The Beatles :: Charts & Sales History

[blackbird]

Official Albums Sales Chart Top 100 UK: 10 March 2023 - 16 March 2023

TW LW WoC Artist Title
96 re 19 The Beatles - Revolver

[blackbird]

Official Albums Streaming Chart Top 100 UK: 10 March 2023 - 16 March 2023

TW LW WoC Artist Title
36 39 360 The Beatles - 1

[blackbird]

Official Physical Albums Chart Top 100 UK: 10 March 2023 - 16 March 2023

TW LW WoC Artist Title
87 re 39 The Beatles - Revolver

[blackbird]

Official Scottish Albums Chart Top 100: 10 March 2023 - 16 March 2023

TW LW WoC Artist Title
58 re 28 The Beatles - Revolver

[blackbird]

Official Music Video Chart Top 50 UK: 12 March 2023 - 18 March 2023

TW LW WoC Artist Title
2 2 35 The Beatles - Get Back
10 17 320 The Beatles - Eight Days A Week
28 47 59 The Beatles - Boxset

[blackbird]

Artist 100 U.S. 18/03/2023: Week Ending March 9, 2023

TW LW WoC Artist
79 75 276 The Beatles

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Top Album Sales U.S. 18/03/2023: Week Ending March 9, 2023

TW LW WoC Artist Title
84 80 285 The Beatles - Abbey Road

[blackbird]

Top Rock & Alternative Albums U.S. 18/03/2023: Week Ending March 9, 2023

TW LW WoC Artist Title
43 44 294 The Beatles - 1
47 46 311 The Beatles - Abbey Road

[blackbird]

Catalog Album Sales U.S. 18/03/2023: Week Ending March 9, 2023

TW LW WoC Artist Title
44 42 587 The Beatles - Abbey Road

[blackbird]

Top 100 Vinyl Albumes Spain Week 10: 03/03/2023 - 09/03/2023

TW LW WoC Artist Title
80 94 14 The Beatles - Revolver

[brian05]

14 new 1 The Bob Dylan - Revolver

What's that? Did not know Bob Dylan recorded Revolver.

[blackbird]

IRMA Top 100 Albums Ireland Week 11: 17/03/2023 - 23/03/2023

TW LW WoC Artist Title
63 66 398 The Beatles - 1

[blackbird]

Official Albums Chart Top 100 UK: 17 March 2023 - 23 March 2023

TW LW WoC Artist Title
43 48 410 The Beatles - 1

[blackbird]

Official Albums Streaming Chart Top 100 UK: 17 March 2023 - 23 March 2023

TW LW WoC Artist Title
37 36 361 The Beatles - 1

[Germanicus]

14 new 1 The Bob Dylan - Revolver

What's that? Did not know Bob Dylan recorded Revolver.

What Chart Brian05????????????

It is not OCC or Billboard

I FOUND THIS

REVOLVER, Holland


"REVOLVER is mainly about rock music from the sixties, seventies and eighties, but also offers room for movies and some of the well-established artists from the present." Its name is now LUST FOR LIFE.


199710_revolver.jpg



https://www.bobdylan-comewritersandc...s/revolver.htm

OR IS IT THIS


R-3839-1186600522.jpg


https://www.discogs.com/release/3839...ciety-Revolver


OR IS IT THIS

https://alldylan.com/tag/revolver/

What Chart Brian05????????????


MOST RESPECTFULLY

GERMANICUS

[brian05]

It was a mistake in posting by Blackbird which he has now edited and corrected. All is well.

[Germanicus]

It was a mistake in posting by Blackbird which he has now edited and corrected. All is well.

All good Brian05

All is well

My respects to you

[blackbird]

Official Music Video Chart Top 50 UK: 19 March 2023 - 25 March 2023

TW LW WoC Artist Title
2 2 36 The Beatles - Get Back
30 10 321 The Beatles - Eight Days A Week
45 re 64 The Beatles - Magical Mystery Tour

[Germanicus]

Dear All

If this has been published before then I apologise.

If not then enjoy.

‘Love Me Do’: The Beatles’ Long Climb To The Top

Published on May 31, 2022 By Richard Havers

The Beatles’ debut single was a qualified success in the UK, but had quite a chequered path that eventually
took it to No. 1 in America.

On the evening of September 3, 1962, The Beatles were playing in the industrial north of England, at
the Queens Hall in Widnes. The following morning John, Paul, George, and Ringo flew to London; the
former drummer with Rory Storm and the Hurricane had only been with the other three Beatles for two
weeks, having replaced Pete Best. From Heathrow Airport the band was driven to northwest London,
to EMI’s Abbey Road Studios, where, smartly dressed in shirts and ties, they were to record what was
planned to be their first single for the Parlophone label.

