Auction 739 April.

Original vintage 5.5 x 8.75 handbill for a concert at the Winter Gardens in Margate, England on July 7, 1963, featuring musical performances by Jet Harris, Tony Meehan, and Peter Jay and the Jaywalkers, signed on the reverse by the Beatles, with John Lennon, Paul McCartney, and George Harrison signing in ballpoint, and Ringo Starr signing in pencil and adding “The Beatles.” The adjacent side of the handbill bears ownership notations. The consignor notes that the autographs were obtained at the venue when the Beatles performed a short residency there between July 8-13, 1963. In very good condition, with light creasing, general handling wear, and old tape stains to the corners. Accompanied by a certificate of authenticity from Tracks and a letter of provenance from the niece of the original recipient: “My auntie…lived in Margate, Kent. She was actually dating someone in a band at the time, and he used to take her to all the bands playing at the Winter Gardens in Margate. She went to see the Beatles in 63, and got their autographs.”

Vintage 1975 ballpoint signature, “John Lennon,” on an off-white 4.75 x 4 sheet. Included with the signature is a period spiral-bound photo album, which contains 20 color semi-glossy 5 x 3.5 candid photographs from the WFIL Helping Hand Marathon, with 14 photos picturing Lennon at the event. In very good to fine condition, with light soiling, and old adhesive and mounting residue on the back.

From May 16 to 18, 1975, the Philadelphia rock station WFIL and the advocacy organization PARC co-sponsored the Helping Hand Marathon, a weekend fundraiser to raise money for multiple sclerosis. Lennon spent the entire three days answering phones, taking pledges, and signing autographs for fans; he even stayed long enough to do the weather report for WPVI-TV.

Ballpoint signatures, "John Lennon" and "Yoko Ono,” on a pink 4.75 x 3 album page; both Lennon and Ono end their signatures by drawing arrows to the other person’s name. In very fine condition. Encapsulated and graded by PSA/DNA as “NM - MT 8.”

Early 1980s UK pressing of the Beatles’ self-titled 1968 album, known as ‘The White Album,’ signed and inscribed on the inner gatefold in black ballpoint, “To John, all the best to ye! Paul McCartney, May, 1983,” “Love to John, Linda McCartney,” and “To John, Good luck and success with the film! George Martin, May 1983.” The consignor notes that the autographs were obtained at Elstree Studios in Borehamwood, England, in May 1983, while McCartney was filming scenes for his 1984 film, Give My Regards to Broad Street. In fine condition. The records are included, as are the portrait photos and poster. Accompanied by a certificate of authenticity from Tracks and a letter from the original recipient, which reads: “To confirm I worked in the Camera department on the feature film ‘Give My Regards to Broad Street,’ which was produced in 1983/84 at Elstree Studios, Borehamwood. During the filming period, this album was signed by Paul McCartney, Linda McCartney, and George Martin.”

Original artwork by Bob Dylan from his celebrated 'Side Tracks' series, based on his most famous 'Drawn Blank' image ('Train Tracks'), hand-embellished in gouache and mixed media on a 36 x 48 giclée, signed below in pencil by Bob Dylan. The work features Dylan's famous image of empty train tracks stretching into the infinite horizon, sky ablaze in the amber hues of sunset. Purple houses line the tracks and crimson-topped mountains loom in the distance. Dylan's brushwork is brilliant and energetic, the whites delivered using a textural impasto technique. The artwork is titled on the reverse in pencil: "2 December 1975, Toronto, Canada." Each work in Dylan's running 'Side Tracks' series carries a unique date, city, and country, based on concerts he performed from 1961 to 2013. Float mounted and framed by John Jones of London to an overall size of 38.25 x 50.5, with a Halcyon Gallery label affixed to the reverse. In fine condition, with the paper gently buckling from the backing mount. Accompanied by a framed 15.5 x 12.5 biographical display.

Bob Dylan's 'Side Tracks' series is a celebrated collection of over 300 artworks that showcase his evolution as a visual artist. Each piece begins with a giclée print of his iconic 'Train Tracks' image, a motif that first appeared in his 'Drawn Blank' series. Dylan then hand-embellishes each piece, making every one unique. The artworks are named after specific locations and dates, corresponding to significant concerts performed by Dylan throughout his lengthy career. This personal connection to his touring history adds resonant depth and narrative to the artworks; his 1975 Toronto show came as part of the legendary Rolling Thunder Revue, a carnivalesque spectacle that featured Joan Baez, Joni Mitchell, Gordon Lightfoot, Ramblin' Jack Elliott, Roger McGuinn, Mick Ronson, and Allen Ginsberg.

