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Pop Party!, Polydor Special 236 517/8/9, 1968. Various Artists 3LP Box Set. With Beatles, Bee Gees, Who, Julie Driscoll, Brian Auger, Cream, Amboy Dukes, Jimi Hendrix, Normie Rowe, Blossom Toes, Fairport Convention, Crazy World Of Arthur Brown and other. Compilation include “Ain’t She Sweet” (Record 2, Side 2) and “Cry For A Shadow” (Record 3, Side 2).

Cardboard box were manufactured by Ernest J. Day & Co.

Red labels with black half-circle logos. The label lists the artists as THE BEATLES. Philips pressing. Matrix numbers: Record 1: Side 1: 236517 A//1 420; Side 2: 236517 B1//420; Record 2: Side 1: 236518 A//1 420; Side 2: 236518 B//1 420; Record 3: Side 1: 236519 A//2 420; Side 2: 236519 B//3 420

Record 1:

Record 2:

Record 3:

Released July 30, 1976. “The Beatles Tapes From the David Wigg Interviews”, is an audio album of interviews with the band and journalist David Wigg, who interviewed the individual Beatles at various points from December 1968 or January 1969 to December 1973, and excerpts from some of these recordings constitute the album’s spoken words. Although he was a columnist; “Young London” for the London newspaper The Evening News, the interviews were intended for broadcast on Radio 1’s Scene and Heard. Interspersed among the interview excerpts are instrumental performances of Beatles songs, played by other musicians. The Beatles tried to prevent the album’s publication, but it was released in the United Kingdom on 1976 under the Polydor label.

Double album, includes a front laminated black gatefold sleeve and six-pages booklet with various black & white photos 1963-75. Booklet stapled inside. Record housed in a plain white paper inner sleeves.

Records have a red labels with black Polydor logos. Matrix numbers: Side 1: 2478089 A//1 420 03; Side 2: 2478089 B//1 420 03; Side 3 : 2478090 A//1 420 03/ Side 4: 2478090 B//1 420 03.  Possible matrix numbers: Record 1: A//2, B//2; Record 2: A//2; A//3; A//4.

Parlophone 45 label chronology.

Parlophone started new 45-R series in 1956, but EMI started to print the publishing year on the labels in 1957. It was printed as “RECORDING FIRST PUBLISHED 1957” on the left side below the horizontal lines at the the center of the label. Between the record numbers 45-R 4949 and 45-R 4988, it possible to find singles where the words “MADE IN GT. BRITAIN” are not printed below the Parlophone logo. Parlophone changed to red labels in 1958 and used them until January 1963.

Parlophone started to use a completely new label design in January 1963. The new label was black and silver print, with a new logo and “45 R.P.M.” printed on the right side of the label. The “45-“ prefix was temporarily saved. There are both labels with capitalized and non-capitalized perimeter print. These two label version were used concurrently. On some of the labels with capitalized perimeter print, the Parlophone logo is slightly reduced in size. Label used between January 1963 and March 1963.

Parlophone dropped the “45-“ prefix in spring 1963. The publishing year was saved as “RECORDING FIRST PUBLISHED 1963”. There are both labels with capitalized and non-capitalized perimeter print. These two label version were used concurrently. Label used between March 1963 and January 1964.

The text “SOLD IN U.K. SUBJECT TO RESALE PRICE CONDITIONS, SEE PRICE LISTS” was printed on EMI records between February 1964 and June 1969. This wording was supposed to be on UK releases only, but it also appears frequently on exported records. The publishing year was saved as “RECORDING FIRST PUBLISHED 1963”. There are both labels with capitalized and non-capitalized perimeter print. These two label version were used concurrently. On some of the labels with capitalized perimeter print, the Parlophone logo is slightly reduced in size. In the beginning of 1964, the ratio between non-capitalized perimeter print singles and capitalized perimeter print singles was equal. After September 1964, almost all singles had a fully capitalized perimeter print. Label used between February 1964 and January 1965.

Parlophone started to print the publishing year as “(p) 1965″ in January 1965. Label has “THE PARLOPHONE” printed at the start of the perimeter print and “SOLD IN U.K.” text. This label was in use for a relatively short period of time before the perimeter print was changed. The text “RECORDING FIRST PUBLISHED“ was removed from the label. All of the singles released 1965 and onwards had capitalized perimeter print and the Parlophone logo slightly reduced in size. Label used between January 1964 and December 1965.

