ドイツ盤LPの第21回はPast Masters Volumes One & Twoです。

1. Past Masters Volumes One & Two
　(1) 1C164-791136/7 (2 EMI Box Black Silver Parlophone Label)  

　1988年発売です。英国公式オリジナル盤LPとMagical Mystery Tourに収められなかった曲をCD化したPast Mastersの１と２が1988年3月7日にCDで発売され，その後10月22日に両者をセットとしたこのアルバムが発売されました。
　ジャケットはフォールディング(見開き)ジャケットで，表面・裏面のみ薄いラミネート加工がされています。

　所有する盤には，ジャケット左下にステッカーのはがし跡があります。
　中央部分に黒地に白文字でTHE BEATLESのロゴとPAST MASTERS・VOLUMES ONE ＆ TWOの記載があります。

　ジャケット裏面です。

　右上にはカタログナンバー等が記されています。
　　　　◎ 164 7 91135 1
France　 PM 525 7 91135 1
0　　77779　11351　　4
　　　　　　　　　□ 7 91135 4
　　　　　　　　　● 7 91135 2
DMM is a trademark of TELDEC

　中央部の文字は同じですが，こちらはCDのVOLUME TWO同様白地に黒文字となっています。
　その下にはソングリストと下記クレジットが記されています。

　　　　　Compilation by Mark Lewison.
Original Sound Recordings made by EMI Records Ltd..
　　This compilation Ⓟ 1988 EMI Records Ltd.
　　　　　　© 1988 EMI Records Ltd.
　　　　　　　　　　　　　　　　　　TRADE￡MARK
　　　　　　　　 PARLOPHONE
Marketed, manufactured and distributed by EMI　Printed in Holland by EMI Services Benelux B. V., Uden　En France: distribution exclusive EMI Pathé Marconi S.A.　Deutschland: EMI ELECTROLA GmbH, Köln
LC 0299

　見開き内側です。

　上部中央にTHE BEATLESのロゴとタイトルが記載されており，左側の黒地にはPAST MASTERS・VOLUME ONE，右側の白地にはPAST MASTERS・VOLUME TWOと記されています。
　その下には，それぞれ下記の紹介文が記載されています。
Twenty-two singles, an EP with exclusive song material, 13 albums - one a double-set. By no means a bad haul for just seven years of recording activity. For apart from their unquestionable talent, the Beatles were mightily prodigious. So much, in fact, that to gather together a complete collection of their output is no easy task. While the material remains available - it still sells in such quantities that it has to be - the prospective purchaser has to gather up veritable armfuls of small and large sized vinyl, tape or shiny discs.

This double album, simplifies matters considerably. If you have the other 13 albums, and this one, you have everything that the Beatles, the most successful artists in the history of recorded sound, commercially iissued during their remarkable reign. These two volumes gather together A and B-sides of singles, those special EP tracks, oddities like the Beatles' two German-language recordings, a song recorded primarily for the American market and another especially donated to a charity album. But don't fall under the illusion that these songs are mere "fillers". 'She Loves You', 'I Want To Hold Your Hand', 'I Feel Fine', 'We Can Work It Out', 'Hey Jude' and many others like them didn't exactly wallow in the lower reaches of the chart.

　その下にはそれぞれ写真が４枚掲載されています。
　左側

　右側

　右側の１枚目にはPhoto by JOHN KELLYのクレジットが，２枚目にはPhoto by ROBERT WHITAKERのクレジットが付加されています。

　下部には収録曲の説明が記載されています。

　左側
LOVE ME DO
A different version from the recording on the Please Please Me album.
This one was recorded at EMI Studios, Abbey Road on 4 September 1962, with Ringo on drums. The other version, taped seven days later, featured freelance sesssion musician Andy White in that role, with Ringo shaking a tambourine.
Initial pressings of the song - the Beatles' first UK single, released on 5 October 1962 - featured this original recording, but the other was substituted in 1963 and remains the version generally available today. Recorded on two-track tape and perfected in around 15 takes.