They recorded “Love Me Do” and “How Do You Do It?,” the latter written by Mitch Murray and also briefly
in contention for release. A week later, having played the Cavern Club and other gigs in and around Liverpool,
The Beatles were back at Abbey Road to re-record “Love Me Do.” This time, George Martin had brought in
Andy White, a session drummer; Ringo played tambourine.

The three-hour session on September 11 proved a success and as well as “Love Me Do” they recorded
“P.S. I Love You.” Just under a month later, on October 5, The Beatles’ first single was released. This version
of “Love Me Do” was the one from September 4, featuring Ringo on drums, and it ended up making No. 17 on
the UK charts.


Capitol Records of Canada issued the same version in February 1963, but it failed to excite too many
buyers. According to Paul White, the Capitol Records Canada executive in charge of selling The Beatles,
it was an inauspicious start. “For my efforts, ‘Love Me Do’ sold 170 copies,” he remembered. “I tried for
another record, ‘Please Please Me,’ and that sold about 280. The third record, ‘From Me to You,’ sold 300,
and then ‘She Loves You’ was released and went berserk. ‘Love Me Do’ ended up selling close to 100,000
copies.”

Following The Beatles’ success on The Ed Sullivan Show in February 1964, the Capitol Canada single
made the Billboard chart at No.81 on April 11, 1964. In the aftermath of the popularity of “I Want To Hold
Your Hand” in early 1964, Tollie, a subsidiary of Vee Jay (the company that issued the first American singles
by The Beatles after EMI’s subsidiary capital declined to release them), put out “Love Me Do” on April 27, 1964.

A week later, the Billboard chart listed both the Capitol Canada and Tollie singles jointly at No. 31; a month
after that, starting on May 31, “Love Me Do” spent its solitary week at the top of the Billboard bestseller list.
Ironically, this was the recording with Andy White on drums, as Tollie had dubbed their single from the first
version on the album, Introducing The Beatles, which had been issued in January 1964.

It’s this one week at No.1 which qualifies “Love Me Do” for The Beatles 1 album and the video that appears
on that release is taken from a performance at the Little Theatre, Southport for a BBC TV documentary,
The Mersey Sound. While “Love Me Do” wasn’t broadcast in its entirety, additional footage was added to
create a new clip featured on the DVD and Blu-ray releases; it’s the one that has Ringo playing drums.

https://www.udiscovermusic.com/stori...ve-me-do-song/


The-Beatles-Love-Me-Do-1536x1536.jpg

[blackbird]

The Beatles hit with an asteroid's force: The Fab Four's impact, 60 years after "Please Please Me"

Our upcoming season of "Everything Fab Four" features conversations about the Beatles with Kenny Loggins and more
PUBLISHED MARCH 18, 2023 10:59AM (EDT)


The Beatles' influence continues to reverberate across the decades since their epoch-making emergence in global culture. Last year alone, they outpaced all "catalog" acts with some 1.5 billion streams. Meanwhile, "Revolver," the subject of their latest "super deluxe" boxed set series, registered a top-five showing on the Billboard charts. When it was originally released back in August 1966, Revolver marked an artistic, even psychedelic breakthrough, building mightily on the strengths of "Rubber Soul," its folk-oriented predecessor.

Taking its name from the image of a spinning phonograph record, "Revolver" has proven to be an even more prescient metaphor for understanding the Beatles' phenomenal success: it's a near certainty that the LP has been playing somewhere, without fail, in every minute of every hour since music lovers first laid their hands on the album during that long-ago summer.

This month marks the 60th anniversary of the Beatles' groundbreaking first album "Please Please Me," a release that began a UK chart-topping spree that exploded into British Beatlemania later that same year with "She Loves You" and "I Want to Hold Your Hand." Their impact would be felt Stateside with the force of an asteroid in February 1964, when they played their legend-making set on "The Ed Sullivan Show." The force of an asteroid might seem like the stuff of exaggeration. But not by much. Popular music has simply never been the same.

The month will also see the release of the fifth season of the "Everything Fab Four" podcast. Since 2020, Salon has hosted the program, which has featured a star-studded array of guests ranging from Peter Frampton and Steven Van Zandt to Kevin Bacon and Heart's Ann and Nancy Wilson, among a host of others.

Our latest spate of interviewees continues our tradition of exploring the Beatles' cultural resonance. We recently caught up with Barbara Feldon, the 1960s-era model turned TV star who played the inimitable Agent 99 on "Get Smart." She was in New York City in February 1964 when the Beatles began their first campaign on the road to conquering America. For Feldon, it was like nothing she'd ever seen or heard before.

