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| Danish Sleeve With Non Export Uk 45 | |
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| Tweet Topic Started: Jun 25 2014, 12:15 AM (331 Views) | |
| hewey81 | Jun 25 2014, 12:15 AM Post #1 |
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Hi Guys I recently received a copy of Hey Jude/Revolution. The 45 is a standard UK Philips contract pressing. The sleeve is Danish, a type 2 sleeve with purple print. I was wondering if there was a chance that standard UK pressings destined for the UK market made their way overseas, or were they very strict with what left the UK and the only 5 known (export) 45's were the only ones that left the UK for export. I would imagine that there would have been strict control over what was available for export? My guess is that at some stage the 45 has been paired with a random sleeve and it wasn't originally like this, unless they did send non export 45's overseas to be paired with sleeves? Any thoughts? Thanks Gregg :) |
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| Christer H. Thompson | Jun 25 2014, 11:19 AM Post #2 |
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I`ve got two Swedish singles with ord. UK R editions inside. Yellow Sub. and Something. |
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| socorro | Jun 25 2014, 12:53 PM Post #3 |
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I'd be interested in an explanation of why there were export singles at all. I know the basic reasoning behind the UK export LPs. The first three UK export LPs were US LPs with different and overlapping track lists and I guess the rationale was that selling them in the UK would confuse customers and retailers or cannibalize sales of the UK versions. I'm not sure if this was an accurate worry, but at least it has an articulable reason. The last three UK export LPs were UK Apple LPs with Parlophone or Odeon livery. This was done because of legal concerns, although I've never seen a clear explanation of what the concerns were -- whether it was a matter of corporate registration, copyright, trademark, or something else. Were either of these concerns were at issue with the UK export singles? My understanding is that the export singles had the same tracks as the domestic singles. Were the export singles Parlophone or Odeon versions of Apple releases in the UK? All explanations appreciated! |
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| namralos | Jun 25 2014, 03:35 PM Post #4 |
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The CPCS- series was for exports of records that were international in origin and not party to a domestic release in the UK. The PPCS- series was for the export release of records that were available on Parlophone in England. The "true" exports went to countries that could not press their own records but which had an EMI affiliate. By a "true" export I mean one that was actually made at Hayes in England. There were also export labels and covers sent to countries where they were unable to print their own covers, but where they had an agreement with a pressing plant to make the records. The "first three" UK export LP's (per socorro) were CPCS-101 Something New CPCS-103 The Beatles' Second Album CPCS-104 Beatles VI These titles all originated in the United States and came out as export releases in 1965-1966. Sgt. Pepper exists as a foreign pressing with domestic labels and cover. Its release may have made the record-keepers at EMI think of using the PPCS- series from that point on for that purpose. Not counting solo LP's, the Beatles albums that were in the PPCS- series were: PPCS-7067/8 The Beatles PPCS-7070 Yellow Submarine PPCS-7088 Abbey Road PPCS-7096 Let it Be All of these had Parlophone labels...possibly because it was not certain which countries subscribed to the license for Apple. But their purpose as exports was to go to countries that did not press their own records and covers. The most unusual release is attached to the other member of the CPCS- series. CPCS-106 Hey Jude! Like the others, this record originated outside of England and was not released there. By early 1970, most places were using the Apple label, so this record appears on Apple. For the countries that still did NOT use Apple, there was the strange release P-CPCS-106 Hey Jude! Once again, some of these were pressed at Hayes, while others were pressed in their destination countries -- receiving covers and labels from England. Adding to the confusion, some countries pressed Hey Jude! as a fully domestic release, using the CPCS-106 catalog number. These may appear on Apple (example: Philippines), or on Parlophone (example: Israel). -------------------------- Export singles served the same purposes. Parlophone's most common export series for records not normally available in England was the DP- series. http://www.ebay.com/itm/78-RPM-RARE-OLD-JA...=item3a7dd42a6d Posted Image The curious thing about the export singles is that most of them went to countries that PRESSED their own records! The exchange between countries must have been purely contractual. Polydor had an arrangement that was similar, which is why the My Bonnie EP and "Sweet Georgia Brown" single were needlessly pressed in Germany. Maybe titles that were thought to have a wider appeal would be pressed as domestic releases?? ----------------- Anyway, the PR- series of exports were different. Resembling their PPCS- (LP) counterparts, these were exports of singles that WERE available in Britain. This series may not exist aside from "Let it Be." Maybe it was created later (?). Has anyone seen, for example, a Hollies single with a PR- prefix? Some believe that "Hey Jude" was released as an export because the affiliates were having trouble with the seven-minute length of the A-side. |
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| servi | Jun 25 2014, 07:40 PM Post #5 |
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Was C for Capitol ? and P for Parlophone ? Or is that just coincidence ?
And possibly some CPCS were available via special order in countries that did press their own LPs ? Ed said so about CPCS-104 being available in Holland for example (in the "Beatles in Italy" thread).