Bob Dylan’s 'Drawn Blank Series' marks a significant chapter in his journey as a visual artist, showcasing his ability to translate his observations into expressive paintings. Originally created as sketches between 1989 and 1992 while touring across America, Europe, and Asia, these drawings were a means for Dylan to relax and refocus his mind.

In 2006, he began to revisit the collection, transforming his black-and-white sketches into vibrant watercolor and gouache paintings, each version exploring different moods and color palettes. The series debuted at the Kunstsammlungen Chemnitz museum in Germany before being exhibited at London’s Halcyon Gallery, where critics praised his bold use of color and emotive brushwork. Much like his music, Dylan’s artwork reflects his unique perspective on people, places, and the passage of time, solidifying his status as a multidisciplinary artist with a distinct and evolving visual style.

Limited edition color 22 x 27.5 giclee print by Bob Dylan entitled ‘Train Tracks - Portfolio,' released as part of his original 2008 'Drawn Blank' series, numbered 149/295, signed in the lower border in pencil by Dylan. In fine condition, with a couple of light creases to the left border. Accompanied by a certificate of authenticity from Washington Green Fine Art.

Dylan's popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his 'Never Ending Tour.' This ‘Train Tracks’ print, which derives from the first artwork suite released in the series, represents Dylan's most coveted subject, and one that he has returned to throughout the series.

Reissue of Bob Dylan’s landmark seventh studio album, Blonde on Blonde, signed neatly on the front cover in black felt tip by Dylan. In very fine condition. The records are included. Accompanied by a certificate of authenticity from Tracks and a letter of provenance from Jeff Rosen, president of the Bob Dylan Music Company, in full: "I represent Bob Dylan and have done so for many years. In 2017 he signed a number of individual albums on a rare and limited basis, including the album photographed here. I can say for certain that it is Bob Dylan's signature. The chain of custody is directly from Bob Dylan to myself." A sensational example of one of Dylan’s greatest albums, signed in a controlled environment, for his trusted business manager of 30-plus years.

Often ranked as one of the greatest albums of all time, Blonde on Blonde represents not only one of the first double albums in rock history, but also the culmination of Dylan's influential 1965–1966 period that included Bringing It All Back Home and Highway 61 Revisited. The genre and boundary-crossing brilliance of Blonde on Blonde—recording sessions were split between Columbia Studios in Nashville and New York City—was praised by critics and the public alike, with the album attaining double platinum status on the strength of singles 'Rainy Day Women #12 & 35' and 'I Want You.'

Tango in the Night album by Fleetwood Mac, signed on the front cover in silver ink by Mick Fleetwood, John McVie, Christine McVie, Stevie Nicks, Rick Vito, and Billy Burnette. In fine condition. The record is not included. Accompanied by a certificate of authenticity from Tracks. The consignor notes that the autographs were obtained at the Hovet Arena in Stockholm, Sweden, on May 29, 1988, by an employee of the Swedish company EMA Telstar. Through his role organising security for concerts and events, he was granted access to many of the world’s leading artists of the period. The show was part of the group’s ‘Shake the Cage Tour,’ the band’s first tour without guitarist Lindsey Buckingham.

Coveted glossy 11 x 8.5 photo of Pink Floyd in their prime, signed and inscribed in black felt tip, "To Anthony, Roger Waters," "Nick Mason,” and “Richard Wright," and in silver ink, "David Gilmour.” In fine condition, with minor ink adhesion issues to Gilmour's signature. A sought-after, fully signed band photo of the prog rock masters.

UK vinyl pressing of the 1988 Prince album Lovesexy, signed on the front cover in blue felt tip, “‘Love God,’” – P 88.” The consignor notes that the album was signed at an autograph-signing session held at the department store Nordiska Kompaniet (NK) in Stockholm, Sweden, on August 12, 1988. Prince had performed at Stockholm's Isstadion on August 10th and 11th. In very fine condition. The record is included. Accompanied by a certificate of authenticity from Tracks.