"This roar would come up from the street, and we were on the fifth floor," Feldon recalled. "And so we climbed up to the roof to see what was going on and looked over the parapet down onto Park Avenue. And there was a mob of young women on Park Avenue spilling off the sidewalk. And somebody said, 'It's the Beatles!'"

That night, when she tuned into "The Ed Sullivan Show," Feldon had her doubts. "I was totally skeptical," she told me, thinking, "'This is just so silly, this little boy band.' And I turned it on, and I got it instantly. I was absolutely charmed by their light, the optimism, the freedom, the fun, the spirit that they had."

That same weekend, newly minted 16-year-old Kenny Loggins watched "The Ed Sullivan Show" in a state of awe. Sitting in front of his family's TV set in Alhambra, California — some 2,800 miles away from Ground Zero in CBS' Studio 50 — Loggins simply couldn't believe his ears. Years later, he is quick to thank his mother for tipping him off about the peculiar English band with the long hair.

"My mother, who was working in a drugstore, was on her way to work that morning," Loggins recalled. As his mother left the house, she told Kenny that "I hear there's a new band on TV on Ed Sullivan tonight that you might be interested in. They're supposed to be all the rage."

At the time, Loggins was a budding guitarist and a devotee of Bob Dylan. "I hadn't heard a thing about the Beatles up to that point," he told me. "And then that night in front of our black and white TV, I saw the Beatles and just everything changed. It just suddenly was like, 'Oh, this is what I want to do.'"

For 1960s "It Girl" Pattie Boyd, the Beatles would shortly become more than just a household name. Within a matter of months, she would be dating George Harrison, eventually marrying him in 1966. When she first met her future husband, she was familiar with the band. "I had heard their music, and I really liked it," she recalled. But like nearly everyone, "I had no idea that they were going to be as globally famous as they were."

That spring, the budding model was cast in "A Hard Day's Night," a part that she nearly scuttled. "The thing is," Pattie told me, "I'm really shy, and I really hadn't planned to be an actress." Promising that she only had a single word of dialogue, the casting director talked her into joining the production. When Pattie told her boyfriend at the time about her upcoming role, he said, "I bet you fall for Paul McCartney."

Pattie would never forget the moment the Beatles hopped onto the railway train that served as the movie set. "They came into our carriage and introduced themselves and shook our hands," she recalled. "And we sort of nodded. 'Oh, my God, They're so charming and so polite and handsome!"

While it was Beatle George who caught her eye, Pattie's boyfriend was right to be concerned. George "was so delicious," she recalled. "He was so good-looking and had the most beautiful, velvety brown eyes."

When he asked her out, Pattie demurred on account of her boyfriend. By the time she caught up with George a few weeks later, her boyfriend was out of the picture.

"When I saw George again, he asked, 'How's your boyfriend?' I said, 'Well, I don't have a boyfriend anymore.' So that was it. That was the start," she told me.

As with the guests who came before them, Feldon, Loggins, and Boyd speak of a shared experience. But they're not alone in their first moments of discovery when it comes to the Beatles. The Baby Boomers scarcely account for those 1.5 billion streams. Even now, as "Revolver" continues spinning merrily on without interruption some 57 years later, the children of the 21st century are enjoying their own first flush of Beatledom. And they'll hardly be the last.

[blackbird]

AFP Portugal Albums Top 30: 2022

# Points WoC Artist Title
13 371 33 The Beatles - 1

[blackbird]

The Beatles 1963: A Year In The Life when everything changed forever

Phil Shaw

The big freeze finally morphed into the great thaw – but changes to the cultural landscape which ran parallel to the coldest winter in decades left a permanent mark on Britain and beyond.

Spearheading the transformation were four young lads from Liverpool who had made a modest dent in the pop charts in late 1962, before the sea froze over and sport was snowed under. But as the Cape Cod-based author Dafydd Rees demonstrates in this entertaining and rigorously researched tome, 1963 was the year everything changed forever: the Year of The Beatles.

They began it waking up in a Hamburg flea-pit after their final show at the Star-Club. Returning to launch a Scottish tour in the Highlands, they played to two dozen people in Dingwall on a night so brass-monkeys they performed with coats and scarves on.

They ended it halfway through a 14-day run at London’s Finsbury Park Astoria – two sold-out shows per night – having already played the Palladium and the Royal Variety Performance. Once they conquered America in the New Year it was everything, everywhere, all at once for The Beatles.