FROM ME TO YOU
There is still some doubt whether 'Please Please Me' was a number one single in the British charts, since it was so in three of the four published weekly rankings but only made the runners-up spot in the now widely quoted fourth.
(There was no one accepted 'record industry chart' then.) But 'From Me To You', A-side of the Beatles' third singles in six months, was a unanimous number one and the first of 11 consecutive British "chart toppers" for the group. The recording commenced and was completed in 13 takes on 5 March 1963 and the single was released on 11 April.

THANK YOU GIRL
The B-side of 'From Me To You'. The recording commenced on 5 March 1963 with 13 takes and was completed on 13 March with the taping of additinal edit pieces.

SHE LOVES YOU
The big fourth single; the song which epitomized the rush of Beatlemania and gave birth to the fervent (but quickly overused) "yeah yeah yeah" catchphrase.
Recorded and completed on 1 July 1963 (the take details unknown) and released on 23 August.

I'LL GET YOU
The B-side of 'She Loves You'. The recording commenced and was completed on 1 July 1963 (take details unknown).

I WANT TO HOLD YOUR HAND
The fifth single, which sold a million copies before release in Britain, and cracked wide open the US chart for other Beatles records and other British groups to follow. The group's first four-track recording, begun and completed in 17 takes on 17 October 1963 and released on 29 November.

THIS BOY
The B-side of 'I Want To Hold Your Hand', with superb three-part harmonies from John, Paul and George. The recording commenced and was completed in 17 takes on 17 October 1963, the 15th take being chosen for the record release.

KOMM, GIB MIR DEINE HAND
Alias 'I Want To Hold Your Hand', sang in German! Recorded expressly for the West Germany market in Paris (France) recording session on 29 January 1964, with new vocals and handclaps - perfected in eleven overdub takes - added to the basic instrumental trak from 17 October 1963.  

SIE LIEBT DICH
Ditto, but this time of 'She Loves You', and a complete re-make. The released version was the 14th take. The Beatles ensured they never again recorded in anything other than their mother tongue.

LONG TALL SALLY
A breathtaking one-take performance from the Beatles and Paul McCartney (lead vocal) in particular, not merely copying but arguably bettering the original 1956 Little Richard recording. Taped at Abbey Road on 1 March 1964 and issued as the title track of a British EP on 19 June.

I CALL YOUR NAME
Originally written by Lennon/McCartney - but principally by John - for exclusive recording by Billy J Kramer with the Dakotas. But when it was submerged as a Kramer B-side (backing 'Bad To Me', also written by the two Beatles) John decided to give it an airing more akin to that merited by this interestingly constructed composition. Recorded and completed in seven takes (the master version was an edit of takes five and seven) in the same 1 March 1964 session, and issued on the Long Tall Sally EP.

SLOW DOWN
A cover version of Larry Williams' 1956 original. The Beatles would later record two more Williams songs, 'Dizzy Miss Lizzy' (on Help!) and 'Bad Boy', which crops up later on this album. The recording of 'Slow Down' commenced with six takes on 1 June 1964 and was completed with overdubs on 4 June, for issue on the Long Tall Sally EP just 15 days later.

MATCHBOX
Another cover version, this time of Carl Perkins' 1957 rockabilly number, sung by Ringo. Recorded in five takes on 1 June 1964 with Perkins attending the session but not participating. Again, it was for Long Tall Sally.

I FEEL FINE
The A-side of the Beatles' 1964 Christmas single, released on 27 November. A progressive pop song with deliberately administered guitar feedback in the introduction. (It was no "accident" as was announced at the time) The recording commenced and was completed in nine takes on 18 October 1964.

SHE'S A WOMAN
The B-side of 'I Feel Fine" (although, in truth, both sides were given equal acknowledgement). The recording commenced and was completed in seven takes on 8 October 1964.

BAD BOY
Another Larry Williams (1959) cover version, recorded in four takes - together with 'Dizzy Miss Lizzy' and remixing of both titles - in a 315 minutes session which began on 10 May and ended in the early hours of 11 May 1965. Aimed primarily at the US record master so first released on 14 June 1965 on the Capitol album Beatles Ⅳ. The first British release did not occur until 9 December 1965, on A Collection of Beatles Oldies.

