ユーゴスラビア盤第1回は"Please Please Me"です。

1. Please Please Me
　(1)  Jugoton LSPAR-70805 (2 Boxed EMI Black Silver Parlophone)
　Jugotonによる1978年再発盤です。
　ジャケット表面はUKオリジナル・ステレオ盤と同様です。

　ジャケット裏面もUKオリジナル盤とほぼ同一です。
　左上にはタイトル等が次のように入っています。
Please Please Me
THE BEATLES
　右上には次の注記とカタログナンバー”LSPAR-70805”が記されています。
IMPORTANT This record is intended for use only on
special stereophonic reproducers. If you are doubtful of the
suitability of your reproducer for playing this record,
we recommend you to consult your record dealer.
Most equipment designed for playing stereophonic records
may, however, be used with perfect safety for playing
normal 331/3 r. p. m. and 45 r. p. m. microgroove records.

　その下には４人が紹介されています。
■GEORGE HARRISON (lead guitar)　■JOHN LENNON (rythm guitar)
■PAUL McCARTNEY (bass guitar)　■RINGO STARR (drums)

　その下にはTONY BARROWによる紹介文が英語で記載されています。
Pop picking is a fast ’n' furious business these days whether you are 
on the recording studio side listening out, or on the disc-counter side 
listening in. As a record reviewer I find myself installed halfway in-­
between with an ear cocked in either direction. So far as Britain’s 
record collecting public is concerned, The Beatles broke into earshot 
in October, 1962. My natural hometown interest in the group pre-­
vented me taking a totally unbiased view of their early success. 
Eighteen months before their first visit to the EMI studios in London, 
The Beatles had been voted Merseyside’s favourite outfit and it was 
inevitable that their first Parlophone record, LOVE ME DO, would go 
straight into the top of Liverpool’s local hit parade.The group’s chances 
of national chart entry seemed much more remote. No other team had 
joined the best-sellers via a début disc. But The Beatles were history-
makers from the start and LOVE ME DO sold enough copies during 
its first 48hours in the shops to send it soaring into the national charts. 
In all the busy years since pop singles first shrank from ten to seven 
inches I have never seen a British group leap to the forefront of the 
scene with such speed and energy. Within the six months which 
followed the Top Twenty appearance of LOVE ME DO, almost every 
leading deejay and musical journalist in the country began to shout 
the praises of The Beatles. Readers of the New Musical Express voted 
the boys into a surprisingly high place via the 1962/63 popularity poll 
... on the strength of just one record release. Pictures of the group 
spread themselves across the front pages of three national music 
papers. People inside and outside the record industry expressed 
tremendous interest in the new vocal and instrumental sounds which 
The Beatles had introduced. Brian Matthew (who has since brought 
The Beatles to many millions of viewers and listeners in his "Thank 
Your Lucky Stars", "Saturday Club” and "Easy Beat" programmes) 
describes the quartet as visually and musically the most exciting and 
accomplished group to emerge since The Shadows. 
Disc reviewing, like disc producing, teaches one to be wary about 
making long-term predictions. The hit parade isn’t always dominated 
by the most worthy performances of the day so it is no good assuming 
that versatility counts for everything. It was during the recording of a 
Radio Luxembourg programme in the EMI Friday Spectacular series 
that I was finally convinced that The Beatles were about to enjoy the 
type of top-flight national fame which I had always believed that they 
deserved. The teen-audlence didn't know the evening's line-up of 
artists and groups In advance, and before Muriel Young brought on 
The Beatles she began to read out their Christian names. She got as 
far as John ... Paul... and the rest of her Introduction was burled in 
a mighty barrage of very genuine applause. I cannot think of more 
than one other group — British or American — which would be so 
readily identified and welcomed by the announcement of two Christian
names. To me, this was the ultimate proof that The Beatles (and not
just one or two of their hit records) had arrived at the uncommon
peak-popularity point reserved for disedom’s privileged few. Shortly
afterwards The Beatles proved their pop power when they by-passed
the lower segments of the hit parade to scuttle straight into the
nation’s Top Ten with their second single, PLEASE PLEASE ME.