Two early vintage Queen items: promotional flyer for Queen and their 1973 UK Tour in support of their self-titled debut album, 8.25 x 11.5, signed in ink and ballpoint by Freddie Mercury, Roger Taylor, John Deacon, and Brian May, who adds an inscription above, “With love to Denise,” with Deacon signing again on the reverse; and an ALS from May, signed “Brian,” on a 5.5 x 3.5 postal card, postmarked on March 12, 1974, addressed to Denise Bradbury. The handwritten letter reads: “I’ve been trying to get through to you at work but they don’t seem to know your extension and can’t be bothered to find out. John says you phoned him but this is just to confirm that your names will be on the door at Cheltenham so hope to see you there. Look after yourself.” In overall very good to fine condition, with overall light creasing to the photo, and light brushing to the ink in May's letter.

DS, signed “Brian Jones," "Mick Jagger," "K. Richard," "C. R. Watts," and "Bill Wyman,” one page, 7.75 x 9.75, September 11, 1965. Official letter to B.B. Boreham, the secretary of Rolling Stones Limited, sent from the office address of the group’s manager, Andrew Loog Oldham, in full: “We enclose a letter requiring that an extraordinary general meeting of Rolling Stones Limited should be convened for the purpose of passing the resolutions mentioned in that letter. We suggest that, as a matter of urgency, a Directors' meeting should take place for the purpose of considering this request that such a meeting be convened, for discussing the financial affairs of the Company and any other Company business which should be discussed by the Directors at this stage. In order that all Directors should have more than sufficient notice of the proposed meeting, we have resolved that it should take place on Monday the 20th September 1965 at 3.00 p.m. Since it would probably be most convenient for Mr. Easton and yourself if the meeting were to take place at la Little Argyle Street W.1. we suggest it be there and we look forward to seeing you there.” Signed at the conclusion by all five band members in black ballpoint. In fine condition, with a light diagonal crease to the upper left. Accompanied by a certificate of authenticity from Tracks.

Circa 1980 glossy 10 x 8 Atlantic Records publicity photo of AC/DC rocking on stage, signed in blue felt tip by Angus Young, Malcolm Young, Brian Johnson, Phil Rudd, and Cliff Williams, with most adding the band’s name. The image was taken directly from the filming of the band’s iconic “Back in Black” video shoot. Notably, this is the only official record label publicity photograph showing all five members performing together on stage with their instruments. Affixed to a same-sized cardstock mount and in very good to fine condition, with wear to the lightly trimmed edges, including creases and short edge tears; Rudd’s signature is penned over a very light failed first attempt. A scarce and highly coveted AC/DC publicity image.

Reckless album by Bryan Adams, signed and inscribed on the front cover in black felt tip, "Jay! Bryan Adams, 2010." In fine condition. The record is included. Accompanied by a full letter of authenticity from JSA.

Exceptionally rare 7˝ EMI one-sided acetate pressing of the Beatles' breakthrough hit "Please Please Me," as heard on the mono 45 RPM single released on January 11, 1963. The acetate disc bears a black-and-white Emidisc label with handwritten notations: "Please Please Me, The Beatles."

One of the earliest known Beatles Emidisc acetates, this example was cut from a late November 1962 take. By this point, the song's arrangement had been radically altered from earlier demos, ultimately requiring 18 takes to achieve the version that producer George Martin immediately recognized as a hit. His prediction proved accurate—'Please Please Me' was the Beatles' first single to reach number one on both the NME and Melody Maker charts. It then became the title track of their first studio album, recorded soon after to capitalize on the single's success.

Although this acetate lacks the recording engineer’s initials on the label, research confirms that the handwriting is that of pioneering EMI cutting engineer Peter Vince, who joined the studio in April 1962, just prior to the Beatles’ first sessions there in June.

This very acetate was featured in Record Collector Magazine (September 2017), noted as part of a collection once owned by UK session musician Laurie Payne.

To date, we know of only two genuine Emidisc acetates of 'Please Please Me' to have surfaced. This particular example was last sold by Omega Auctions (UK) in 2022.

Condition (VG+): The disc displays a fair amount of surface marks and scuffs, but no feelable scratches to the playing surface. The label is clean, showing only proper aging. There is no deterioration to the lacquer on the playing side (with some minor wear to the lacquer around the rim), with some 'ring like' effects to the blank 'B' side. It plays great!

Accompanied by a high-fidelity digital transfer (.wav file) of the acetate's contents on a USB stick.

Unique 10˝ MGM/Verve Records one-sided 45 RPM mono acetate pressing of "Ain't She Sweet," originally recorded as one of eight songs for Bert Kaempfert Produktion in Hamburg, Germany, in 1961. The acetate disc bears a black-and-white MGM/Verve Records "Reference Recording" label, filled out in type: "Title: Ain't She Sweet, Artist: The Beatles - John Lennon."

