1+ - part three

By 1967 and 1968, making a promotional film or video for each new single release had become almost second nature to the Beatles - so much so, in fact, that even after the death of their manager Brian Epstein, they automatically carried on the trend without his guidance.  And the quality did not lag, either.  There is something unique about each of these visual gems, matching the variety in the music that they accompany.  

Penny Lane - Swedish director Peter Goldmann was recommended to the Beatles by old Hamburg friend Klaus Voormann, and Epstein hired him to direct promotional films for both sides of the new double A-sided single in early 1967.  The world got its first glimpse of the group's new look in these 35mm color films, with each of them sporting a moustache and John keeping his round-rimmed glasses from his appearance in Richard Lester's How I Won the War.  Though the song is a McCartney composition, John is featured the most walking around London's East End.  This is intercut with real footage of Liverpool that Goldmann's crew shot on another day.  The boys mount horses and ride them both in the East End and in Knole Park in Sevenoaks, Kent (as with their skiing in the film Help!, none of them had any previous experience horse-riding).  They ride past risers on which Ringo's drumkit with its distinctive Beatles logo sits, eventually dismounting at a round table set with candlesticks and glasses, where some uniformed footmen - assistant Mal Evans among them - bring them their guitars before they overturn the table.  At no point do they actually pretend to sing or play the song.

All You Need Is Love - There was no need to produce a video for this song, as it was broadcast live to every corner of the globe on the first-ever worldwide satellite program Our World on July 25th, 1967.  It was colorized for the Anthology series in the 1990's, and that version is included in this collection.  With a group of famous friends gathered around them (pictured above), the Beatles perform along with a small orchestra and a playback of the basic track of Lennon's anthem.  One camera in the control booth shows the tape machine capturing the moment as producer George Martin and engineer Geoff Emerick mix it live for the simultaneous video transmission.  

Hello Goodbye - Since the group had just finished directing themselves for their television production Magical Mystery Tour, McCartney figured he could handle the chore of directing the promotional films for the next single, as well.  The Saville Theatre, still leased by Epstein's NEMS enterprises, was used to shoot three versions of the group miming to the song.  This first one begins with the curtain rising to show the band in their Sgt. Pepper outfits.  Lennon does not wear his glasses, which works well in a few quick throwback shots of the boys in their matching collarless 1963 suits waving to the camera.  Ringo sits sometimes at a very small and sometimes at a very large drumkit.  And several young ladies in grass skirts join the Beatles onstage for the Maori finale.

Lady Madonna - Quickly arranging a promotional film shoot for a song recorded only a few days earlier, the group reported to EMI's Abbey Road Studios on February 11th, 1968.  Instead of simply pretending to be shown recording McCartney's number, they actually recorded Lennon's Hey Bulldog.  This explains why John is seen sitting at the piano more than Paul, and why the two of them share one microphone when Paul is clearly heard singing lead alone on Lady Madonna.  At the end, Paul is seen stepping away from a piano at Chappell Studios with Cilla Black on a different date.

Hey Jude - The Beatles reunited with Michael Lindsey-Hogg for their next promotional videos.  On a soundstage at Twickenham Film Studios, backed by an orchestra and surrounded by 300 random people and a group of Apple Scruffs, the band mimed to their latest hit, though Paul did sing into a live microphone.  His vocal gymnastics are therefore different during the extended coda, especially when he throws in a few lines from the Band's song The Weight.  At the top, David Frost introduced the band after they did an impromptu version of his television theme song.  They then launched into a ghastly It's Now or Never as he looked on stone-faced.  While this was edited out of the tape before it was distributed worldwide, we get to watch this strangely delicious moment of anarchy on this collection.

1+ - part two

Richard Lester, director of both A Hard Day's Night and Help!, has been retroactively credited as being the father of MTV, based on his creative staging for the songs written by the Beatles for those films.  Band manager Brian Epstein certainly recognized the power of those images, with the running, jumping and standing still version of Can't Buy Me Love serving as the prime example.  He also realized that the punishing schedule which the boys had somehow managed to survive for almost three full years could not be maintained.  Yet each new single still had to be promoted worldwide to achieve maximum success.  A new way of doing business needed to be devised.

