Auction 739 April.

Capitol Records mono master reel-to-reel tape of the Beatles' album Yesterday and Today, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape. The lid is annotated along the bottom edge in blue ballpoint: "Beatles Reel-10." The sheet is annotated in blue ballpoint, "6/14/66," one day before the album's actual release.

The reel contains all eleven tracks from the album Yesterday and Today, plus two additional gems: "Rain" and "Paperback Writer," which were not released on a US album until Hey Jude in 1970. Many fans and critics consider "Rain" to be one of John Lennon’s finest songs, particularly for its innovative studio techniques like the slowed-down rhythm and backward vocals. There are unique five-second gaps between tracks featuring 'voice slate' introductions of each song recorded by the Capitol mastering engineer.

In fine condition, with toning to the masking tape and paper loss to the track listing's upper right corner. Accompanied by a high-fidelity digital transfer (.wav file) of the tape's contents on a USB stick.

Some background on the Capitol Records/King Features masters:

In February 1964, just weeks after the Beatles’ mesmerizing performance on The Ed Sullivan Show, Al Brodax—head of film and television development at King Features—approached Brian Epstein with the idea of producing a Beatles cartoon series. The concept envisioned short, adventurous stories built around popular Beatles songs, complemented by 'sing-along' segments featuring on-screen lyrics.

Each cartoon ran approximately 8 to 10 minutes, with two included per weekly episode. The sing-along portions were a highlight of the show, inviting audiences to learn and sing the songs along with the Beatles. Music selections were drawn from the U.S. Beatles albums—from Meet the Beatles through Revolver—along with non-album singles up to 'Strawberry Fields Forever / Penny Lane.'

The series premiered on September 25, 1965, and concluded on October 21, 1967, spanning 39 episodes and featuring a total of 78 Beatles songs.

As production ramped up in 1965, a meeting was held between King Features and Capitol Records to determine how the music would be integrated into the weekly sing-alongs. Capitol’s initial plan was to provide direct copies of their original U.S. master tapes so King Features could pull songs as needed. However, this proved impractical—technology at the time did not allow for precise tape stops between the one-second song gaps typical on standard master reels.

To overcome this challenge, Capitol Records created a custom set of master tapes specifically for King Features. These reels incorporated a five-second gap between tracks and featured a 'voice slate' introduction recorded by the Capitol mastering engineer. In some cases, the song formats differ slightly from the official releases, making these tapes truly unique.

The lots offered in this auction comprise nearly the entire King Features cartoon music library from the show’s three-year run. Each reel is presented in mono, offering exceptional sound quality sourced directly from the original Capitol master tapes. Notably, several reels predate the official album releases, underscoring their historical significance and rarity.

The Beatles vs. The Four Seasons LP - Mono in Shrinkwrap (Vee-Jay DX-30, 1964). This is one of the scarcer Vee-Jay Beatles albums, as the public realized quickly it was merely a re-packaging of “Introducing the Beatles” (VJLP 1062) with “Golden Hits of the Four Seasons” (VJLP 1065) into a two-disc set. As such, Vee Jay anticipated slow sales due to the higher price charged as a double LP and consequently distributed less than 20,000 copies.

This example is in spectacular, near mint condition, still in its original shrinkwrap with a slit on the right side (along the mouth) to gain access to the two album record set and a bonus 23” x 11.5” full-color Beatles poster (advertised on the front as 8˝ x 15˝). Both records have never been used and in near mint condition, with pristine labels. The double album cover is in beautiful condition with bright, bold, crisp colors, and an unused scorecard on the back. The corners have minor tip wear (about 1/8˝). The shrinkwrap is in fine condition with no major flaws. The spine is solid and fully legible through the shrink. Finally, the full-color poster insert is in mint, unused condition. This is one of the best copies available of this title—the final upgrade for any collector.

Sought-after 7˝ UK Apple Records one-sided acetate pressing of John Lennon's classic anti-war anthem "Give Peace a Chance" in stereo. Released as a single in July 1969 by the Plastic Ono Band on Apple Records, it was the first solo single issued by Lennon, released while he was still a member of the Beatles.

