  the first 2 is in "B-2-1-1-2," is overstamped with "1".

 

A1. The Beatles - Free As A Bird 4:24
A2. John Lennon - "We're Four Guys... That's All" 0:12
A3. The Beatles - That'll Be The Day 2:07
A4. The Beatles - In Spite Of All The Danger 2:44
A5. Paul McCartney - "Sometimes I'd Borrow... Those Still Exist" 0:17
A6. The Beatles - Hallelujah, I Love Her So 1:13
A7. The Beatles - You'll Be Mine 1:38
A8. The Beatles - Cayenne 1:13
A9. Paul McCartney - "First Of All... I Didn't Do A Thing Here" 0:07
A10. The Beatles - My Bonnie 2:42
A11. The Beatles - Ain't She Sweet 2:13
A12. The Beatles - Cry For A Shadow 2:22
B1. John Lennon - "Brian Was A Beautiful Guy... He Presented Us Well" 0:10
B2. Brian Epstein - "I Secured Them... A Beatle Drink Even Then" 0:18
B3. The Beatles - Searchin' 2:59
B4. The Beatles - Three Cool Cats 2:25
B5. The Beatles - The Sheik Of Araby 1:43
B6. The Beatles - Like Dreamers Do 2:35
B7. The Beatles - Hello Little Girl 1:40
B8. Brian Epstein - "Well, The Recording Test... By My Artists" 0:32
B9. The Beatles - Besame Mucho 2:37
B10. The Beatles - Love Me Do 2:31
B11. The Beatles - How Do You Do It 1:57
B12. The Beatles - Please Please Me 1:59
C1. The Beatles - One After 909 (Sequence) 2:23
C2. The Beatles - One After 909 (Complete) 2:55
C3. The Beatles - Lend Me Your Comb 1:49
C4. The Beatles - I'll Get You 2:08
C5. John Lennon - "We Were Performers... In Britain" 0:12
C6. The Beatles - I Saw Her Standing There 2:48
C7. The Beatles - From Me To You 2:05
C8. The Beatles - Money (That's All What I Want) 2:52
C9. The Beatles - You Really Got A Hold On Me 2:58
C10. The Beatles - Roll Over Beethoven 2:21
D1. The Beatles - She Loves You 2:50
D2. The Beatles - Till There Was You 2:54
D3. The Beatles - Twist And Shout 3:05
D4. The Beatles - This Boy 2:22
D5. The Beatles - I Want To Hold Your Hand 2:36
D6. The Beatles - "Boys, What I Was Thinking..." 2:05
D7. The Beatles - Moonlight Bay 0:49
D8. The Beatles - Can't Buy Me Love 2:10
E1. The Beatles - All My Loving 2:19
E2. The Beatles - You Can't Do That 2:42
E3. The Beatles - And I Love Her 1:52
E4. The Beatles - A Hard Day's Night 2:43
E5. The Beatles - I Wanna Be Your Man 1:47
E6. The Beatles - Long Tall Sally 1:45
E7. The Beatles - Boys 1:49
E8. The Beatles - Shout 1:31
E9. The Beatles - I'll Be Back (Take 2) 1:12
E10. The Beatles - I'll Be Back (Take 3) 1:57
F1. The Beatles - You Know What To Do 1:58
F2. The Beatles - No Reply (Demo) 1:36
F3. The Beatles - Mr. Moonlight 2:47
F4. The Beatles - Leave My Kitten Alone 2:56
F5. The Beatles - No Reply 2:29
F6. The Beatles - Eight Days A Week (Sequence) 1:25
F7. The Beatles - Eight Days A Week (Complete) 2:47
F8. The Beatles - Kansas City / Hey-Hey-Hey-Hey! 2:44

 

Barcode and Other Identifiers:

