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The Beatles - Anthology 2 (3xLP, Album) (Near Mint (NM or M-))

The Beatles - Anthology 2 (3xLP, Album) (Near Mint (NM or M-))

Apple Records,Capitol Records

$100.00 USD
$100.00 USD
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Media Condition:  Near Mint (NM or M-)
Sleeve Condition: Near Mint (NM or M-)
Country:    US  
Released:  18 Mar 1996
Genre:       Rock
Style:         Rock & Roll, Pop Rock, Psychedelic Rock, Classic Rock
Location:   

Comments:
3xLP Record Set. All 6 sides are NM. Sleeve is NM as well. Includes OG Inners. Great Copy!
 

Notes:

3-LP set, all discs on Apple.

Most copies came with dark pink 5" hype sticker "Includes alternative and unreleased versions of your favorite hits plus the new single "Real Love"

℗ 1996 The Copyright in this compilation is owned by Apple Corps Ltd./EMI Records Ltd.
© 1996 Apple Corps Ltd. Under exclusive licence to EMI Records Ltd.
Manufactured by Capitol Records, Inc. Printed in U.S.A.

A1 Recorded: New York, circa 1979, and Sussex, England, February 1995. Thanks to Eddie Klein, John Hammel, Keith Smith, Mark Hamilton, Jamie Kirkham, Phil Hatton
A2 Recorded: EMI Studios, London, 16 February 1965
A3 & A7 Recorded: EMI Studios, London, 14 June 1965
A4 & A5 Recorded: EMI Studios, London, 18 February 1965
A6 Recorded: EMI Studios, London, 20 February 1965
A8 Recorded: EMI Studios, London, 15 June 1965
B1 to B4 Recorded: ABC Theatre, Blackpool, 1 August 1965. Broadcast live on British TV for Blackpool Night Out
B5 Recorded: Shea Stadium, New York, 15 August 1965
B6 Recorded: EMI Studios, London, 12 October 1965
B7 Recorded: EMI Studios, London, 24 October 1965
B8 Recorded: EMI Studios, London, 4 November 1965
C1 Recorded: EMI Studios, London, 6 April 1966
C2 Recorded: EMI Studios, London, 7 April 1966
C3 Recorded: EMI Studios, London, 20 April 1966
C4 Recorded: EMI Studios, London, 21 April 1966
C5 Recorded: EMI Studios, London, 28 April 1966
C6 & C7 Recorded: EMI Studios, London, 29 April 1966
C8 & C9 Recorded: Nippon Budokan Hall, Tokyo, 30 June 1966
D1 Recorded: "Kenwood", Weybridge, Surrey, November 1966
D2 Recorded: EMI Studios, London, 24 November 1966
D3 Recorded At EMI Studios, London, 29 November And 9 December 1966
D4 Recorded: EMI Studios, London, 29 And 30 December 1966; 4, 5, 6, 9, 10, 12 And 17 January 1967
D5 Recorded: EMI Studios, London, 19 And 20 January And 10 February 1967
D6 Recorded: EMI Studios, London, 8 And 16 February 1967
D7 Recorded: EMI Studios, London, 13, 14 February And 20 April 1967
E1 & E2 Recorded: EMI Studios, London, 17 And 20 February 1967
E3 Recorded: EMI Studios, London, 1 And 2 March 1967
E4 Recorded: EMI Studios, London, 15, 16 And 22 March And 3 April 1967
E5 Recorded: EMI Studios, London, 1 April 1967
E6 Recorded: EMI Studios, London, 17 May And 7, 8 June 1967, 20 April 1969
F1 Recorded: EMI Studios, London, 5 September 1967
F2 Recorded: EMI Studios, London, 6 September 1967
F3 Recorded: EMI Studios, London, 16 September 1967
F4 Recorded: EMI Studios, London, 25 September 1967
F5 Recorded: EMI Studios, London, 2 And 29 October 1967
F6 Recorded: EMI Studios, London, 3 And 6 February 1968
F7 Recorded: EMI Studios, London, 3 February 1968

A4, A8 to B5, C2, C6 to D1, D3, F2: Presented in MONO

All tracks ℗ 1996 The Copyright in these sound recordings is owned by EMI Records Ltd., except
A1: ℗ 1996 The Copyright in this sound recording is owned by The John Lennon Estate, Paul McCartney, George Harrison and Ringo Starr under exclusive license to EMI Records Ltd.
B1 to B4: ℗ 1996 The Copyright in these sound recordings is owned by Lumiere / Movie Acquisition under license to Apple Corps Ltd.
B5: ℗ 1996 The Copyright in this sound recording is owned by Apple Corps Ltd. under exclusive license to EMI Records Ltd.
C8 & C9: ℗ 1992 The Copyright in these sound recordings is owned by Apple Corps Ltd. under exclusive license to EMI Records Ltd.
D1: ℗ 1996 The Copyright in these sound recordings is owned by The John Lennon Estate under license to Apple Corps Ltd.

Publishing:
A1: Ono Music
A2 to B4, B6, B7, C1 to C7, C9 to D7, E3 to E6, F5 to F7: Northern Songs. All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC., under license from Sony/ATV Songs LLC. (BMI)
B5: Carl Perkins Music (BMI). All Rights on behalf of Carl Perkins Music Administered by Unichappell Music, Inc. (BMI) 
B8: Lenono Music Inc./MPL Communications Ltd./Harrisongs Ltd./Startling Music Ltd.
C8: ARC Music Corp./Isalee Music Co.
E1 & E2: Northern Songs. All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC., under license from ATV MUSIC CORP. (MACLEN MUSIC)
F1 to F4: Northern Songs. All Rights Controlled and Administered by EMI APRIL MUSIC INC., under license from Sony/ATV Tunes LLC. (ASCAP)

Runouts are etched, except for MASTERED BY CAPITOL and [SRC logo, which are stamped.

