Come and Get It: The Best of Apple Records

( 2 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Apple began life as a tax shelter for the Beatles, spiraled into a mad dream, collapsed into a mere record label, and then settled into its role as the trustees of the Beatles' legacy. All the myth of Apple lies in its crazy hazy days of 1968-1972, particularly the early years when the Apple empire allowed the Beatles to indulge every one of their whims, a practice that soon brought them to the verge of bankruptcy. Come and Get It: The Best of Apple Records -- remarkably the first-ever compilation of Apple's roster and the flagship for Apple/EMI's exhaustive 2010 Apple reissues series -- captures the lunacy and fleeting brilliance of Apple Records, often making ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Apple began life as a tax shelter for the Beatles, spiraled into a mad dream, collapsed into a mere record label, and then settled into its role as the trustees of the Beatles' legacy. All the myth of Apple lies in its crazy hazy days of 1968-1972, particularly the early years when the Apple empire allowed the Beatles to indulge every one of their whims, a practice that soon brought them to the verge of bankruptcy. Come and Get It: The Best of Apple Records -- remarkably the first-ever compilation of Apple's roster and the flagship for Apple/EMI's exhaustive 2010 Apple reissues series -- captures the lunacy and fleeting brilliance of Apple Records, often making it seem like little more than the Fab Four's playground. And, in a way, that is precisely what it was. Every one of the early singles and signings was driven by a passion by one of the Beatles crew: Paul McCartney always knew "Those Were the Days" would be a smash, so he hand-picked TV talent show winner Mary Hopkin to sing his sure-fire hit; George Harrison was intimately involved with Jackie Lomax, giving him the White Album outtake "Sour Milk Sea" for his first single; even road manager Mal Evans had a pet project in the pop group the Iveys. These three acts were among the first four single releases from Apple, with the fourth being the McCartney composition "Thingumybob," a television theme performed by the Black Dyke Band, a traditional British brass band that was the earliest evidence that Apple may not be an operation with success in the forefront of its mind. "Those Were the Days" did indeed turn into the smash Macca knew it would be, but "Sour Milk Sea" -- a dense, brilliant, and soulful psychedelic rocker featuring Paul, George, and Ringo -- strangely stiffed, as did the Iveys' "Maybe Tomorrow," then Brute Force's silly, controversial psychedelic novelty "King of Fuh" never saw release, establishing a see-saw pattern of chart success Apple never really shook off, partially because the label was so undisciplined. Apple let its greatest talent signing, James Taylor, slip away before he could record a second album, but the label spent time to nurture the Iveys, changing their name to Badfinger, with McCartney giving them their breakthrough single, "Come and Get It," as the first step in turning them into one of the great power pop groups. Consistency was not the label's strong suit, and good intentions could pay off (witness Billy Preston's huge hit "That's the Way God Planned It") or they could backfire (Doris Troy's "Ain't That Cute" made no waves). A surprising amount of time was spent with Beatles covers, and not just unaired songs -- like when Ronnie Spector cut George's "Try Some Buy Some" -- but Trash stiffly playing "Golden Slumbers/Carry That Weight," the Hot Chocolate Band doing a bad rewritten reggae version of "Give Peace a Chance," and Preston cutting an early version of "My Sweet Lord." There were also detours that made little sense (the Cajun stomp of the Sundown Playboys' "Saturday Nite Special") and those that did (Radha Krishna Temple's "Govinda," which pretty much provided the blueprint for Kula Shaker's career). If this reads like a mess, well, it plays that way too, but that's not necessarily a bad thing. All the mythology surrounding the Beatles, particularly during this messy hazy era, inflates even the group's pedestrian moves, but Come and Get It deflates the myth, humanizing the Beatles by presenting their obsessions and quirks in their ragged glory. There are not many major discoveries here -- the pleasures in the not widely circulated are minor, but Chris Hodges' fuzzy-pop "We're on Our Way" and Bill Elliot's stomping John & Yoko-written protest "God Save Oz" are pleasures all the same -- so the nice thing is having a disc that puts everything, the good and the bad, in a tidy context, for it's the closest aural representation of the unfettered weirdness of Apple as we'll ever get.
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Product Details

  • Release Date: 10/25/2010
  • Label: Capitol
  • EAN: 5099964639727
  • Catalog Number: 46397
  • Sales rank: 15,312

Tracks

Disc 1
  1. 1 Those Were The Days - Mary Hopkin (5:11)
  2. 2 Carolina In My Mind - James Taylor (3:38)
  3. 3 Maybe Tomorrow - The Iveys (2:53)
  4. 4 Thingumybob - The Black Dyke Mills Band (1:56)
  5. 5 King Of Fuh - Brute Force (3:03)
  6. 6 Sour Milk Sea - Jackie Lomax (3:54)
  7. 7 Goodbye - Mary Hopkin (2:25)
  8. 8 That's The Way God Planned It - Billy Preston (3:26)
  9. 9 New Day - Jackie Lomax (2:52)
  10. 10 Golden Slumbers/Carry That Weight - Trash (4:05)
  11. 11 Give Peace A Chance - Hot Chocolate Band (4:33)
  12. 12 Come And Get It - Badfinger (2:21)
  13. 13 Ain't That Cute - Doris Troy (3:49)
  14. 14 My Sweet Lord - Billy Preston (3:22)
  15. 15 Try Some, Buy Some - Ronnie Spector (4:12)
  16. 16 Govinda - Radha Krishna Temple (London) (4:46)
  17. 17 We're On Our Way - Chris Hodge (2:59)
  18. 18 Saturday Nite Special - Sundown Playboys (2:12)
  19. 19 God Save Us - Bill Elliot & the Elastic Oz Band (3:11)
  20. 20 Sweet Music (3:37)
  21. 21 Day After Day - Badfinger (3:09)
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Album Credits

