Parlophone

But later on, she did.

admitted to it like what happened and then doesn't deny she signed with parlophone and they finalized the debut studio album which they were like working on when she was like 14 years old now she has spoken about this how when she was 14 they basically thought okay it's gonna be easy to manipulate her because they wanted to make her like a pop star they have an idea of what they want her to be and she just didn't want to put up with it she did not like that and she could tell that they were trying to manipulate her because she was young and she didn't want to please them she didn't want to have a good relationship with them so she was struggling during this time

yeah so she grew up around elites you know around wealthy

people but she wasn't rich herself she signed with capital records and they wanted to make her this you know this pop star they had an idea for they wanted to sexualize her more she did say that too and she felt very unsafe and uncomfortable they wanted to control her brand and how was she perceived was fighting with her label she would even have to pay her own like studio sessions she did a lot of modeling so she could pay off that in 2019 she went public saying that capital records won't let her leave and they won't let her make music and that she kind of like made it seem that she was being blacklisted from the industry

Oh, yeah.

'Cause Norrie Paramor was Columbia, and George Martin was Parlophone.

Par- Parlophone.

You know, so they're two great rivals.

And Norrie Paramor, no flies on, uh, wrote loads of the B sides of, uh, of Cliff Richard and The Shadows songs, so that he ...

but I prefer this song in mono if I'm listening on headphones.

But as far as the mono and stereo, when they were mixing the album, both a mono and a stereo mix... were prepared for the rubber soul album and looking at the session documentation as far as i've researched doesn't call out a specific isolated difference for this song the way it does a lot of the other rubber soul tracks that we'll eventually get to in later episodes but but i wasn't able to find any publicized differences like different instruments extra instruments or some kind of edit that was pinned to this song particularly but a lot of the other rubber soul ones have some history behind them So as far as U.S. versus U.K. pressing, both mono and stereo pressings came out in the U.K. on Parlophone, and in the U.S. they came out on Capitol just a few days later.

And one kind of interesting thing is December 6, 1965, when the U.S. Capitol release of Rubber Soul was going on, there was something going on with NASA, right? So Gemini 6A and 7 were preparing for the first ever space rendezvous between two crewed spacecraft launching within days of the release of Rubber Soul.

So these were spacecraft that were going up to connect in space? I guess so,

Uh, as a teenager, she started a Myspace where she could upload self-written songs.

And so by 2009, she had signed to the label Parlophone and began working on a debut album that was set to include songs written as a teenager.

And that album was supposed to come out in 2011, but this is the first of her, you know, long love affair with delaying projects and announcing things that never get released.

So instead, those plans were shuffled around, and her first EP, titled As If, was released in 2011.

So after they became connected, she intended for the album to be a mix of the Jon Brion songs and the Ariel songs.

Eventually, she scrapped almost the entire album, including all of the Jon Brion songs, and then just worked solely with Ariel and then their co-producer Justin Raisen.

And these sessions actually were not paid for by the label, which I thought was interesting, 'cause they refused to pay for more sessions because of how many times she had delayed the album.

So she paid for these sessions out of her own pocket from money that she made modeling.

Jimmy Thomas actually was American, but he did become an important part of the British soul scene.

The Beautiful Night was released on Parlophone in 1969, and Thomas wrote and independently produced the record himself.

The real interesting part is what happened afterwards.

The record was discovered by Major Bob Crocker at the Catacombs in Wolverhampton in 1971 and then became a major sound at the Golden Torch in Stoke-on-Trent.

Epstein wants a record deal.

So Coleman arranges a meeting on February 13th with George Martin, who runs Parlophone, EMI's smallest label, and mostly makes comedy records with Peter Sellers and the Goons.

Martin's diary for that day says, Meeting Bernard Epstein.

clearly got the name wrong.

So people will be interested in your specific work.

Just like if you're releasing an EP, you know, you're gonna listen to the EP from the band that you love, no matter whether it's on Domino or Parlophone or whatever, you know?

Hmm.

It doesn't really matter what label it's on.

If you have, you'll have realised that they were quite long.

Part two was actually even longer, so much so that we cut out a chunk that looked at the artwork and the way that Parlophone chose to present the record to the world.

So, to celebrate its big 3-0 birthday, how about a part three? Trilingual, if you like.

We hope you enjoy it.

And all of this... happened with almost no promotional activity from Neil and Chris, which all struck me as a little bit odd.

But apparently, Graham, this was a deliberate strategy.

Parlophone basically wanted the album to speak for itself.

That's how strong they thought it was.