You mean the false Decca pressings ? P-CPCS labels were also sent abroad (we discussed previously, probably to Barbados) so that makes sense. Why did countries that couldn't press their own, import from the UK instead of from nearby countries ? E.g. Portugal could have imported from Spain, rather than from the UK. And why couldn't the UK simply export standard PCS copies ? Were the CPCS copies for USA-orientated countries that didn't have Capitol or something ? |
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| namralos | Jun 25 2014, 07:50 PM Post #6 |
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The "C" in CPCS- did not stand for Capitol. Some of the original CPMC- (mono) series came from Greece, Israel, etc.. They were just non-domestic recordings. Yes, the false Decca pressing is the Sgt. Pepper I was alluding to, servi. Most of the PPCS exports seemed to go to island nations. Most of the CPCS exports wound up all over the place, including military bases. Perhaps like the German ZTOX series. I have seen a lot of them with "$2.50" stickers on the front cover. Certainly places like Jamaica could have received records from Nicaragua (for example), but I guess most of the other countries didn't have a distribution setup. And remember that the USA was pressing different records, so maybe the EMI affiliates wanted the British records and couldn't get them from anyone easily. Why not Argentina or Uruguay? I don't know. Portugal was pressing most of their own singles but not LP's. All of the countries kept track of domestic sales vs. exports. Again I suspect that the marking of records for export was something legal that the different countries had going. After all, the USA did NOT mark records for export, BUT sometimes the destination country marked them -- as Great Britain did with stickers. |
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| servi | Jun 25 2014, 08:07 PM Post #7 |
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Thanks for clarifying about the C and the P. Could another possible reason for marking records specifically for export be the fact that domestic UK records were subject to income tax ? What a nice paradox BTW, a $2.50 sticker on an export pressing :lol: Jamaica pressed its own records until around 1966 and was one of the few countries that got stampers and sleeves from both UK and USA (no labels though). So there was already a connection with Hayes. |
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| socorro | Jun 25 2014, 08:53 PM Post #8 |
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The thing I don't get is that it was quite common for EMI UK to export standard copies of the UK LPs. For example, standard UK copies were routinely exported to the Scandinavian countries. This was especially true with stereo versions, which in the early years did not sell enough copies to justify domestic pressings. I believe standard UK copies also were exported to Greece (at least for a year or so) and Portugal. Since this was so, why make export versions of standard UK singles? The tracks were the same, and at least some of them were issued before Apple. The supposed reasons for special export LPs simply did not exist for these export singles. Servi raises another interesting point: Just how common was it for countries to issue some UK versions and some US versions? For the sake of this question, I would like to eliminate countries that only issued Hey Jude and/or MMT in addition to the UK versions, because that was so common. Here's a list off the top of my head 1. Mexico -- mostly US versions, but also issued Oldies, BFS (on Musart and Capitol labels) and the UK version of Rubber Soul. 2. Jamaica -- almost evenly divided between US and UK versions. 3. Guatemala -- mostly UK versions, but also MTB and Second Album. 4. Costa Rica -- mostly US versions but also BFS. 5. Colombia -- a mix of US and UK. 6. Peru -- mostly UK but also Something New. 7. Chile -- mostly UK but also Beatles Story (!) 8. Uruguay -- mostly UK, but issued the US version of AHDN 9. Japan -- issued all of the UK LPs and all of the US LPs (I think). 10. Germany -- mostly UK versions, but also Something New and Beatles '65 (I'm not sure whether to include Second Album since it wasn't a regular domestic release, but I wanted to make note of it). 11. Nicaragua -- mostly UK but I assume Sgt. Pepper was from the US since it carried the US catalog number. As a cautionary note, these are based on issuing the different versions. I'm not sure which ones imported stampers from the UK and US, and which ones cut some or all of the LPs locally (I suspect Germany, Japan and Mexico made all their own stampers). The only ones I'm certain imported sleeves from both countries are Jamaica and Costa Rica. I'm on the fence about including Holland (Something New) and New Zealand (Beatles VI), because I think they were each made from UK export version stampers. |
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| namralos | Jun 25 2014, 09:29 PM Post #9 |
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What I have always wanted to know is how the tapes were distributed, and artwork, too. Example: why on earth did Japan have artwork from the United States for some of their unique LP's? They received their MUSIC from EMI in England. Did they get copies of what all the "big" affiliates were doing, and then just decide? |
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| hewey81 | Jun 25 2014, 11:43 PM Post #10 |
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So from what I can tell and have read, there is a good chance that the 'Hey Jude/Revolution' UK 45 was originally paired with the Danish sleeve. By the looks of it were UK domestic, UK export and Danish pressed 'Hey Jude/Revolution' Parlophone 45's available in Denmark... |
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| the57thbeatle | Jun 26 2014, 08:50 PM Post #11 |
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No, Gregg, that's not correct. In Denmark, Hey Jude was only issued as a domestic Danish pressing. In Sweden, however, it was available as a UK export (with Swedish p/c) and as a domestic Swedish pressing. Never was the UK Apple disc exported to Scandinavia, let alone a Philips pressing. While on the subject: Has anyone ever seen a Danish pressing of this single, but with Apple labels? I've heard rumors it exists but never seen one..... |
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| hewey81 | Jun 26 2014, 11:11 PM Post #12 |
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Ahh thanks, got it now! Thanks everyone for your help! Gregg :) |
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| socorro | Jun 27 2014, 02:34 AM Post #13 |
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Good question. I assume that Toshiba Odeon had access to a broad array of photographs and finished cover layouts. Many Japanese LPs feature art not found on the US or UK LPs. For example; 1. AHDN used cover art not used anywhere else. 2. No. 5 had a gorgeous color rear sleeve using a picture not used anywhere else. 3. PPM and WTB came with 8-page full color booklets using art not used elsewhere. 4. Beatles Story had a booklet and specially printed inner sleeves not included with the US version. 5. Help incorporated elements from the US and the UK sleeves. 6. Etc. |
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