Written and recorded during Lennon’s famous 'Bed-In for Peace' in room 1742 of the Queen Elizabeth Hotel in Montreal, the session was attended by dozens of journalists and various celebrities, including Timothy Leary, Rabbi Abraham Feinberg, Joseph Schwartz, Rosemary Woodruff Leary, Petula Clark, Dick Gregory, Allen Ginsberg, Roger Scott, Murray the K, and Derek Taylor, many of whom are mentioned in the lyrics. Lennon played acoustic guitar and was joined by Tommy Smothers (of Smothers Brothers fame), also on acoustic. 'Give Peace A Chance' was captured in a single take and became an enduring anthem of the anti-war movement, symbolizing the power of music to unite.

The acetate disc bears a green-and-white Apple Corps Ltd. label with handwritten notations by pioneering cutting engineer George Peckham: "Give Peace a Chance, Plastic Ono Band." Peckham became an engineer at Apple Studios in November 1968 as a trainee cutting engineer and subsequently moved to the position of chief Apple cutter.

Condition: VG++.

Desirable 7˝ UK Apple Records one-sided acetate pressing of John Lennon's classic "Instant Karma" in mono. Released in February 1970, "Instant Karma! (We All Shine On)" was conceived, written, recorded, and released within a period of ten days, making it one of the fastest-released songs in pop music history. Although still officially a member of the Beatles, Lennon was keen to issue "Instant Karma!" immediately as a single, the third under his Plastic Ono Band moniker. The recording session took place at EMI Studios in north-west London, on the evening of January 27th with a lineup that included John Lennon (vocals, acoustic guitar), George Harrison (electric guitar), Billy Preston (organ), Klaus Voormann (bass), and Alan White (drums).

"Instant Karma!" was hugely successful, peaking at number 3 on America's Billboard Hot 100 chart, number 2 in Canada, and number 5 on the UK Singles Chart. It went on to become the first single by a solo Beatle to achieve US sales of one million.

Although never released promotionally or commercially in mono, three mono mixes were created on February 10, 1970: this acetate contains a terrific version of the song in full mono. The acetate disc bears a green-and-white Apple Corps Ltd. label with typed notations: "45 RPM, Northern Songs, NCB, 1970, 'Instant Karma' (John Lennon), John Lennon, Plastic Ono Band."

Condition: VG+, with clean labels with some light staining and proper aging; it plays well with some noticeable background noise.

Desirable 7˝ UK Apple Records one-sided acetate pressing of John Lennon's classic "Mother" in mono. This shorter, single edit was released only in the United States by Apple Records on December 28, 1970.

"Mother" was recorded at EMI Studios (Abbey Road) in London with Klaus Voormann on bass and Ringo Starr on drums. It was the first song worked on during the sessions for John Lennon’s debut solo album, John Lennon/Plastic Ono Band, and was completed after 94 takes on October 24, 1970.

The song is deeply autobiographical and reflects Lennon’s painful childhood experiences with both of his parents. His father, Alfred Lennon, was largely absent during his early life, while his mother, Julia Lennon, was separated from him when he was young and later died in a car accident when Lennon was seventeen. These unresolved emotions became the central theme of the song.

Lennon was inspired to write “Mother” after undergoing primal therapy with psychologist Arthur Janov. He initially began therapy at his home at Tittenhurst Park before continuing treatment at the Primal Institute in California, where he stayed for four months. The therapy encouraged him to confront buried childhood trauma, which strongly influenced the raw, emotional style of the song: musically, “Mother” is stark and powerful, built around a slow piano progression and minimal instrumentation that emphasizes Lennon’s wailing voice.

The acetate disc bears a green-and-white Apple Corps Ltd. label with typed notations: "45 rpm, Maclen Music Inc., BMI 3:55, 'Mother,' (John Lennon), John Lennon, Plastic Ono Band."

Condition: VG+, with clean labels with some light staining and proper aging; it plays well with some noticeable background noise.