To that end, a day was set aside on November 25th, 1965, for an ingenious project.  Promotional videos would be shot on various sets at Twickenham Film Studios for distribution to television outlets around the world.  The latest release, the double A-sided single Day Tripper/We Can Work It Out, was the most important, of course, but the previous three singles would get their own videos, as well.   All in all, ten videos were shot on this date, with eight of them appearing on this collection.  I have already covered one version of I Feel Fine in my last entry.

Ticket to Ride - Lester's sequence for this song in Help!, featuring the Beatles skiing in Austria, rivals that for Can't Buy Me Love in the first movie for sheer inventiveness.  Rather than getting permission from United Artists to use that clip, this simple video version was shot instead, showing the boys wearing winter coats before a backdrop of huge tickets as pictured above.  Ringo goofs around playing the lopsided drum pattern from the record.  And John has forgotten where his extraneous "yeahs," "ohs" and "ahs" were, shooting a look at Paul and laughing every time he gets them wrong.

Help! - For this video, the boys sit astride a plank between two sawhorses, with John in front.  The others poke their heads from side to side to be seen, bouncing up and down during each refrain.  Ringo sits at the back holding an umbrella, which he puts to good use when a heavy fake snow begins to fall near the end of the song, definitely to the surprise of George.

Yesterday - We take a break from the promotional videos for this clip from the Ed Sullivan Show.  George introduces this song, not yet known to American audiences, as the others step aside and Paul takes up an acoustic guitar.  The lights come down low to isolate him as he sings along to three live violinists and a backing track.  The screaming fans soon realize they need to quiet down and just listen to this brilliant number.

Day Tripper - Back to Twickenham for the first of three versions of this great rocker.  John and Paul share one of three risers in front of the type of simple backdrop used on many TV shows of the era.  Except for Ringo swinging his elbows whenever he is not playing, they play this one straight for a change.  A tinsel curtain closes near the camera at the end of the number.

We Can Work It Out - Three videos were also shot for this song, with this first one using the same set as Day Tripper.  John sits at a harmonium on one of the risers, and he cannot resist mugging for the camera early on, as Paul sings the verse aware that John is up to something.  George becomes bored and sits on the front of Ringo's drum riser during the second bridge.  The notes that John plays on the keyboard at the end of the number are surely not those heard on the record.

Paperback Writer - Michael Lindsey-Hogg directed the color promotional film for this spring 1966 single.  He shoots the band in the lush garden of Chiswick House, with each member sporting tinted sunglasses at times.  While the others have guitars to occasionally mime playing the song, Ringo sits by without even a pair of drumsticks in his hands.  

Yellow Submarine - Neither film nor video was shot at the time for the double A-sided single that featured songs from the August 1966 album Revolver.  For this collection, footage from the 1968 animated film was assembled, most of it featuring scenes from the submarine's journey to Pepperland.  There is one shot of the Sgt. Pepper drumhead and a Blue Meanie at the moment that the brass band is heard in the song.

Eleanor Rigby - Like Can't Buy Me Love and Ticket to Ride in the earlier films, Eleanor Rigby is the brilliant standalone sequence in the Yellow Submarine film, and there was simply no better way to represent this song visually for this collection than to include that original sequence.  The animators combined black and white photographs of people and places (mostly brick) with splashes of color to create a bleak and lonely urban landscape mirroring the lives of the characters in McCartney's lyrics.  Even the submarine does not really brighten up this world as it wanders through it.  A stunning piece, then and now. 

1+ - part one

For the first time, I will be taking a look not at a musical collection by the Beatles, but rather at an outstanding collection of videos based on their greatest hits package simply known as 1, which was a worldwide smash when it was released in the year 2000.  Fifteen years later, a deluxe Blu-ray set was made available, featuring videos or films of each of the twenty-seven number one songs appearing on the original.  Twenty-three additional films and videos brought the total up to an impressive fifty.  A CD with remastered versions of all twenty-seven number one hits was included, as well.  And all of this was housed in a hard cover booklet with photos and entries detailing the sources of the visual material.  

For the selections tied in with the original CD, I will group each entry as I did for that collection.

Love Me Do - The Beatles were filmed in August of 1963 performing without an audience for a BBC television program entitled The Mersey Sound.  The first recorded version of the song from September 4th, 1962 with Ringo on drums was played with the footage seen here.  Also, interspersed with the performance clip, are shots including manager Brian Epstein in his NEMS record shop, the boys reading fan letters and putting on make-up in a dressing room, riding on the Mersey ferry in Liverpool, and some actual fans at a concert.