Students of Beatlemania and fans of the Fab Four – both terms coined during this period of upheaval and excitement – have been spoiled in terms of literary appraisals and analysis of the art of John Lennon, Paul McCartney, George Harrison and Ringo Starr and its enduring impact. My list of must-reads would be headed by Revolution In The Head: The Beatles’ Records And The Sixties, by Ian MacDonald, followed by One, Two, Three Four: The Beatles In Time, by Craig Brown, and The Complete Beatles Chronicle by the band’s greatest historian, Mark Lewisohn.

Rees’s book is an important addition to the canon. He has restricted himself – although with 527 pages ‘restricted’ may give a false impression – to a forensic, day-by-day journey through the breakthrough year. He made visits to seaside resorts where The Beatles had week-long residencies, and spent weeks trawling local and national papers in the British Newspaper Library.

What gives the book its edge, however, is the testimony of hundreds of fans who answered the author’s appeal to come forward with their memories and snaps. Now in their late 60s or 70s, they described in vivid detail life-affirming and life-changing experiences.

Barbara Hodson, a Leicester teenager who went on to become a civil servant, returned from accompanying a school friend to a Beatles show in a theatre full of hysterical, screaming girls to tell her mother: ‘We didn’t hear anything. We didn’t see anything. But it was fab.’

Her words underline the generational divide which the group opened up. That hair… are they boys or girls? Those vocals… is it ‘real’ singing? The early fans are now ‘old’ but still revering The Beatles with their children and grandchildren.

Alongside their stories are the recollections of many who went on to work in the music industry, including a host of musicians. They include Rod Argent, soon to make the charts with The Zombies; Peter Asher, brother of actress Jane Asher (who became McCartney’s girlfriend in 1963) and a hit-maker with Lennon-McCartney’s World Without Love as half of Peter & Gordon; and John McNally of Cavern Club chums The Searchers, who reveals how they spurned the chance to cut the freshly written Things We Said Today.

Alongside the 60-year retrospectives Rees provides compelling contemporaneous cuttings and quotes. By way of context, the UK was ruled by a tired, discredited Tory government riven by the Profumo scandal. The satirical TV show That Was The Week That Was had begun chipping away at deference, but working-class or Liverpudlian voices were seldom heard.

The Teddy Boys had gone. Mods, skinheads and hippies were yet to appear, likewise music radio, although Ready Steady Go! would kick off in August. Pop was ‘safe’, personified by Cliff Richard. Bruce Welch of The Shadows (favourites of The Beatles), reportedly dismissed the mop-topped interlopers as ‘Nothing special. Once they [the songs] dry up, that’ll be the end of them’.

The notion that they were a flash in the pan was a common theme. Caroline Maudling, 16-year-old daughter of Chancellor of the Exchequer Reginald Maudling, said after appearing with Lennon on Juke Box Jury: ‘This is just a wild phase and will end as suddenly as it started, I’m convinced.’ (Edward Heath, a future Prime Minister, complained that The Beatles ‘don’t speak the Queen’s English’.)

The emergence of John, Paul, George and Ringo, as if from nowhere, caught the press off guard. In February the Daily Mail called Please Please Me ‘almost incoherent except for its solid, battering beat’ and informed readers they were ‘Kenny Lynch’s backing group’. The Romford Recorder reported ‘girls pelting the stage with cards and gifts for Beatle McKenzie (sic), who was 21 last week’.

As the year rolled on, and the No1s kept coming, the tone changed. With the bandwagon-jumping and gushing reviews came the backlash, Daily Mirror columnist Donald Zec deriding them as ‘four frenzied little Lord Fauntelroys who are making £50,000 every week’.

If they were making that sort of money, they certainly earned it. Brian Epstein, their manager, still had them criss-crossing Britain to play countless gigs -- including their 274th and last show at The Cavern. Soon the journeys and fame would be global. And all the time they were writing and recording the songs that became the soundtrack of our lives.

Rees has done a great service to anyone seeking to understand, enjoy or relive The Beatles’ epochal year (the first of them, that is). 1963 and all that is history in the same way that 1066 and 1215 are; the year the Sixties as a cultural construct truly began. If it isn’t already taught in schools and universities, it should be, with this book high on the reading list.

The Beatles 1963: A Year In The Life

By Dafydd Rees (Omnibus Press)

[blackbird]

Artist 100 U.S. 25/03/2023: Week Ending March 16, 2023

TW LW WoC Artist
80 79 277 The Beatles

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Top Album Sales U.S. 25/03/2023: Week Ending March 16, 2023

TW LW WoC Artist Title
70 84 286 The Beatles - Abbey Road
100 re 34 The Beatles - Revolver

[blackbird]

Soundtracks U.S. 25/03/2023: Week Ending March 16, 2023

TW LW WoC Artist Title
23 re 111 The Beatles - Let It Be