This acetate is featured on page 42 of The Beatles Solo on Apple Records by acclaimed Beatles author and historian Bruce Spizer.

Uncommon 7˝ UK Apple Records one-sided acetate pressing of John Lennon's classic "Power to the People" in mono. Issued as Lennon’s fourth single with the Plastic Ono Band, the song was his first overt call for revolutionary action, reflecting the influence of radical left-wing politics and activist movements of the early 1970s. Conceived as a broadly adaptable protest anthem, its chant-like chorus was designed to serve activist movements in much the same way that 'Give Peace a Chance' had become a rallying cry for the peace movement.

“Power to the People” was recorded at Ascot Sound Studios on February 15, 1971, during sessions that would produce songs for Lennon’s Imagine album. Eleven takes were recorded, with the final take selected as the master. The single was released on March 12, 1971, in the United Kingdom and March 22, 1971, in the United States.

The acetate disc bears a green-and-white Apple Corps Ltd. label with typed notations: "45 RPM, Maclen Music Inc., BMI 3:15, 'Power to the People,' (John Lennon), John Lennon, Plastic Ono Band."

Condition: VG++, with clean labels with some light staining and proper aging; it plays well with some noticeable background noise.

This acetate is featured on page 230 of Lennonology by Chip Madinger and Scott Raile.

Uncommon 7˝ UK Apple Records one-sided acetate pressing of the John Lennon and Yoko Ono Christmas classic "Happy Xmas (War is Over)" in stereo.

Written during the height of the Vietnam War, "Happy Xmas (War is Over)" was intended as both a holiday song and a protest against war, continuing Lennon and Ono’s peace activism from the late 1960s. The song grew out of their 1969 global billboard campaign that displayed the message 'War Is Over! If You Want It—Happy Christmas from John & Yoko,' which encouraged people to believe that peace depended on collective action.

Musically, the track blends festive elements—such as children’s choir vocals and seasonal instrumentation—with a reflective message about responsibility and hope. Although its initial U.S. release had modest success, it performed better in the UK and gradually became a widely recognized Christmas standard, frequently covered by other artists and regularly returning to music charts during the holiday season

The acetate disc bears a green-and-white Apple Corps Ltd. label with handwritten notations by pioneering cutting engineer George Peckham: "Happy Xmas War is Over, John & Yoko." Peckham became an engineer at Apple Studios in November 1968 as a trainee cutting engineer and subsequently moved to the position of chief Apple cutter.

Condition: VG+.

Uncommon 7˝ UK Apple Records one-sided acetate pressing of John Lennon's song "Ming Games" in mono.

“Mind Games” began life as an earlier composition titled 'Make Love Not War,' a protest song John Lennon wrote during the late 1960s in the spirit of his peace-campaign anthems. Over several years Lennon repeatedly revisited and revised the piece, gradually reshaping it from a direct anti-war statement into a more reflective song about mental liberation and spiritual awareness. By the early 1970s the lyrics had evolved to emphasize themes central to Lennon’s worldview at the time—unity, love, positive thinking, and the transformative power of collective consciousness. The song ultimately became the title track of Lennon’s 1973 album Mind Games.

Recording sessions for “Mind Games” took place on August 4, 1973, during Lennon’s first self-produced album project. Take 2 was selected as the master and featured Lennon performing clavinet and guide vocals, alongside David Spinozza on electric guitar, Ken Ascher on piano (recorded on two tracks), Gordon Edwards on bass guitar, and Jim Keltner on drums (recorded across three tracks). The final mix was completed on August 23, 1973.

The acetate disc bears a green-and-white Apple Corps Ltd. label with typed notations: "Mind Games, (John Lennon), John Lennon, 45 rpm, Produced and Arranged by John Lennon."

Condition: VG, with a small chip on the edge that does not affect play, clean labels with some light staining and proper aging; it plays well with some noticeable background noise.