From Me to You - This clip from the famous Royal Variety Command Performance shows the curtain opening with the band already playing.  The ITV broadcast then briefly puts the group name on the screen for the home viewers not yet familiar with them in November of 1963.  Only after the number is concluded are John and Paul seen moving their microphones forward of the curtain line in preparation for the introduction of their next song.

She Loves You - The Beatles appeared on the Swedish television program Drop In (pictured above) at the end of their weeklong visit to that country in October of 1963 - their first foreign tour.  The fans sitting at the band's feet are amused when Paul and George shake their heads while singing the falsetto "woo."  And, at the end of the number, we see the boys step back to do their patented unison bow - a classy, old-fashioned move that Epstein added to their act.

I Want to Hold Your Hand - For the Granada TV program Late Scene Extra, the group is clearly miming to their latest single in November of '63.  There are no microphones to be seen, and John and George are strumming acoustic guitars.  The set features a giant camera and mock-ups of the Daily Echo newspaper.

Can't Buy Me Love - During the final week of principal photography for A Hard Day's Night, the group actually began rehearsals for a television special entitled Around the Beatles.  Talk about a grueling schedule!  They also had a session to record the numbers that they would be doing on the program.  This clip shows them miming to the new recording of this hit single.  Oddly, the camera focuses more on John than Paul, even though John does not sing on the original.  Some extra screaming was added to that from the audience all "around the Beatles" before the actual broadcast.

A Hard Day's Night - In June of 1965, the boys made a triumphant return to Paris, playing for much more enthusiastic crowds than those that had attended their January '64 shows.  This footage from one of the '65 concerts was featured on a television special called Les Beatles.  Aside from the usual shots of frantic girls in the audience, we see some young boys happily clapping along, as well as one teenage boy ecstatically dancing alone.

I Feel Fine - This is the first of several promotional films made at Twickenham Film Studios in November of 1965 for distribution worldwide (more about them in my next entry).  Some gym equipment sits on the empty studio floor as the distinctive feedback at the top of the song is heard.  John, Paul and George enter wearing their guitars and pretend to play and sing along with the record, George singing into a standing punching bag in place of a microphone.  Ringo eventually runs in and hops onto an exercise bicycle which he pedals sporadically.

Eight Days A Week - The first color film in this collection was assembled expressly for it using footage from the historic Shea Stadium concert in 1965.  The Beatles fly over the stadium in a helicopter looking down on the massive crowd, a cop covers his ears as they run out onto the field, girls scream, pass out, are chased down by security, the boys cavort on stage, and Brian Epstein proudly stands off to the side taking it all in.  They did not perform this song, by the way.  In fact, they never played it live.  

ON AIR - LIVE AT THE BBC VOLUME 2 - sides five & six

In 1965, the Beatles made numerous appearances on BBC Radio, yet only one of them was actually a musical program - a special entitled The Beatles Invite You to Take a Ticket to Ride which was broadcast in June.  Two selections from that program are on Live at the BBC, but none appear on this second collection.  Every time the Beatles, either collectively or individually, were heard on the radio from this time forward, it was in the form of an interview, most of them pre-recorded.

While some of these interviews were of the silly, off the cuff style of those on earlier programs, more and more of them were of a serious nature, as the Beatles began to be seen as interesting young men with ideas and opinions worthy of discussion, rather than simply shallow pop stars.  Mind you, pop/rock journalism still had a long way to go.  It was in its infancy at this point, but it, too, would soon grow in stature.  

Brian Matthew had developed a nice rapport with the boys on programs such as Saturday Club and Top Gear.  Now, he put that relationship to good use and met with each of them individually for Pop Profile, a series of in-depth interviews which were recorded, edited and shipped out on discs to radio stations worldwide.

The interviews on side five were conducted by Matthew with John and George on November 30th, 1965, only a few days before the release of the LP Rubber Soul and the single We Can Work it Out/Day Tripper.

John - Pop Profile - Matthew kicks off this interview by asking John about a recent quote which stated that he didn't care about anything.  At first, John doesn't mention anything specific, but he finally states that he does care about his family.  The talk goes on to material possessions such as his house, which he admits is much larger than the places he lived in back in Liverpool, and his black Rolls Royce.

