Record Collector, September 2010 (Issue 379)
Apple Records: The 2010 Re-Masters
A former editor of Record Collector, Andy Davis has long been regarded as the authority on all things Apple. In the early 90s, he was involved in some of EMI's CD reissues. Now he has helped coordinate some 14 new titles, upgrading those earlier editions with a raft of bonus material, improved sound quality and the first-ever various artists compilation from the label. In addition, extra material will be available for downloading. Here, Andy provides a world exclusive preview of what Apple fans can be expect...
Apple's Philosophy There was a change at the top of the Apple tree. Neil Aspinall, who had presided over the first set of reissues in the 90s, had left the company. So, Apple brought in a new guy, Jeff Jones, who was a Senior VP at Sony in the States, so he had a wealth of record company experience. He's been there a few years now. Like Neil had been, Jeff is hands-on - he listens to the music, takes it seriously and wants to do right by the Apple artists. He sees Apple - as The Beatles always did - as an artist-oriented company. He's happy to retain that tradition and ensure everything's done properly. So we're pulling out the stops on the artwork, remastering, bonus tracks and liner notes. There has been a huge amount of effort from all concerned: Abbey Road, EMI, Apple themselves, the engineers, the legal people, Everyone's helped get these reissues absolutely right, a proper job.
The new upgrades Technology's moved on. Music can be remastered a lot better. I think the success of The Beatles' remastered catalogue has helped, too. And it's members of the same core team at Abbey Road under Allan Rouse. Also, some of the CDs have slipped out of print, so the opportunity was there, some 15 years since the last Apple reissue. They were all in jewel cases, which have now been replaced with mini-LP card packages. In terms of the sound quality, we've upgraded them in leaps and bounds. There are new bonus tracks on most of the CDs, previously unheard stuff. And this is the first time ever that anything from Apple Records had been made available as digital downloads.
Mary Hopkin: POST CARD For Mary's first album, as a bonus track, we found what would have been her third Apple single, Fields of St Etienne, never before heard. It was written by Gallagher & Lyle, Apple Publishing signees and friends of Mary's - she recorded several of their songs. She later re-did it with Paul McCartney as producer in a low-key, folky way. But this earlier version, arranged by Richard Hewson, was an all-stops-out, big production number with a choir and horns in the same vein as Those Were The Days. That really adds sparkle to that package.
We also have Turn, Turn, Turn, the original B-side which Mary was singing on Opportunity Knocks when Twiggy saw her; Goodbye (her second single written by Paul); and its B-side Sparrow, also written by Gallagher & Lyle.
Mary Hopkin: Earth Song - Ocean Song Mary's second album was her favourite. That was when she met Tony Visconti, whom she later married. It's a fabulous contemporary folk album from 1971, with songs from Gallagher & Lyle, Cat Stevens, Ralph McTell, Tom Paxton, the relatively unknown British folk singer Harvey Andrews and two tracks by obscure American songwriter Liz Thorsen, Earth Song and Ocean Song. Mary loved Liz's songs so much she named the album after them. The core has Mary singing, Dave Cousins from The Strawbs on guitar and banjo, Danny Thompson on bass and Ralph McTell on guitar, with a string quartet here and there and Visconti adding his arrangements.
The bonus tracks include a B-side and her penultimate single for Apple, Let My Name Be Sorrow. She also recorded that song in French and in Japanese, available to download, alongside another Gallagher & Lyle song, Jefferson, an uptempo country tune which didn't fit on the album.
by Andy Davis
Record Collector, April 1992 (Issue 152)
Apple Records - Mary Hopkin
The British and American catalogues may be difficult enough to complete, but have you ever considered how many permutations of Apple singles were issued around the world? This article attempts to answer that question, paying particular attention to 45s from Europe and Japan, although it will come as no surprise that it stops far short of listing every world-wide rarity!
Back in the summer of 1968, Apple prepared Gene Mahon's innovative whole apple/half apple design as its corporate logo. Batches of appropriate labels were distributed around the world for the first clutch of releases, scheduled for that autumn. Europe, the Americas, Australasia, and Japan all received the striking Granny Smith design. Despite this massive effort, however, many of the earliest foreign pressings actually appeared on other EMI labels like Parlophone and Odeon.
A prime example was Mary Hopkin's "Those Were The Days" (Apple 2), Apple's most successful single. It is also one of the most common, having appeared in four different versions in France alone, for example, where it was released on Odeon in English (FO 129), to be followed by the French "Les Temps des Fleurs" (FO 131). When the shipments of Apple labels finally arrived, both versions were reissued on APF 502 in English, and on APF 503 in French. The B-side in all instances was Pete Seeger's "Turn Turn Turn". To establish Mary Hopkin as an international star, Apple had Mary re-record her debut in four languages. Aside from the French, her three other foreign renditions of "Those Were The Days" were "An Jenem Tag" in German (0 23910), "Quelli Erano Giorni" in Italian (Apple 2) and "Que Tiempo Tan Feliz" in Spanish (H 397). The Italian and Spanish versions are now available as bonus tracks on the reissue of Mary's debut album, "Postcard", although this mistakenly credits "Que Tiempo Tan Feliz" as "En Aquellos Dias".