Satin-finish 10 x 8 Epic Records publicity photo of Black Sabbath from circa 1998, signed in silver ink by Ozzy Osbourne and Geezer Butler, and in black felt tip by Tony Iommi and Bill Ward. In fine condition.

Atomic album by Blondie, signed on the front cover in ballpoint by Debbie Harry and Chris Stein, and on the back cover by James Destri, Nigel Harrison, Clem Burke, and Frank Infante. In very good condition, with overall creasing. The record is included.

Vintage glossy 10 x 8 publicity photo of Chicago from circa 1977, signed in blue ballpoint by Peter Cetera, Danny Seraphine, Walt Parazaider, Lee Loughnane, Terry Kath, Jim Pankow, Robert Lamm, and Laudir de Oliveira. In fine condition, with a tiny stain touching the first letter of Cetera's signature.

Night Songs album by Cinderella, signed on the back cover in various ink types by original band members Tom Keifer, Jeff LaBar, Eric Brittingham, and Fred Coury. In fine condition, with edgewear. The record is not included.

Official program for Eric Clapton’s 1992 UK Tour, 11 x 11, signed on the front cover in silver ink, “Eric Clapton, 92.” In fine condition.

Program for Eric Clapton’s 1983 Money and Cigarettes Tour, 16 pages, 9.5 x 11.75, signed nicely on the front cover in black felt tip. In fine condition.

Goodbye Cream album signed prominently on the front cover in silver ink by Eric Clapton, and in gold ink by Ginger Baker and Jack Bruce. In fine condition. The record is included. Accompanied by a full letter of authenticity from JSA.

Perfect Strangers album by Deep Purple, signed on the front cover in purple paint pen by Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover, and Ian Paice. In fine condition, with wear along the spine. The record is included. Accompanied by a full letter of authenticity from JSA.

Color 10 x 8 cardstock photo of Def Leppard, signed in black felt tip by Rick Savage, Rick Allen, Joe Elliott, Phil Collen, and Vivian Campbell. In fine condition, with a light bend to lower left.

Remo Weatherking white coated 12.5˝ drumhead, signed in black felt tip by Glenn Frey, Don Henley, Timothy B. Schmit, and Joe Walsh. In very fine condition.

Vintage glossy 9.75 x 8 Asylum Records publicity photo of the Eagles posing together near a large carriage or wagon, signed in the lower border in ballpoint by Don Felder, Joe Walsh, Don Henley, Randy Meisner, and Glenn Frey. In fine condition, with some minor ink adhesion issues. The consignor notes that they received this photograph from an aunt who was a cousin of Glenn Frey.

Uncommon glossy 10 x 8 Columbia Records publicity photo of English hard rock band Fastway, signed in blue felt tip by original band members ‘Fast’ Eddie Clarke, Dave King, and Jerry Shirley. In fine condition, with a tiny tear to the top edge, some small surface impressions, and a JSA label affixed to the lower right corner. Accompanied by a certificate of authenticity from JSA.

4 album by Foreigner, signed on the front cover in multi-colored felt tip by Lou Gramm, Dennis Elliott, Mick Jones, and Rick Wills, all of whom have also signed the inner album sleeve in blue felt tip. In overall fine condition. The record is included. Accompanied by a full letter of authenticity from REAL.

So album by Peter Gabriel, signed on the front cover in black felt tip, "Hello, Peter Gabriel," who draws an arrow to his image. In fine condition. The record is not included.

Vintage felt tip signature, "Marvin Gaye, '78,'” on a white 5 x 3 card. In very fine condition. Encapsulated in a Beckett authentication holder.

Vintage glossy 8 x 10 Decca Records publicity photo of the frontman for Bill Haley and His Comets by James J. Kriegsmann, signed and inscribed in blue ballpoint, “To George, a pleasure working for you, March 7–1956, Bill Haley.” In fine condition.

In the Hollies Style album by The Hollies, signed on the back cover in ballpoint by Graham Nash, Bobby Elliott, Allan Clarke, and Tony Hicks, and in pencil by Eric Haydock. In very good to fine condition, with light staining and soiling to the signed side. The record is included.