They discuss the education of his son (Julian and Cynthia are never mentioned by name), with John expressing his preference for a French school rather than conventional public or private schools.  He hopes that as a parent he would allow his son to be whatever he chooses to be, though he feels the influence of music in Julian's life would be undeniable. 

When the subject of politics is brought up, John states that he has no political leanings.  As we know, that would definitely change in the ensuing years.

George - Pop Profile - When asked what else he might have done with his life, George admits that he was a bad pupil in school.  He reveals that he worked for a few months as an apprentice electrician before quitting to go on a brief tour of Scotland with the band.

He states that he became the quiet Beatle because he got fed up with answering stupid questions at press conferences quicker than his mates.  With his chief interest being music, the impetus to begin writing his own songs came, of course, from the influence of John and Paul.  Now, he was becoming more interested in arrangements so that each instrument served the song as a whole.

He was enjoying living in a quiet area outside of London.  He states that at present he was not ready to be a father.  And, as we know, he and Pattie never did have a child together.

The interviews on side six with Paul and Ringo were conducted by Matthew on May 2nd, 1966, a few weeks into sessions for the album Revolver.

Paul - Pop Profile - After briefly touching on the difference between being "Beatle" Paul and a regular person, Paul talks about Indian music, which George had introduced him to, and the theatre, as two examples of things which he had previously dismissed but which now interested him.

He states that he would be interested in making a film, though not a big budget production.  Of course, this idea would blossom in the next year into the Magical Mystery Tour project.

He also expresses a dislike of traveling, foreshadowing the end of touring in the coming months.

Ringo - Pop Profile - He likes the group's new schedule in early '66 with more time off, though he admits that he easily becomes bored doing nothing.

He enjoys material possessions such as his house and cars, and his role as a family man.

At age fourteen, while he was in hospital, a music teacher came around with various percussion instruments, resulting in his interest in music in general and the drums in particular.

As you can see, there is nothing earth shattering here along the lines of other interviews such as Paul admitting that he took LSD or John's infamous "we're bigger than Jesus" quote.  I'm sure many fans only listened to these once, if at all.  With each of these running roughly eight minutes in length, they take up quite a bit of space on this collection which otherwise might have been used for more musical selections or amusing interactions between the Beatles and the presenters of the various BBC programs. 

ON AIR - LIVE AT THE BBC VOLUME 2 - side four

Though the year 1964 brought worldwide fame to the Beatles, the relentless schedule coordinated for them by manager Brian Epstein continued unabated.  A three-week series of concerts in Paris, a whirlwind trip to America and a seven week shoot of the group's first feature film kicked off a year that would also include their first international and North American tours, not to mention multiple recording sessions which produced two albums and a handful of singles.  

Sandwiched in between all of these other activities, the group still managed to make numerous trips to BBC Radio, even during the filming of A Hard Day's Night.  Several of these appearances were now solely for the purpose of interviews rather than musical performances.  And, as the group's catalog continued to grow, they tended to spend more time promoting their latest records rather than playing their old favorites. 

The bulk of the selections on side four are from a new program called Top Gear, which the Beatles helped to launch in the summer of 1964. 

I Got a Woman - Unlike the version of this Ray Charles number presented on the previous collection, John's vocal is double-tracked for this Saturday Club performance.  While the band is in fine form, the double tracking is rather sloppy.

Long Tall Sally - Paul delivers the goods, as usual, on this Little Richard tune that the Beatles kept in their repertoire for most of their performing career.  By the time of this July 1964 broadcast, fans were probably already missing producer George's Martin's driving piano part as heard on the recently released EP.

If I Fell - John double tracks his vocal introduction before Paul joins in for their perfect duet.  I find it surprising that the band added this delicate ballad to their live set list for their tours soon after this.

A Hard Job Writing Them - On the inaugural broadcast of Top Gear, host Brian Matthew asks the boys about writing the songs for the film soundtrack on a tight deadline.

And I Love Her - Paul double tracks his vocal throughout for this performance.  The instrumentation is different from the record, with George playing electric instead of acoustic guitar and Ringo tapping on his drum kit in place of bongos.  Unlike If I Fell, they never played this ballad live.

Oh, Can't We?  Yes We Can - The second From Us to You special was broadcast on Easter Monday, March 30th, 1964.  Here, host Alan Freeman asks John about his book release In His Own Write.