Parlophone ceased to be a limited company in its own right, to become a subsidiary of the parent Gramophone Company Ltd. on July 1, 1965. Because of this, the start of the perimeter print was changed to “THE GRAMOPHONE CO. LTD.”. The first of these labels appeared in October 1965. “SOLD IN U.K.” text was saved. Label used between October 1965 and July 1969.

The text “SOLD IN U.K. SUBJECT TO RESALE” was removed from the label in July 1969. These labels used between July 1969 and late 1971.

EMI added their logo at the bottom of the labels in February 1972. EMI continued to release singles on the Parlophone label until early 1973. The tex “MADE IN GT. BRITAIN” was removed from the bottom of the label. Instead, added “MADE IN GT. BRITAIN” text at the end of the perimeter print. Label used between February 1972 and October 1980.

In October 1980 the rimtext was again slightly altered so that it started with “ALL RIGHTS OF THE PRODUCER”. Importantly, around the 11 o’clock position in the rimtext the wording is: “UNAUTHORISED PUBLIC PERFORMANCE, BROADCASTING, COPYING AND HIRING”. Instead, added “MANUFACTURED IN THE UK BY EMI RECORDS LIMITED” text at the end of the perimeter print. This label used between October 1980 and October 1982 (The Beatles Singles Collection, 1982).

The final pressing has silver label with black textur print and logo. Rimtext embossed on the trail off area. The rimtext wording is: “UNAUTHORISED COPYING, HIRING, RENTING, PUBLIC PERFORMANCE AND BROADCASTING”. This label used between end of the 80s and begin of the 90s.

Copyright information.

The N.C.B. label credit is believed to be an abbreviation of “Nordic Copyright Bureau” which is an organisation for collecting royalties on records sold in Norway and Sweden.

Push-out and solid centres.

The most common center for an EMI group 7″ record was the four-spoke push-out center. EMI decided in November 1966 to only press singles with solid centers. However, they continued to produce push-out center singles for “special purposes”. One of the these “special purposes” seemed to be export, another for use in jukeboxes. Some reports state that the ratio between push-out centers and solid centers were 20/1 at the beginning of 1967.

P.S. Other information about Parlophone you can look in the category “Parlophone UK Albums”.

Sometimes EMI had problems to press enough records to keep up with the demand. To increase production they turned to other companies to press up some copies of a particular release, however, the majority of copies were pressed by EMI themselves.

Pressed by Oriole: “I Want To Hold Your Hand”, R 5084; “Can’t Buy Me Love”, R 5114.

Oriole had a very good pressing plant that was used by several different companies, especially EMI. Oriole pressings are usually mistaken for Pye pressings. The reason for this was that Pye had several of their hits pressed by Oriole. These are distinguishing characteristics Oriole pressing:
1. No tax code is evident in the push-out centre on either side of the disc.
2. The push-out centre has a rough texture to it.
3. There is one small ridge that’s approximately 0.5mm in from the edge of the push-out centre.
4. The gap between the push-out centre and the body of the disc is approximately 2.5mm wide.
5. The tax code can be found stamped into the deadwax at the 9 o’clock position.
6. The mother plate number is pressed directly underneath the tax code at the 9 o’clock position.
7. The matrix number is stamped at the 6 o’clock position in the deadwax.
8. There are no stramper code letters stamped into the deadwax at the 3 o’clock position.
9. The dinking around the edge of the label is twice the size of the EMI press at 2mm tall. The vinyl for these pressings is thicker and heavier than EMI or Decca pressings.

Pressed by CBS / Oriole: “I Feel Fine”, R 5200; “Hey Jude”, R 5722 (see Apple singles).