Performance Credits
Richard Hewson Conductor
Geoffrey Brand Conductor
Technical Credits
George Harrison Composer, Producer
John Lennon Composer, Producer
Paul McCartney Composer, Producer
Billy Preston Composer, Producer
James Taylor Composer
Jackie Lomax Arranger, Composer, Producer
Yoko Ono Composer, Producer
Doris Troy Composer
The Tokens Producer
Phil Spector Producer
Peter Asher Producer
John Barham Orchestration
Tony Cox Producer
Mal Evans Arranger, Producer
Tom Evans Composer
Pete Ham Composer
Richard Hewson Arranger, String Arrangements
Darrell Higginbotham Composer
Gene Raskin Composer
Lon & Derrek Van Eaton Composer
Tony Visconti Producer
Tony Wilson Producer
Chris Hodge Composer
Steve Rooke Remastering
Mukunda Das Adhikary Arranger
Geoffrey Brand Arranger
Guy Massey Remastering
Brute Force Composer
Traditional Composer
Sean Magee Remastering
Jonathan Clyde Production Guidance
Alex Wharton Remastering
Garth Tweedale Production Guidance
Andy Davis Liner Notes
Jeff Jones Production Guidance
Tony Mehan Producer
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Customer Reviews

Average Rating 4.5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Posted August 17, 2011

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    Record of an era

    While "Come and Get It: The Best of Apple Records" is not a great album, it is an entertaining one and it accurately reflects the mixed success of the Beatles' Apple project. This is a good source for a few wonderful songs without having to buy a bunch of albums. Other cuts on this album are not very good but are still key to understanding Apple Records. The most welcome tracks are those from Mary Hopkins (who has never had a decent hits collection), those from Badfinger as well as the Billy Preston tracks. While "Carolina In My Mind" by James Taylor is nice, I would have preferred it if they had chosen his "Something In the Way She Moves" as George Harrison so obviously borrowed from it to create his song "Something" (but that's probably to much of a tender issue for Apple to have dealt with here). Much of the remaining songs are fair to poor but heard as an album it is still a good experience and worth the listen and with 21 tracks, the album truly is a great cross-section of the Apple era. Apple has released the original albums reflected here so if you are interested in the full experience, those albums are the way to go. This album is more than enough for those of us who just want those key tracks.

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  • Posted May 16, 2011

    more from this reviewer

    Those Really Were The Days

    I'm in a real minority on this but I really believe that Apple Records was the downfall of The Beatles. Not Yoko. Not Linda. It was Apple. Think about it. Once The Fab Four started Apple, that's when their financial problems began. If there was no Apple, there would've been no financial problems. No Phil Spector producing and ruining "Let It Be". Maybe even no "Let It Be". And most of all, no Allan Klein managing the band. Maybe The Beatles could've stuck it out a little while longer. But of course, that didn't happen. What did happen was that Apple Records actually produced some fine music, even though most of the performers got a little help from each individual Beatle. Paul McCartney produced Mary Hopkin and wrote Badfinger's first single, "Come And Get It". John Lennon did benefit recordings like "God Save Us" by Bill Elliott & The Elastic Oz Band. George Harrison was all over the place producing and writing for performers like Ronnie Spector, Billy Preston and Jackie Lomax. And even Ringo Starr got into it, helping sign Chris Hedge, whose music was a cross between late 60's psychedelia and up-and-coming T. Rex. "Come And Get It: The Best Of Apple Records" features all these performers as well as a few surprises. For instance, there's an early version of Badfinger in the form of The Iveys ("Maybe Tomorrow"). There's a reggae band called The Hot Chocolate Band doing a fine version of Lennon's "Give Peace a Chance". McCartney went so far as to produce a jaunty, brass band, The Black Dyke Mills Band ("Thingumybob"). James Taylor is here, too, where he released his debut single, "Carolina In My Mind". There's even a Cajun band, The Sundown Playboys, whose "Saturday Nite Special" sounds almost like an early skiffle band. Most surprising, however, is a group called Brute Force doing a hilarious tune, "King of Fuh"---as in "The Fuh King", which, of course, didn't see much release at the time. And while Billy Preston's "That's The Way God Planned It" still sounds great after all these years, you should check out "Govinda" by The Radha Krishna Temple; with Harrison's Wagnerian production, the song has an amazing hypnotic quality that builds like a massive monk's chant. Although when you hear Ronnie Spector doing Harrison's "Try Some, Buy Some", gorgeous Phil Spector production and all, you get the feeling she'd be better off singing "Be My Baby". The first Apple single was Mary Hopkin's "Those Were The Days", which was actually based on a Russian tune from the 1920's. Somehow, you listen to this compilation (which doesn't have a single clunker) and you get the feeling that's what they should've called THIS album. Apple was a grand experiment that tried and failed (the label even had an experimental sub-label called Zapple). It almost resulted in The Beatles going broke. They did break up, of course. Yet, the music remains magnificent, bringing back a glorious time of love, peace, hope. Those really were the days.

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