In Argentina, the single was issued as "Aquellos Fueron Los Dias" backed with "Vueltas Y Mas Vueltas' on Apple 1054. But despite the foreign titles, both songs were the English versions. As no original labels were available, the words "Apple Records" on a simple light brown background had to suffice for this scarce 33 rpm edition.
A Polish postcard flexi took translation one step further, re-titling Mary Hopkin's song "Byly Takie Dni". Pressed on thick , olive-green vinyl, the disc also featured Ohio Express's "Yummy Yummy Yummy" - which the Poles obviously couldn't translate! Another, mustard-coloured postcard flexi disc also exists, listing "Those Were The Days" in English, but fading it down halfway through to make way for "Lady Willpower" by 'Union Gap And Gary Puckett'! Although neither of these releases makes any references to Apple, both carry the BIEM copyright issues. They shouldn't be confused with the picture postcard flexis from Poland, which we're told, are counterfeits.
Mary Hopkin's immediate follow-up to "Those Were The Days" was the Italian-language song, "Lontano Dagli Occhi" (Apple 7), which was only released in Brazil and parts of Europe - but not the U.K. All countries, save for Brazil, issued the single in a picture sleeve. "Prince En Avignon" (Apple 9), sung in French and only put out in France, appeared around the same time, and both singles share the same B-side, George Martin's "The Game".
Meanwhile, Mary's second U.K. 45 was "Goodbye"/"Sparrow" (Apple 10). This appeared some seven months after her initial breakthrough, and as the A-side was an original Paul McCartney song, it was a guaranteed global success. Like its predecessor, "Goodbye" had no U.K. picture cover, so each foreign edition is likely to be unique. Richard DiLello, Apple's self-styled House Hippie, reports in his hilarious book, "The Longest Cocktail Party" (a recommended read, incidentally), that "Goodbye" appeared simultaneously in 26 countries (the 'NME' at the time mentioned 28). Most collectors, though, begin to struggle after about 15!
"Que Sera Sera"/"Fields of St. Etienne", Mary's fifth worldwide single, is still shrouded in mystery. It was slated as a U.K. September 1969 release on Apple 16, but that number was also given to another Apple recording - a version of the Beatles "Two Of Us" entitled "On Our Way Home", by a New York trio, Mortimer. Neither single actually surfaced; in fact, no Mortimer recordings were ever released by Apple. "Que Sera Sera" was later re-numbered Apple 27, but again failed to reach the U.K. shops. When it finally did appear, almost a year later, Britain still missed out, although it was issued in Australia (A 9190), the U.S. and Canada (both Apple 1823), Germany (006 91624/Apple 28), in the other parts of Europe (006 91624) and Japan (Apple AR-2584).
While Apple was still deciding whether to release "Que Sera Sera", "Temma Harbour"/"Lontano Dagli Occhi" (Apple 22) was released world-wide. As "Lontano Dagli Occhi" had been already issued as an A-side in Spain (H 430) and Italy, Nilsson's "The Puppy Song", from "Postcard", was chosen as an alternative B-side (Apple 22 C) in those countries. Japan chose to release the world-wide version "Temma Harbour"/"Lontano Dagli Occhi" (Apple AR-2446).
Mary's 'Eurovision Song Contest' entry for 1970, "Knock Knock Who's There" backed with "I'm Going To Fall In Love Again" (Apple 26), is her least sought-after release. U.S. and Canadian copies (Apple 1855) have a different B-side "International". Probably the least likely country to play host to a Mary Hopkin single was pre-Revolutionary Iran. The old Apple label distribution problem hadn't been solved here either, and "Knock Knock Who's There"/"I'm Going To Fall In Love Again" appeared on a four-track EP on the local Top 4 label, alongside the Beatles' "Let It Be"/"You know My Name". There's no reference to Apple on the disc, though, suggesting the release was unofficial.
Mary's next single was "Think About Your Children"/"Heritage" (U.K. Apple 30) with the A-side written by Hot Chocolate. After the initial interest surrounding "Those Were The Days" and "Goodbye", sales of Mary Hopkin's 45s began to decline, though she made a brave attempt to repeat past glories by re-recording her next single in two foreign languages. "Let My Name Be Sorrow"/"Kew Gardens" (Apple 34) was issued in French (2C 006 92 692) and Japanese (Apple AR-2890), and these are among Mary's rarest singles. The standard English version received a relatively limited release in countries like Germany, Holland, Italy and Portugal. Most picture sleeves incidentally seem to mirror the U.K. design.
Mary's final Apple offering, "Water, Paper And Clay"/"Jefferson" (Apple 39) remains her most stirring single, yet many countries ignored it. Outside Britain, it only appeared in Holland (5C 006 93074), Portugal (N-38-26), Japan (AR-2958), and in the U.S. and Canada (both Apple 1843). The latter three territories lifted Ralph McTell's "Street Of London" from Mary's second Apple album, "Earth Song-Ocean Song", as the B-side.
by Andy Davis