YES IT IS
Another fine three-part harmony recording, issued as the B-side to 'Ticket To Ride' on 9 April 1965 and recorded in 14 takes in a single session seven weeks earlier, on 16 February.

I'M DOWN
THe B-side of the single 'Help!', released on 23 July 1965. A raucous rocker screamed by Paul, the recording commenced and was completed in seven takes on 14 June 1965, remarkably in the same session that saw the taping of the great ballad 'Yesterday'.

　右側
DAY TRIPPER
A double A-sided single with 'We Can Work It Out', completed in three takes, one session, on 16 October. The single was released simultaneously with Rubber Soul on 3 December 1965 but neither song appeared on that LP.

WE CAN WORK IT OUT
The joint double-A with 'Day Tripper'. The recording commenced with two takes on 20 October 1965, and was completed with an overdub nine days later.

PAPERBACK WRITER
The Beatles' first single of 1966, released on 10 June and recorded in two takes and an overdub on 13 and 14 April.

RAIN
The B-side of 'Paperback Writer', and the first released Beatles song to feature a backwards tape (John's final verse). The instrumental recording - played fast and remixed with the tape machine on slow vari-speed - commenced on 14 April 1966 and the song was completed with vocal overdubs two days later, the seventh of eight takes providing the master version.

LADY MADONNA
Recorded for a Spring 1968 single and released while the Beatles were in India studying Transcendertal Maditation. The five-take recording commenced on 3 February and was completed with a four-man brass overdub on 6 February.

THE INNER LIGHT
The B-side of 'Lady Madonna', and the first George Harrison composition to appear on a Beatles single. The instrumental track was recorded in five takes by Indian musicians, under George's direction, at the EMI studio in Bombay on 12 January 1968. George's lead vocal and John and Paul's brief backing vocals were overdubbed at Abbey Road on 6 and 8 February.

HEY JUDE
An enormously successful single, issued on 30 April 1968. The recording commenced at Abbey Road on 29 July but switched to Trident Studios, in Soho, for a re-make version two days later. A one-take recording with overdubs, it was completed at Trident on 1 August.

REVOLUTION
One of three 'Revolution' songs released by the Beatles in 1968: this was the last to be started but the first to be issued, on the B-side of 'Hey Jude'. This 16-take recording commenced on 10 July and was completed two days later. Although fully proficient themselves, the Beatles invited Nicky Hopkins, one of the British rock scene's leading session musicians, to contribute the piano track.

GET BACK
The original title track of the film and recording sessions which became Let It Be. The song was recorded live, without overdubs but with organist Billy Preston, at the Beatles' new Apple Studios in Savile Row, London, on 28 January 1969, five days after it had first been attempted. (None of the recording takes were numbered.) Issued as a single on 11 April 1969. This is different from the version of 'Get Back' which closes the Let It Be album, taped the previous day, 27 January.

DON'T LET ME DOWN
Recorded live again with Billy Preston - just minutes after the completion of 'Get Back' on 28 January 1969. Again, none of the recording takes were numbered, but the song had first been taped on 22 January. Issued as the B-side of 'Get Back'.

THE BALLAD OF JOHN AND YOKO
Recorded and mixed in one swift 8½ hour session at Abbey Road on 14 April 1969 and issued as a Beatles single on 30 May, closely following 'Get Back'. The released version was the tenth of 11 takes. Only John and Paul played on the recording, the instrumentation being, John: acoustic guitar, two lead guitars and percussion, plus lead vocal; Paul: drums, bass guitar, piano and maracas, plus backing vocal.

OLD BROWN SHOE
Another George Harrison B-side composition, backing 'The Ballad of John and Yoko'. Recorded in four takes at Abbey Road which began on 16 April 1969 and were completed two day later.

ACROSS THE UNIVERSE
Different - but also not different ! - from the version on the Let It Be album. This one is commonly known as the 'Wildlife' version because it first appeared on 12 December 1969 on a charity album for the World Wildlife Fund, and was adorned especially for that LP with wildlife sound effects. But it had been recorded much earlier, in eight takes on 4 and 8 February 1968, as a rival to 'Lady Madonna' for the Beatles March 1968 single. In March 1970 Phil Spector re-worked this original tape, omitted some of the original instrumentation in a new remix, omitted the sound effects, slowed it down and added an orchestra and a choir for Let It Be.