 

A1. Real Love 3:54
A2. Yes It Is 1:50
A3. I'm Down 2:53
A4. You've Got To Hide Your Love Away 2:44
A5. If You've Got Trouble 2:48
A6. That Means A Lot 2:26
A7. Yesterday 2:33
A8. It's Only Love 1:58
B1. I Feel Fine 2:15
B2. Ticket To Ride 2:44
B3. Yesterday 2:42
B4. Help! 2:54
B5. Everybody's Trying To Be My Baby 2:45
B6. Norwegian Wood (This Bird Has Flown) 1:59
B7. I'm Looking Through You 2:53
B8. 12-Bar Original 2:55
C1. Tomorrow Never Knows 3:14
C2. Got To Get You Into My Life 2:54
C3. And Your Bird Can Sing 2:13
C4. Taxman 2:32
C5. Eleanor Rigby (Strings Only) 2:06
C6. I'm Only Sleeping (Rehearsal) 0:40
C7. I'm Only Sleeping (Take 1) 2:59
C8. Rock And Roll Music 1:39
C9. She's A Woman 2:54
D1. Strawberry Fields Forever (Demo Sequence) 1:42
D2. Strawberry Fields Forever (Take 1) 2:34
D3. Strawberry Fields Forever (Take 7 And Edit Piece) 4:13
D4. Penny Lane 3:12
D5. A Day In The Life 5:04
D6. Good Morning Good Morning 2:40
D7. Only A Northern Song 2:43
E1. Being For The Benefit Of Mr. Kite! (Takes 1 And 2) 1:05
E2. Being For The Benefit Of Mr. Kite! (Take 7) 2:33
E3. Lucy In The Sky With Diamonds 3:05
E4. Within You Without You (Instrumental) 5:27
E5. Sgt. Pepper's Lonely Hearts Club Band (Reprise) 1:27
E6. You Know My Name (Look Up The Number) 5:43
F1. I Am The Walrus 4:01
F2. The Fool On The Hill (Demo) 2:48
F3. Your Mother Should Know 3:02
F4. The Fool On The Hill (Take 4) 3:44
F5. Hello, Goodbye 3:17
F6. Lady Madonna 2:22
F7. Across The Universe 3:28

 

Barcode and Other Identifiers:

Barcode 7 2438-34448-1 6
Barcode 724383444816
Other 1-884409-23-7
Rights Society BMI
Rights Society ASCAP
Other C1 7243 8 34449 1 5
Other C1 7243 8 34450 1 1
Other C1 7243 8 37047 1 2
Matrix / Runout SRC MASTERED BY CAPITOL
Matrix / Runout C1-34449-A RE-1 G3 1-2
Matrix / Runout C1-34449-B RE-1 G3 1-2
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2A∙G1 1-1 "KEV"
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2B∙G1 1-1 "KEV"
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3A∙G1 1-2 "KEV"
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3B∙G1 1-2 "KEV"
Matrix / Runout C1-34449-A RE-1 G3 1-2
Matrix / Runout C1-34449-B RE-1 G3 1-2
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2A∙G1 1-1 "KEV"
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2B∙G1 1-2 "KEV"
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3A∙G1 1-2 "KEV"
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3B∙G1 1-2 "KEV"
Matrix / Runout C1-34449-A RE-1 G3 1-2 MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1-34449-B RE-1 G3 MASTERED BY CAPITOL 1-1 [SRC logo]
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2A∙G1 1-2 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2B∙G1 1-1 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3A∙G1 1-2 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3B∙G1 1-1 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1-34449-A RE-1 G3 1-2 MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1-34449-B RE-1 G3 1-2 MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2A∙G1 1-1 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙34450∙1∙1∙2B∙G1 1-2 "KEV" [SRC logo] MASTERED BY CAPITOL
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3A∙G1 1-1 "KEV" MASTERED BY CAPITOL [SRC logo]
Matrix / Runout C1∙7243∙8∙37047∙1∙2∙3B∙G1 1-2 "KEV" [SRC logo] MASTERED BY CAPITOL

 

Phonographic Copyright (p) Apple Corps Ltd.
Phonographic Copyright (p) EMI Records Ltd.
Copyright (c) Apple Corps Ltd.
Licensed To EMI Records Ltd.
Manufactured By Capitol Records, Inc.
Recorded At EMI Studios, London
Recorded At ABC Theatre
Recorded At Shea Stadium
Recorded At Budokan
Recorded At Kenwood Surrey
Phonographic Copyright (p) The John Lennon Estate
Phonographic Copyright (p) Paul McCartney
Phonographic Copyright (p) George Harrison
Phonographic Copyright (p) Ringo Starr
Phonographic Copyright (p) Lumiere / Movie Acquisition
Licensed To Apple Corps Ltd.
Published By ONO Music
Published By Northern Songs
Published By EMI Blackwood Music Inc.
Licensed From Sony/ATV Songs LLC
Published By Carl Perkins Music
Published By Unichappell Music, Inc.
Published By Lenono Music Inc.
Published By MPL Communications Ltd.
Published By Harrisongs Ltd.
Published By Startling Music Ltd.
Published By Arc Music Corp.
Published By Isalee Music Co.
Licensed From ATV Music Corp.
Licensed From MacLen Music
Published By EMI April Music Inc.
Licensed From Sony/ATV Tunes LLC
Mastered At Capitol Mastering
Pressed By Specialty Records Corporation

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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Fully Serviced

All items are meticulously serviced and restored to meet factory specifications

Well Cared Shipping

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

Information flow

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