You Can't Do That - John snarls his way through his nasty rocker.  Paul's pulsing bass line sounds great, but John's guitar solo and George's backing vocal part get a bit lost in the mix.  And, of course, something is missing from the record - no cowbell!

Honey Don't - The boys returned to Top Gear for their second and final appearance on the program in November of 1964 to promote their fourth album Beatles for Sale.  Ringo got to sing a truncated version of this Carl Perkins tune, which gave George another opportunity to show off his rockabilly chops.

I'll Follow the Sun - This performance of this ballad by Paul was previously released on the EP Baby It's You.

Black with Green Shutters - A brief but wide-ranging interview with Brian Matthew for Top of the Pops.

Kansas City/Hey-Hey-Hey-Hey! - A good rendition of a Little Richard medley that the group had been performing for years, with a free form guitar solo from George, not nearly as good as the one he plays on the album track on Beatles for Sale.

That's What We're Here For - Talking about the latest single, host Brian Matthew states his preference for the B-side She's a Woman, much to Paul's delight and John's chagrin, I'm sure.

I Feel Fine (Studio Outtake Sequence) - The earlier collection, Live at the BBC, featured this same performance of the latest A-side, with John's lead vocal double-tracked.  Here, we get a fascinating listen to the unedited tape before that double tracking.  It takes four attempts for the boys to get the feedback right at the top of the song.

ON AIR - LIVE AT THE BBC VOLUME 2 - side three

Manager Brian Epstein set up two very important auditions for the Beatles in early 1962.  The first was the infamous, unsuccessful one for Decca Records on New Year's Day.  Nine days later, he submitted an application form to the BBC in an attempt to get the group on one of that esteemed organization's radio programs.  Epstein realized that this would be almost as important as securing a recording contract in his drive to gain national recognition for the band. 

On February 12th, the Beatles passed the audition at the BBC's Broadcasting House in Manchester, something other Liverpool groups such as Gerry and the Pacemakers, Billy J Kramer and the Big Three failed to do.  John, Paul, George and Pete made their BBC Radio debut on March 8th on the program Teenagers Turn - Here We Go.  (Pete Best would make only one more radio appearance with the group in June before being replaced by Ringo.)

Once their records hit the charts, their popularity quickly grew and the Beatles made frequent appearances on various BBC programs, culminating in their own series Pop Go the Beatles in the summer of '63.  It was a television appearance, however, on Val Parnell's Sunday Night at the London Palladium on the ATV network, that truly sparked Beatlemania that October.  TV naturally became more prominent from that moment on, and visits to BBC Radio became fewer and further between.

Most of the selections on side three of this collection are from those latter months of 1963, and primarily from the programs Saturday Club and Top Gear.

I Saw Her Standing There - This great rocker which opens the first album Please Please Me was one of the numbers they most frequently played on the BBC.  Paul counts the band in as on the record.  They choose not to repeat the bridge, however, thereby slightly truncating the song.

Glad All Over - As usual, George excels on this cover of a Carl Perkins rockabilly tune.  Host Brian Matthew announces the song over the instrumental introduction.

Lift Lid Again - Paul opens an elaborate box sent in by a listener to make a request.

I'll Get You - As on most BBC recordings, this one lacks John's harmonica part as heard on the B-side of the group's fourth single.

She Loves You - All of the good-natured, boyish enthusiasm of early Beatlemania is on display in this monster hit.  George seems to join in here vocally more than on the record.

Memphis, Tennessee - John sang this Chuck Berry classic several times on the BBC.  This version seems a bit shaky compared to the one previously released on the earlier collection.

Happy Birthday Dear Saturday Club - The Beatles celebrate the fifth anniversary of what was probably the most prominent pop program of its time in the UK by playing a rocked up version of this song we all sing to one other.

Now Hush, Hush - Before a live studio audience on the program Easy Beat, Paul confirms that the group has been chosen to appear in the upcoming Royal Variety Performance.  The boys then launch into...

From Me to You - ...the song they performed more than any other on BBC Radio.

Money (That's What I Want) - The first of four special programs called From Us to You was broadcast on Boxing Day 1963.  To promote their recently released second album With the Beatles, they performed this raucous cover of the Barrett Strong number which closes that album.

I Want to Hold Your Hand - On the same program, they played their latest hit single, the one which would soon kick the door wide open not only for themselves but for the entire British Invasion in the USA.  On this occasion, they overdubbed handclaps onto the song, as they had on the record, then applauded themselves at the end of the number.