In early 1964, shortly after Beatlemania exploded in the United States, MGM Records leased the rights to four of the eight Beatles 1961 Hamburg recordings, most of which featured Tony Sheridan on vocals. MGM rapidly released these four songs ('My Bonnie,' 'The Saints,' 'Cry for a Shadow,' and 'Why') in the United States in the first half of 1964—with tremendous success—and were preparing to release singles for the remaining songs, including 'Ain't She Sweet,' in the second half of the year.

Before the release could proceed, MGM learned that Atlantic Records had secured the rights to the remaining four Hamburg tracks. This acetate represents the only known surviving artifact of MGM’s planned but unreleased 45 of “Ain’t She Sweet,” making it a unique and historically significant relic from the peak of Beatlemania.

When Atlantic Records released 'Ain't She Sweet' on July 6, 1964 (ATCO 45-6308), the label indicated the artist as 'The Beatles,' but added 'Vocal By John Lennon'—distinguishing it from the other Hamburg sessions led by Tony Sheridan. Similarly, this MGM acetate lists the artist as "The Beatles - John Lennon," singling out John as the lead vocalist.

This acetate is featured on page 84 of The Beatles Swan Song: She Loves You & Other Records by acclaimed Beatles author and historian Bruce Spizer.

Condition (VG-): The lacquer looks well-used, with a couple of tiny edge chips, but plays well with no skips and some moderate background noise.

White-label test pressing (on dark red 'Everclean' vinyl) of Odeon's 1966 release of Please Please Me by the Beatles. This Japanese version of the band's debut album has a different and unique cover (with bound-in 8-page color booklet), and the record carries a re-ordered track listing as compared to the standard UK issue. Pressed on gorgeously dark red vinyl with fantastic sound quality, the book is in VG condition (with ring wear and bending), the sleeve is in VG+ condition (with small tape and minor discoloration), and the disc is in a very strong VG+ condition with minor sleeve scuffing.

Throughout the 1960s, it was customary for record companies to release Beatles promotional test pressings prior to the official album release. These pressings were created mainly as manufacturing samples, intended to check the quality of the record before it was mass-produced. Additionally, they were sent out for radio station and music critic review. In the UK, Parlophone released white/black label test pressings, in the U.S., Capitol released standard albums with "Promo" drilled into the cover, and in Japan, Odeon released custom red vinyl test pressings. Of all three, the Japanese test pressings are by far the rarest of all Beatles original LP test pressings.

Produced in minuscule numbers, these Japanese test pressings play wonderfully, often with a different EQ than the US or UK issues (resulting in a brighter sound, especially the drums). Toshiba pressed the records on beautiful red translucent 'Everclean' vinyl which was designed to be less prone to collecting static electricity and dust than the more common black vinyl. The record information, song titles, and catalog number are manually stamped on custom Odeon labels. It should be noted that Japanese test pressings came in standard fabricated covers, but without inserts or obi bands, as is the case here.

Provenance: David Swartz Vintage Vinyl Collection, Heritage Auctions, March 2022.

White-label test pressing (on dark red 'Everclean' vinyl) of Odeon's 1966 release of With the Beatles by the Beatles. This Japanese version of the band's second studio album has a vivid full-color portrait on the cover (in stark contrast to the iconic black-and-white faces shot of the UK version), with an accompanying 8-page color booklet, and the record carries a re-ordered track listing as compared to the standard UK issue. Pressed on gorgeously dark red vinyl with fantastic sound quality, the cover is in VG condition with some dings and wear, but with a beautiful VG++ disc.

Throughout the 1960s, it was customary for record companies to release Beatles promotional test pressings prior to the official album release. These pressings were created mainly as manufacturing samples, intended to check the quality of the record before it was mass-produced. Additionally, they were sent out for radio station and music critic review. In the UK, Parlophone released white/black label test pressings, in the U.S., Capitol released standard albums with "Promo" drilled into the cover, and in Japan, Odeon released custom red vinyl test pressings. Of all three, the Japanese test pressings are by far the rarest of all Beatles original LP test pressings.

Produced in minuscule numbers, these Japanese test pressings play wonderfully, often with a different EQ than the US or UK issues (resulting in a brighter sound, especially the drums). Toshiba pressed the records on beautiful red translucent 'Everclean' vinyl which was designed to be less prone to collecting static electricity and dust than the more common black vinyl. The record information, song titles, and catalog number are manually stamped on custom Odeon labels. It should be noted that Japanese test pressings came in standard fabricated covers, but without inserts or obi bands, as is the case here.