LET IT BE
The version issued as a single on 6 March 1970, seemingly (but again actually not) different from the recording on the |album| of the same name. The chief difference was the lead guitar solo and a slightly shorter running time. In truth, the two versions were mixed from the same eight-track master recording which contains both guitar solos playing simultaneously. The song has a long recording history: it was first recorded at Apple on 25 January 1969, the released versions come from a 31 January session, with further overdubs taped on 30 April 1969 and 4 January 1970, the later being the last ever Beatles recording session, although John was absent.

YOU KNOW MY NAME (LOOK UP THE NUMBER)
A bizarre recording, issued on 6 March 1970 as the B-side of 'Let It Be' but which already spanned 34 months. It was recorded, without vocals, in five separate parts at Abbey Road on 17  May, 7 June and 8 June 1967 and was then compiled into one all encompassing master take on 9 June 1967. It then sat on a shelf until 30 April 1969, when John and Paul added vocals and aided by their assistant Mal Evans, sound effects. By this time the song lasted more than six minutes though despite making three different mono remixes it was again left unissued. On 26 November 1969 John Lennon edited down the best mix to four minutes for release as a single by the Plastic Ono Band. That single never appeared and then, a little over three months later, the song finally cropped up as this Beatles B-side. A curious burlesque comedy number, conceived by John, it also features Brian Jones of the Rolling Stones playing saxophone. (His contriburion was taped on 8 June 1967.)

　最後に下記クレジットが記載されています。
Produced by George Martin
This singles, couplings and release dates referred to in the above notes apply to releases originated in the United Kingdom.

Compilation and notes by MARK LEWISOHN
Information extracted from his definitive book on the Beatles at Abbey Road to be published in the UK by Hamlyns during 1988.

STEREO except "MONO
Original Sound Recordings made by EMI Records Ltd. This compilation Ⓟ 1988 EMI Records Ltd.
© 1988 EMI Records Ltd.

TRADE￡MARK
PARLOPHONE

7 91135 1

　レーベルは２EMI BOXのブラック・シルバーPARLOPHONEレーベルです。

　レーベルの上部と下部に四角に囲まれたEMIのロゴが入っています。上部のEMIのロゴの下にはこれも四角の枠に入ったPARLOPHONEのロゴが配置されています。黒地にこれらのロゴだけが白色で，残りは銀色で印刷されています。PARLOPHONEのロゴの両側には９本ずつ水平線が引かれています。
　センターホール左には以下の記載があります。

LC 0299
1C 164-7 91135 1 A
Ⓟ EMI Records Ltd.
DMMTM

　センターホール右側は以下の通りです。
Seite 1
   ST33
STEREO

　センターホール下にはタイトルPAST MASTERS-VOLUME 1の文字，そしてソングリスト，THE BEATLESとThis compilation ℗ 1988 EMI Records Ltd.の文字が記載されています。

　RIMには左上から上を通って右上に向かって以下の文字が記されています。
ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORK REPRODUCED RESERVED. UNAUTHORIZED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THE RECORD PROHIBITED.

　また，右下から下を通って左下に向かっては下記の記述となっています。
ALLE URHEBER- UND LEISTUNGSSCHUTZRECHTE VORBEHALTEN. KEIN VERLEIH ! KEINE UNERLAUBTE VERVIELFÄLTIGUNG, VERBREITUNG, AUFFÜHRUNG, SENDUNG ! - MADE IN EEC.

　Google翻訳で英訳すると次のようになります。
ALL COPYRIGHT AND PERFORMANCE RIGHTS RESERVED. NO RENTAL! NO UNAUTHORIZED REPRODUCTION, DISTRIBUTION, PERFORMANCE, BROADCAST! - MADE IN EEC.