Brian Bathtubes - The boys give a good amount of grief to host Brian Matthew while reading more requests.

This Boy - This Saturday Club performance of the great three-part harmony B-side is more relaxed and assured than the one heard on Anthology 1 for the television program Morecambe and Wise.  Some reverb is added, John double tracks his vocal part in the bridge, and the song fades out as on the record.

If I Wasn't in America - While some BBC appearances were presented live, most were recorded in advance.  Here, the boys talk about relaxing in Miami once this edition of Saturday Club is eventually broadcast.  

ON AIR - LIVE AT THE BBC VOLUME 2 - side two

Most of the songs on sides one and two of this collection are from various editions of Pop Go the Beatles.  The fact that BBC Radio gave the group their own fifteen-week series is remarkable, especially considering that they only had three singles and one album out at the time.  Their most recent release was, in fact, the single From Me to You.  It wasn't until the series was nearing its end in September of 1963 that the monster fourth single She Loves You arrived, soon followed by the full-blown national explosion which the press dubbed as Beatlemania.  Being featured on a weekly basis on the BBC Light Programme throughout the summer surely aided the group in the buildup to that cultural phenomenon.

In the booklet that comes with this collection, Kevin Howlett (who is right up there with Mark Lewisohn among the best Beatles scholars) states that, with six or so songs required for each program, the boys intended to play many of their old favorites from their stage act, including a strong emphasis on American R & B.  While pulling out these numbers from their Hamburg and Liverpool setlists, they also discovered songs that they might want to record for their next album, such as...

Till There Was You -  This standard from the Broadway show The Music Man had been in the band's stage act for a couple of years, as a welcome change of pace during long sets.  After playing it here on July 10th, 1963, they returned to it a mere ten days later at the first session for the album With the Beatles.  On the record, George played acoustic guitar and Ringo shifted to bongos, but this Pop Go the Beatles performance features electric guitar and a gentle Latin beat on drums.

Lend Me Your Comb - This rendition of a Carl Perkins number by the boys was previously released on Anthology 1.

Lower 5E - A fan letter has Paul and George reminiscing about several old mates from the Liverpool Institute, which they both attended.

The Hippy Hippy Shake - This is a different version of a Chan Romero rocker than the one which appeared on Live at the BBC.

Roll Over Beethoven - In this instance, the group had recorded this song for With the Beatles two days prior to this slightly slower, uneven performance of the Chuck Berry classic.

There's a Place - Once again, George has to play a part on guitar which John had played on harmonica on the original recording of this number from Please Please Me.

Bumper Bundle - All four of the boys and Lee Peters read requests for the same number...

P.S. I Love You - The group's very first B-side.  Ringo faithfully recreates Andy White's drum part from the original.

Please Mister Postman - Performed on the same edition of Pop Go the Beatles as Till There Was You, this merely hints at the urgency of the version on With the Beatles, recorded on July 30th at the second session for that album.  Other differences include a brief guitar introduction and a tidy ending, yet none of the breathless breaks near the end of the song which make the record so exciting.

Beautiful Dreamer - Here we have a real gem for a number of reasons.  Goffin and Keller added some new lyrics for this rocked up version of the old Stephen Foster standard for a teenage singer by the name of Tony Orlando - yes, that Tony Orlando.  Only weeks after hearing it, the Beatles were playing it as part of their first appearance on Saturday Club.  Recorded on January 22nd, 1963, this has the distinction of being the earliest performance on either of their official live BBC collections.

Devil in Her Heart - This song by a girl group named the Donays was recorded for With the Beatles only a few days after an earlier Pop Go the Beatles performance.  Here, we have another version from the final show of the series.

The 49 Weeks - John salutes Rodney Burke, who actually hosted the program for eleven weeks.

Sure to Fall (In Love with You) - This is a more laid back performance of a Carl Perkins number than the one on the first Live at the BBC collection.

Never Mind, Eh? - The boys dedicate the final number of the series to each other.

Twist and Shout - The group performed this great cover of an Isley Brothers tune ten times for the BBC.  This rendition was from July 16th, 1963, a date on which they recorded an astonishing eighteen songs for three full editions of Pop Go the Beatles.

Bye, Bye - The boys sing an amusing little farewell at the end of the final episode.