Provenance: David Swartz Vintage Vinyl Collection, Heritage Auctions, March 2022.

Rare ‘mother disc’ for Side B of the Beatles’s twelfth and final studio album, Let It Be, which was released by Apple Records on May 8, 1970. This metallic disc, 13.5˝, was pressed at the Capitol Records Pressing Plant in Winchester, Virginia (“-◁”), and the lacquer was cut at Bell Sound Studios by engineer Sam Feldman (“sf”). The matrix number in the run-out groove area is stamped “Phil + Ronnie JS-17,501 - 12 #2 Bell Sound sf -◁,” information that points to this disc representing variation #4 of 31 recorded variants of the mother disc from the Winchester plant. The outer ring of the disc is engraved in cursive lettering, “Apple.” In very good to fine condition, with some dings to the edge, and scattered scuffs and marks.

A ‘mother disc’ in vinyl record production is a metal positive copy created during the electroforming process between the metal father (negative) and the stampers (negatives used for pressing records). The process starts with cutting music onto a lacquer master, which is then plated to form the metal father. From the father, the mother is made—its grooves match the original recording and can be played back for quality control. The mother, which serves as a durable intermediate that preserves the master and enables consistent reproduction, is then used to create multiple stampers for pressing vinyl records. An impressive early piece of Beatles vinyl history; surviving ‘mother discs’ are very rare, given that the majority were recycled after use.

Fascinating interview tape from the personal collection of Los Angeles radio DJ Dave Hull, who was one of the major promoters of the Fab Four in Southern California at the height of Beatlemania in the mid-1960s. He spent a lot of time with the boys, conducting dozens of interviews with them both as a group and individually. He even spent two weeks with them on the set of their second film, 'Help!,' filmed in the Bahamas from February–April, 1965, during which time this interview tape was recorded.

The 7˝ reel of ¼” Scotch-brand audio tape opens with a fascinating conversation between Dave Hull and Paul McCartney, beginning with some discussion about a personal conflict arising from Hull's giving away addresses affiliated with McCartney and his family. Though McCartney expresses some discontent over the violation of privacy, he offers a bit of forgiveness: "It doesn't worry me too much, I don't hate you or anything 'cause of it." There is quite a bit of discussion about Paul's vacation, the places the Beatles have played, and his tourist visits around Hollywood and New York City.

After about eight minutes of discussion with McCartney, Hull talks to George Harrison about his clothes ("a pair of faded blue jeans and an old straw hat") and about the making of the film, speaking about a difficult one-shot take. Comparing it to their previous film, Harrison relates: "The only thing really that's the same as Hard Day's Night is the fact that we're still playing ourselves. But I mean this has got a story line to it whereas Hard Day's Night didn't really, it was more or less like a documentary." He also explains that they had recorded eleven new songs in one week, expecting to use about seven in the film. They also briefly discuss his travels and his family. The Harrison segment also lasts about eight minutes.

The tape closes with some insightful commentary from the Beatles' hairdresser, interviewed by Derek Taylor: she says that Ringo has the softest hair, and that John's has a slight auburn tinge. The tape's content totals 19 minutes and 28 seconds.

To our knowledge, this fascinating tape has never been aired and remains unreleased. Accompanied by a high-fidelity digital transfer (.wav file) of the tape's contents on a USB stick.

Significant interview tape from the personal collection of Los Angeles radio DJ Dave Hull, who was one of the major promoters of the Fab Four in Southern California at the height of Beatlemania in the mid-1960s. He spent a lot of time with the boys, conducting dozens of interviews with them both as a group and individually. He even spent two weeks with them on the set of their second film, 'Help!,' filmed in the Bahamas from February–April, 1965, during which time this interview tape was recorded.

The 7˝ reel of ¼” Scotch-brand audio tape features interviews between Derek Taylor and the Beatles, beginning with a nearly 14-minute long conversation with George Harrison. George discusses the Beatles' rigorous working schedule in the Bahamas: "We're up at 7 in the morning every day, on the set filming…We all prefer to be up and working." He refers to their upcoming tour of Europe—to bring them to Spain, France, and Italy—as well as other upcoming projects, speculating about future tours and films: "For all we know we might start on our third film, after the American trip…We enjoy it so much more than anything else. When the film is finished you get more sort of satisfaction from it. You feel as though you've done something worthwhile, more so than a tour." Harrison also talks about what he does in his leisure time, talks about buying a new house, chats about his time in London, and contemplates living in the Bahamas.