　マトリックスは，7911361-A2（Side 1)，7911361-B1（Side 2)，7911371-A1（Side 1)，7911371-B2（Side 2)。

Side 1

1. *LOVE ME DO (Lennon/McCartney) 2:22
   Ⓟ 1962 MPL Communications Ltd.
2. *FROM ME TO YOU (Lennon/McCartney) 1:56
   Ⓟ 1963 Northern Songs Ltd.
3. *THANK YOU GIRL (Lennon/McCartney) 2:02
   Ⓟ 1963 Northern Songs Ltd.
4. *SHE LOVES YOU (Lennon/McCartney) 2:20
   Ⓟ 1963 Northern Songs Ltd.
5. *I'LL GET YOU (Lennon/McCartney) 2:04
   Ⓟ 1963 Northern Songs Ltd.
6. I WANT TO HOLD YOUR HAND (Lennon/McCartney) 2:25
   Ⓟ 1963 Northern Songs Ltd.
7. THIS BOY (Lennon/McCartney) 2:15
   Ⓟ 1963 Northern Songs Ltd.
8. *KOMM, GIB MIR DEINE HAND (Lennon/McCartney) 2:25
   Ⓟ 1964 Northern Songs Ltd.
9. *SIE LIEBT DICH (Lennon/McCartney) 2:18
   Ⓟ 1964 Northern Songs Ltd.

Side 2

1. LONG TALL SALLY (Johnson/Penniman/Blackwell) 2:02
   Ⓟ 1964 Southern Music Publ. Co. Ltd.
2. I CALL YOUR NAME (Lennon/McCartney) 2:01
   Ⓟ 1964 Northern Songs Ltd.
3. SLOW DOWN (Williams) 2:55
   Ⓟ 1964 TRO Essex Music Ltd.
4. MATCHBOX (Perkins) 1:51
   Ⓟ 1964 Carlin Music Corp.
5. I FEEL FINE (Lennon/McCartney) 2:18
   Ⓟ 1964 Northern Songs Ltd.
6. SHE'S A WOMAN (Lennon/McCartney) 3:02
   Ⓟ 1964 Northern Songs Ltd.
7. BAD BOY (Williams) 2:19
   Ⓟ 1965 ATV Music Ltd.
8. YES IT IS (Lennon/McCartney) 2:41
   Ⓟ 1965 Northern Songs Ltd.
9. I'M DOWN (Lennon/McCartney) 2:31
   Ⓟ 1965 Northern Songs Ltd.

Side 3

1. DAY TRIPPER (Lennon/McCartney) 2:48
   Ⓟ 1965 Northern Songs Ltd.
2. WE CAN WORK IT OUT (Lennon/McCartney) 2:14
   Ⓟ 1965 Northern Songs Ltd.
3. PAPERBACK WRITER (Lennon/McCartney) 2:17
   Ⓟ 1966 Northern Songs Ltd.
4. RAIN (Lennon/McCartney) 3:00
   Ⓟ 1966 Northern Songs Ltd.
5. LADY MADONNA (Lennon/McCartney) 2:16
   Ⓟ 1968 Northern Songs Ltd.
6. THE INNER LIGHT (Lennon/McCartney) 2:35
   Ⓟ 1968 Northern Songs Ltd.
7. HEY JUDE (Lennon/McCartney) 7:01
   Ⓟ 1968 Northern Songs Ltd.
8. REVOLUTION (Lennon/McCartney) 3:23
   Ⓟ 1968 Northern Songs Ltd.

Side 4

1. GET BACK (with Billy Preston) (Lennon/McCartney) 3:11
   Ⓟ 1969 Northern Songs Ltd.
2. DON'T LET ME DOWN (Lennon/McCartney) 3:33
   Ⓟ 1969 Northern Songs Ltd.
3. THE BALLAD OF JOHN AND YOKO (Lennon/McCartney) 2:58
   Ⓟ 1969 Northern Songs Ltd.
4. OLD BROWN SHOE (Harrison) 3:17
   Ⓟ 1969 Harrisongs Ltd.
5. ACROSS THE UNIVERSE (Lennon/McCartney) 3:48
   Ⓟ 1969 Northern Songs Ltd.
6. LET IT BE (Lennon/McCartney) 3:50
   Ⓟ 1970 Northern Songs Ltd.
7. *YOU KNOW MY NAME (LOOK UP THE NUMBER) (Lennon/McCartney) 4:19
   Ⓟ 1970 Northern Songs Ltd.

【本日分】