Barcode 7 24383 44451 9
Barcode 724383444519
Price Code PM 541
Label Code LC 0299
Matrix / Runout (7243 8 34446 1 8)
Matrix / Runout (7243 8 34447 1 7)
Matrix / Runout (7243 8 36234 1 9)
Matrix / Runout 8344461 A-12-1-2 D 308
Matrix / Runout 8344461 B-1-1-2 D 305
Matrix / Runout 8344471 A-04-01-2 D 232
Matrix / Runout 834471 B-03-01-2 D 221
Matrix / Runout 8362341 A-1-1-1 D 159
Matrix / Runout 8362341 B-12-1-2  D 342
Matrix / Runout 8344461 A-12-1-2 D 329
Matrix / Runout 8344461 B-1-1-1 D 392
Matrix / Runout 8344471 A-04-01-2 D 248
Matrix / Runout 8344471 B-03-01-2 D 253
Matrix / Runout 8362341 A-1-1-1 D 035
Matrix / Runout 8362341 B-12-1-1 D 030
Matrix / Runout 8344461 A-12-1-2 D 304
Matrix / Runout 8344461 B-1-1-1 D 195
Matrix / Runout 8344471 A-04-01-2 D 264
Matrix / Runout 8344471 B-03-01-2 D 378
Matrix / Runout 8362341 A-1-1-1 D 172
Matrix / Runout 8362341 B-2-1-2 D 110
Matrix / Runout 8344461 A-12-1-2 D 105
Matrix / Runout 8344461 B-1-1-1 D 144
Matrix / Runout 8344471 A-04-01-2 D 240
Matrix / Runout 8344471 B-03-01-2 D 253
Matrix / Runout 8362341 A-1-1-1 D 182
Matrix / Runout 8362341 B-21-1-2 D 168
Matrix / Runout 8344461 A-12-1-2 D 139
Matrix / Runout 8344461 B-1-1-2 D 355
Matrix / Runout 8344471 A-04-01-1 D 247
Matrix / Runout 8344471 B-03-01-3 D 377
Matrix / Runout 8362341 A-1-1-C1 D 160
Matrix / Runout 8362341 B-1-1-2 D 409
Matrix / Runout 8344461 B-1-1-1 D 338
Matrix / Runout 8344461 A-12-1-1 D 382
Matrix / Runout 8344471 A-04-01-1 D 292
Matrix / Runout 8344471 B-03-01-3 D 404
Matrix / Runout 8362341 A-1-1-01 D 310
Matrix / Runout 8362341 B-2-1-2 D 327
Matrix / Runout 8344461 A-12-1-2 D 140
Matrix / Runout 8344461 B-1-1-1 D 199
Matrix / Runout 8344471 A-04-01-1 D 280
Matrix / Runout 8344471 B-03-01-2 D 294
Matrix / Runout 8362341 A-1-1-01 D 179
Matrix / Runout 8362341 B-2-1-1-2 D 115
Matrix / Runout 8344461 A-12-1-1 D 184
Matrix / Runout 8344461 B-1-1-3 D 196
Matrix / Runout 8344471 A-04-01-1 D 227
Matrix / Runout 8344471 B-03-01-1 D 222
Matrix / Runout 8362341 A-1-1-2 D 047
Matrix / Runout 8362341 B-2-1-1 D 046

 

Phonographic Copyright (p) Apple Corps Ltd.
Phonographic Copyright (p) EMI Records Ltd.
Copyright (c) Apple Corps Ltd.
Licensed To EMI Records Ltd.
Marketed By EMI
Distributed By EMI
Pressed By EMI Records
Recorded At Phillips Sound Recording Service
Recorded At Hulme Hall, Cheshire
Recorded At Friedrich-Ebert-Halle, Hamburg
Recorded At EMI Studios, London
Recorded At Decca Studios
Recorded At Maida Vale Studios
Recorded At London Palladium
Recorded At Karlaplansstudion, Stockholm
Recorded At Prince Of Wales Theatre
Recorded At ATV Studios (2)
Recorded At Pathé-Marconi Studios
Recorded At Ed Sullivan Theater
Recorded At I.B.C. Studios

Data provided by Discogs

In stock

There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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All items are meticulously serviced and restored to meet factory specifications

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We pack with precision and ship in brand new, appropriately sized, boxes.

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