After George, there is a five-minute interview with Walter Shenson (the producer of Help!) and Beatles road manager Mal Evans, who was given a part in the film. Each talk about the film, roles of the people in the film, and how certain people were chosen for parts.

The tape concludes with an interview between Taylor and all four Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—talking about their families and the film. John and Ringo explain that the forthcoming film is very different from A Hard Day's Night: "It's in color, and it's got a plot… basically it's a comedy." Paul humorously relates that the script was "written originally by an American gentleman and then translated into English by a fellow called Charles Wood." The interview ends with Paul talking about the upcoming European and U.S. tours.

To our knowledge, this fascinating tape has never been aired and remains unreleased. Accompanied by a high-fidelity digital transfer (.wav file) of the tape's contents on a USB stick.

Uncommon 17 x 11 promotional cardstock poster for “The New Beatles,” a six-part series published in the Boston-area newspapers Record American and The Sunday Advertiser between October 24-29, 1967. The poster features a silhouette-style band portrait of the Beatles, dated to the release of their eighth studio album, Sgt. Pepper's Lonely Hearts Club Band. In very good to fine condition, with staining and minor loss to the lower right corner tip.

Two items from the Beatles' historic Shea Stadium show: a full ticket for the Beatles' concert at New York's Shea Stadium on August 23, 1966, 6.25 x 1.5, issued for "Upper Reserved," "Sec. 37," "Row V," and "Seat 10," with front featuring an image of the Beatles in matching suits; and an original 6.25 x 8.75 flyer for the Beatles concert at Shea Stadium in 1966, which depicts the band huddled together against a yellow background below bold text: "Sid Bernstein presents the Beatles, In Person." Both items are affixed to a blue cardstock mount with a signed certificate of authenticity from Bernstein, who notes: "Your individually numbered ticket is from the only remaining lot of tickets that were not sold prior to the concert. These tickets were recently discovered in a vault among valuable entertainment memorabilia that I have collected during my 34 years in the music and entertainment industry." Matted and framed to an overall size of 16.25 x 12.25. In overall fine condition, with fading to Bernstein's signature.

Unique 12˝ US Capitol Records two-sided acetate for the stereo release of the compilation album "The Big Hits From England & U.S.A.," a fun record that showcased their strong roster of rock acts (Beatles, Beach Boys, Peter & Gordon) and pop singers (Nat King Cole, Al Martino, and Cilla Black). The highlights are 'Can't Buy Me Love' and 'You Can't Do That' by the Beatles, and 'I Get Around' and 'Don't Worry Baby' by the Beach Boys. All the rockers are on side one and the pop tunes are on side two. Interestingly, prior to its inclusion on the 'Hey Jude' LP in 1970, 'Can't Buy Me Love' had not been issued on a Beatles Capitol LP in the US.

The acetate disc bears black-and-white Capitol labels, filled out in type: "Master No. ST-1-2125, Time 15:10, Side 1, Title: Big Hits from England & USA, 6-15-64, Artist: Various" and "Master No. ST-2-2125, Time 12:22, Side 2, Title: Big Hits from England & USA, 6-15-64, Artist: Various."

The only known example of this acetate, the disc is in nice VG+ condition overall. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate's contents on a USB stick.

Uncommon 7˝ Dick James Music Limited one-sided acetate for the Beatles' song "And Your Bird Can Sing," first released in 1966 on Yesterday and Today in the United States and on Revolver in the United Kingdom. The acetate disc bears a red-and-white Dick James "Demo Disc" label, filled out in type: "45 R.P.M., Title: And Your Bird Can Sing, Artist: The Beatles."

Showcasing the band’s shift toward more complex and experimental pop, "And Your Bird Can Sing" features intricate dual-guitar harmonies from Paul McCartney and George Harrison that give the track a bright, jangly sound. Lyrically, John Lennon’s cryptic words are often interpreted as playful or mocking, directed at materialism or a rival musician.

Dick James, the band’s music publisher, co-founded Northern Songs in February 1963 to handle Lennon-McCartney compositions. Acetates like this were typically cut to promote new Beatles material and to present Lennon and McCartney’s songs to other artists for potential cover recordings.

The acetate has a very nice clean label and excellent VG+ playing surface. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate's contents on a USB stick.