The Oriole record company had two record pressing factories, one situated in Aston Clinton and the other in Colnbrook. It lasted until 21 September 1964, when it was bought by CBS, parent of the American Columbia Records, who were looking to set up their own manufacturing facility in the UK. The result was CBS Records, and with its coming the Oriole label would be phased out. The company was officially renamed CBS Records in 1965. These are its distinguishing characteristics:
1. There is no tax code around the centre hole on either side of the disc.
2. The ridge is approximately 12.5mm out from the centre hole.
3. The gap between the push-out center and the body of the disc is approximately 2.5mm.
4. There is an outer ring on the very edge of the label (which, as a whole, is textured) that runs from the edge to just 2-3mm in. This is the only smooth part of the label. This outer ring has been highlighted in the close-up underneath.
5. The tax code can be found at the 12 o;clock position.
6. The mother plate number (either single or double figured) is at the 9 o’clock position.
7. There are no stamper code letters stamped into the deadwax at the 3 o’clock position.
8. The matrix number is stamped at the 6 o’clock position in the deadwax.

Pressed by Decca: “She Loves You”, R 5055; “I Want To Hold Your Hand”, R 5084; “I Feel Fine”, R 5200; “Help”, R 5305; “Hello Goodbye”, R 5655; “Hey Jude”, R 5722 (see Apple singles).

Decca did many contract pressings during the 60s, mainly for EMI. Typical of the Decca single is the larger space between the center and the rest of the label compared to an EMI pressing. The pressing ring of the center is also smaller and deeper on Decca pressing compared to an EMI pressing. These are distinguishing characteristics Decca:
1. No tax code is evident in the push-out centre on either side of the disc.
2. The ridge is approximately 2.5mm in from the edge of the push-out centre, or 10mm from the center hole.
3. There is a second lighter ridge that is approximately 0.5mm in from the edge of the push-out centre.
4. The gap between the push-out centre and the body of the disc is approximately 2.5mm wide.
5. The tax code on every Decca contract pressing can be found at the 12 o’clock position. “I Want To Hold Your Hand” however has the tax code pressed at the 9 o’clock position.
6. The mother plate number (either single or double figured) is pressed directly underneath the tax code at the 9 o’clock position. However, one or two very rare Decca presses have been discovered that omit this number.
7. The contract pressings did NOT utilise the BUCKINGHAM stamper codes, so there are no such letters at the 3 o’clock position.
8. The matrix number can be found at the 6 o’clock position.

Pressed by Philips: “Hey Jude”, R 5722 (see Apple singles).

Philips did a lot of contract pressings including almost all records released by CBS before 1965. Records with push-out centers pressed by Philips are very ease to recognise because of the centers with three “spokes. These are its distinguishing characteristics:
1. There is no tax code is evident in the push-out centre on either side of the disc.
2. There is a double ridge (1mm apart) that runs around approximately 1mm in from the edge of the pushout centre. It’s 11mm out from the centre hole and approximately 28mm in from the edge of the label.
3. The gap between the push-out centre and the body of the disc is approximately 2.5mm.
4. The tax code can be found at the 12 o’clock position.
5. The mother plate number (either single or double figured) can be found at the 9 o’clock position.
6. There are no stamper code letters stamped into the deadwax at the 3 o’clock position.
7. The matrix number can be found at the 6 o’clock position.

Pressed by Pye: “Hey Jude”, R 5722 (see Apple singles).

Pye probably had a limited capacity to press records, because there are a lot of contract-pressed Pye records and almost no records contract-pressed by them. However, one of the reasons why so few contract pressings by Pye have been found could be because of the similarity to Decca pressings. These are its distinguishing characteristics:
1. There is no tax code around the centre hole on either side of the disc.
2. The ridge is approximately 2.5mm in from the edge of the push-out centre or about 10mm out from the center hole.
3. The secondary ridge runs right on the very edge next to the triangular centre attachments. You can only see a second ridge at the base of these triangular shapes and *extremely* flush against the edge gap, whereas on the Decca discs this ridge is clearly visible around the extreme edge rim of the pushout section. This is consistent with all Decca and Pye discs.
4. The gap between the push-out centre and the main body of the disc is approximately 2.25mm.
5. The tax code can be found at the 12 o’clock position.
6. The mother plate number (either single or double figured) is at the 9 o’clock position.
7. A hand-etched letter has been scratched in at the 3 o’clock position. This does NOT appear on the Decca contract pressings.

P.S. All EMI singles with solid centers pressed before 1966 are contract pressings.