　　This brisk-selling disc went on to overtake all rivals
　　when it bounced into the coveted Number One slot
　　towards the end of February. Just over four months
　　after the release of their very first record The Beatles
　　had become triumphant chart-toppers I

Producer George Martin has never had any headaches over choice of
songs for The Beatles. Their own built-in tunesmith team of John
Lennon and Paul McCartney has already tucked away enough self-
penned numbers to maintain a steady output of all-original singles
from riow until 1975! Between them The Beatles adopt a do-it-
yourself approach from the very beginning. They write their own
lyrics, design and eventually build their own instrumental backdrops
and work out their own vocal arrangements. Their music is wild,
pungent, hard-hitting, uninhibited . . . and personal. The do-it-
yourself angle ensures complete originality at all stages of the pro-
cess. Although so many people suggest (without closer definition)
that The Beatles have a trans-Atlantic style, their only real influence
has been from the unique brand of Rhythm and Blues folk music
which abounds on Merseyside and which The Beatles themselves
have helped to pioneer since their formation in 1960.
This record comprises eight Lennon-McCartney compositions in
addition to six other numbers which have become firm live-perform-
ance favourites in The Beatles' varied repertoire.
The group's admiration forthe work of The Shirelles is demonstrated
by the inclusion of BABY IT'S YOU (John taking the lead vocal with
George and Paul supplying the harmony), and BOYS (a fast rocker
which allows drummer Ringo to make his first recorded appearance
as a vocalist). ANNA, ASK ME WHY, and TWIST AND SHOUT
also feature stand-out solo performances from John, whilst DO
YOU WANT TO KNOW A SECRET hands the audio spotlight to
George. MISERY may sound as though it is a self-duet created by
the multi-recording of a single voice.., but the effect is produced by
the fine matching of two voices belonging to John and Paul. There is
only one 'trick duet’ and that is on A TASTE OF HONEY featuring
a dual-voiced Paul. John and Paul get together on THERE'S A
PLACE and I SAW HER STANDING THERE: George joins them for
CHAINS, LOVE ME DO and PLEASE PLEASE ME.
　　　　　　　TONY BARROW

　下部には下記のクレジットが入っています。

"PARLONONEのロゴマーク"
　　TRADE MARK OF
THE PARLOPHONE Co., Ltd.　

LONG PLAY 331/3 R.P.M.　●
E.M.I. RECORDS LIMITED
(Controlled by Electric & Musical Industries Ltd.)
HAYES ・MIDDLESEX・ENGLAND

"Jugoton"のロゴマーク
PODUZEĆE ZA IZRADU
GRAMOFONSKIH PLOČA
ZAGREB-DUBRAVA
MADE IN YUGOSLAVIA

Urednik redakcije: Veljko Despot
Glavni i odgoyomi urednik: Dubravko Majnarić

OFFSETNI TISAK: INTERPROGRES, ZAGREB

　Google翻訳で英訳すると以下のとおりとなります。
MANUFACTURING COMPANY
GRAMOPHONE RECORDS
ZAGREB-DUBRAVA
MADE IN YUGOSLAVIA

Editorial editor: Veljko Despot
Editor-in-Chief: Dubravko Majnarić

OFFSET PRESS: INTERPROGRES, ZAGREB

　レーベルは2 BOXED EMIのブラックシルバーパーロフォンです。印刷はEMIとPARLOPHONEのロゴを除き銀色です。

　レーベルの上下にEMIのロゴが入り，上部はその下にPARLOPHONEのロゴと9本の水平線が置かれています。

　センターホール左には次のように記されています。
STEREO

ST33

　右側には以下のような文字が記載されています。
JUS. N. N4 201

Made in Yugoslavia

LSPAR 70805
(P) 1963
(PCS 3042)
SOKOJ
Strana 1

　"Strana"は"Side"の意味です。

　センターホール下にはタイトル，ソングリスト，”THE BEATLES"の文字が入っています。

　RIMには次の文が記載されています。
"ALL RIGHTS OF THE MANUFACTURER AND OF THE OWNER OF THE RECORDED WORK RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, BROADCASTING AND COPYING OF THIS RECORD PROHIBITED" - "MANFACTURED UNDER LICENCE BY JUGOTON IN YUGOSLAVIA"

　マトリックスは，LPARS 70805-1 19678 ZP（Side 1)，LPARS 70805-2 13678 ZP（Side 2)。

1. I SAW HER STANDING THERE (McCartney-Lennon)
2. MISERY (McCartney-Lennon)
3. ANNA (GO TO HIM) (Alexander)
4. CHAINS (Goffia-King)
5. BOYS (Dixon-Farrell)
6. ASK ME WHY (McCartney-Lennon)
7. PLEASE PLEASE ME (McCartney-Lennon)

Side 2

1. LOVE ME DO (McCartney-Lennon)
2. P. S. I LOVE YOU (McCartney-Lennon)
3. BABY IT'S YOU (David-Williams-Bacharach)
4. DO YOU WANT TO KNOW A SECRET (McCartney-Lennon)
5. A TASTE OF HONEY (Scott-Marlow)
6. THERE'S A PLACE (McCartney-Lennon)
7. TWIST AND SHOUT (Medley-Russell)

【本日分】