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Come and Get It: The Best Of Apple Records is the first commercially issued multi-artist compilation in the label’s history. This 21-track compilation of singles ranges from the folk-rooted tunes of Mary Hopkin and James Taylor, and the energetic rock of Badfinger (also The Iveys) and Jackie Lomax, to the deep soul of Doris Troy and Billy Preston.

Come and Get It displays Apple’s vibrant years of musical experimentation in full flower, from bona fide hit singles to the cult classics of the catalogue, as represented by brass band The Black Dyke Mills Band, Cajun collective The Sundown Playboys, and more. Hot Chocolate (as ‘The Hot Chocolate Band’) makes an appearance, as does Ronnie Spector, Bill Elliot & The Elastic Oz Band, Chris Hodge, Brute Force, and others.

Launched by The Beatles in 1968, Apple served as the new outlet for their own recordings as well as the music of an eclectic roster of artists who were all personally brought to the label by The Beatles (individually and/or collectively). In the revolutionary spirit of the times, Apple’s utopian artist-orientated mission celebrated diversity in a friendly creative environment. The result was a rainbow spectrum of music, from folk, rock and soul to The Modern Jazz Quartet and the work of contemporary British classical composer John Tavener.

TRACK DETAILS FOR COME AND GET IT: THE BEST OF APPLE RECORDS:
1 Those Were The Days / Mary Hopkin
The multi-million selling debut 45 by Mary Hopkin was UK No. 1 for six weeks in 1968 and was produced by Paul McCartney, who discovered this 1920s Russian folk song in a London night club.

2 Carolina In My Mind / James Taylor
Taken from his self-titled debut album, this is the original version of ‘Carolina In My Mind’, cut in London in 1968. Issued as a US single, it features Paul McCartney on bass and George Harrison on backing vocals.

3 Maybe Tomorrow / The Iveys
The Iveys were brought to Apple by former Beatles roadie Mal Evans and ‘Maybe Tomorrow’ was a hit in Holland and a minor hit in the US, before the band changed its name to Badfinger.

4 Thingumybob / The Black Dyke Mills Band
Paul McCartney’s theme tune for a 1968 British TV comedy drama series, recorded by the most famous brass band in the world.

5 King Of Fuh / Brute Force
Brute Force is a New York songwriter and this single was championed by John Lennon and George Harrison, but ‘Fuh’ rhymes with ‘Uh’, and ‘the Fuh king’ was therefore banned back in 1969.

6 Sour Milk Sea / Jackie Lomax
Jackie Lomax has a great blue-eyed soul voice that more than does justice to this otherwise unavailable ‘White Album’-era song by George Harrison. Paul and Ringo provide rhythm and Eric Clapton plays lead guitar.

7 Goodbye / Mary Hopkin
Mary’s hugely successful follow-up to ‘Those Were The Days’ was written by Paul McCartney, and features Paul providing his own thigh-slapping percussion throughout.

8 That's The Way God Planned It / Billy Preston
Billy Preston’s breakthrough UK hit, reaching No. 11, features the stellar line-up of Billy on keyboards, George Harrison on guitar, Keith Richards on bass, Ginger Baker on drums and Eric Clapton on lead guitar.

9 New Day / Jackie Lomax
An original non-album Lomax 45 that was co-produced with Mal Evans, and single-handedly defines the Jackie Lomax sound: British soul meets R&B with horns.

10 Golden Slumbers-Carry That Weight / Trash
A powerful interpretation of two songs from The Beatles’ Abbey Road, recorded by Trash, a heavy Scottish group that came to Apple via their producer, former Shadows drummer Tony Meehan.

11 Give Peace A Chance / Hot Chocolate Band
This completely re-worded British reggae version of John Lennon’s peace anthem was brought to Apple in a one-off deal by the band that became hugely popular in the Seventies with a string of classic disco hits.

12 Come And Get It / Badfinger
Written and produced by Paul McCartney for The Magic Christian film starring Peter Sellers and Ringo Starr, ‘Come And Get It’ was a massive worldwide hit and the first record issued by The Iveys under their new name of Badfinger.

13 Ain't That Cute / Doris Troy
Soul singer-songwriter Doris Troy had scored hits before coming to Apple in 1969, and she and George Harrison wrote ‘Ain’t That Cute’ from scratch in the studio — the first time George had ever written a song that way.

14 My Sweet Lord / Billy Preston
George Harrison produced this soulful, gospel version of his most famous solo song, which he gave to Billy Preston before he had recorded it and released it himself.

15 Try Some Buy Some / Ronnie Spector
Ronnie Spector, one-time Ronette and former wife of legendary producer Phil, recorded this George Harrison original in 1971. George later re-cut it himself for Living In The Material World, using the exact same backing as Ronnie’s single.

16 Govinda / Radha Krishna Temple
‘Govinda’ is a Sanskrit hymn to Krishna, and was a UK Top 30 hit for the Radha Krishna Temple in 1970. Produced by George Harrison, who also plays bass and accordion.

17 We're On Our Way / Chris Hodge
In 1972, Chris Hodge, a young British pop singer with a fascination for UFOs, caught the attention of Ringo Starr who signed Chris to Apple. ‘We’re On Our Way’ was recorded at Apple’s own studio in the basement of 3 Savile Row, London, and was a hit in America.

18 Saturday Nite Special / The Sundown Playboys
‘Saturday Nite Special’ is a lover’s lament sung in Cajun French by this cross-generational collective from Louisiana, USA, who came to Apple when their teenage accordionist sent in the song on a whim.

19 God Save Us / Bill Elliot & The Elastic Oz Band
John Lennon and Yoko Ono wrote this fundraiser for the defense in the famous Oz Obscenity Trial of 1971 and produced it too with Mal Evans and Phil Spector. Vocalist Bill Elliot later signed to George Harrison’s Dark Horse label.

20 Sweet Music / Lon & Derrek van Eaton
New Jersey’s Lon & Derrek van Eaton were one of the last acts to sign to Apple in 1971 and the first to make use of Apple’s then state-of-the-art recording studio. George Harrison produced ‘Sweet Music’ and Ringo played drums.

21 Day After Day / Badfinger
The band’s third single for Apple was produced by George Harrison, who duetted with the band’s Pete Ham on the slide guitar solo. It went UK Top 10 in 1972, and peaked at No. 4 Billboard in the US, in the same week that Nilsson’s cover of Badfinger’s ‘Without You’ was at No. 1.

 
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review by . January 17, 2011
posted in Music Matters
It is a collection that is long overdue. When John, Paul, George and Ringo founded Apple Records back in 1968 they intended the label to be the home not only for their own music but also for deserving artists they had discovered or were supporters of. Apple would be a bit different from most other labels in that The Beatles had the financial wherewithal to take chances on unconventional artists and eclectic new sounds. The boys scoured the countryside for offbeat sounds and brand new artists they …
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