'A Hard Day's Night' Reborn: Behind the Beatles Film's New Restoration

www.rollingstone.com
'A Hard Day's Night' Reborn: Behind the Beatles Film's New Restoration
The classic Beatles movie returns to theaters for its 50th anniversary, and it's never looked or sounded better
By DAVID FEAR
JULY 3, 2014

"If you listen closely...there, right there. Did you hear that?" Ryan Hullings moves his mouse back to the play button and clicks, and the single most recognizable opening chord ever — a modified F chord, played against a Gsus4 and a D bass note (but don't just take our word for it) — rings out loudly from the computer in his office at the Criterion Collection. Faintly in the background of this fanfare, however, something that sounds like crying seagulls can be heard, as well as a slightly crunchy edge to the notes. "There's a slight distortion you get from something transferred over several generations of audio. I'll show you." Hullings, the Audio Supervisor for the Criterion's DVDs, presses another button, and the monitor is suddenly filled with bright, multicolored lines, zig-zagging up and down — a heat map, essentially, of the first sound you hear in the Beatles' classic film (as well as its title song) A Hard Day's Night.

"That green bit there is the crackles and pops you're hearing," Hullings continues, pointing a small cluster of green lines near the top of the screen. "The natural instinct is to go in and clean it up. But I thought, well, just to be safe, let me listen to a few other sources. So we compiled every single version of the song we could get our hands on: the original 1964 LP, the mono remasters, the stereo remasters, the remasters from the Nineties...we had it all. And that distortion is in every one of the recordings! It's part of the source, and the last thing we wanted to do was mess with the source. It adds a very human element to it. So we left it in."

And the seagull noise? Hullings shoots a look across the room at Peter Becker, the company's president, who laughs and shakes his head. "That's the sound of the crowd behind the Beatles screaming. Don't even get me started about the screaming."



Celebrating its 50th birthday on July 6th, Richard Lester's gonzo take on a "typical" day for John, Paul, George and Ringo at the height of Beatlemania still brims with a sense of urgency and lightning-in-a-bottle vitality; take out the period-specific details and early Sixties Pop Art references, and it could have been made this year. Having acquired the rights to A Hard Day's Night (it was a Miramax property through most of the Aughts), Janus Films turned to Criterion, its home-entertainment sister company, to produce a stem-to-stern 4K restoration for both a home-video and a theatrical release, one timed around the film's golden anniversary on July 6th. (The DVD/Blu-Ray is already on shelves; the film will be opening in over 100 theaters during the July 4th weekend.)

In terms of the picture materials, they were, according to Becker, "in pretty good shape. The bulk of the film was transferred from the original negative. The first and third reels are missing, but we were able to use preprint materials." Thankfully, when it came to cleaning up the visuals and getting all of the elements up to snuff for the Digitial Cinema Packages (DCPs) they would be sending out to theaters, everything could be handled in-house. And Becker already had somebody specific in mind for the audio remastering job: Giles Martin, the son of Beatles' producer Sir George Martin.

"The first phone call I got was from Criterion, some time around last July or August," Martin says, calling from Abbey Road studios. "The second was from Paul [McCartney] — he wanted to personally reach out and see if I was interested. I'd sort of talked to everybody about what I'd liked to do, saying Okay, we'll remix the songs, but I'd like to have a look at the audio and see what's there as well. And I could almost sense the phone being banged down and people thinking, 'Oh, no, what's he going to do? Don't let Giles touch it, he'll modernize everything. He's going to sample Ringo's drums, isn't he?!?'" 



Instead, Martin — who'd already proven his mettle by doing a 5.1 surround-sound mix on Beatles music for the Love project and working on the George Harrison documentary Living in the Material World — expressed an interest in emphasizing the immediacy of four young men playing rock and roll at that exact moment in time. The idea, he says, was not to go against the you-are-there feeling of Lester's movie by cleaning up studio recordings; it was to retain the essential urgency of those early records and complement the movie's portrait of a quartet experiencing both forward momentum and a musical rush. "My thought with A Hard Day's Night was: Just make it sound direct," Martin declares. "Capture the energy there. It needs to sound very in-your-face…because the band was very in-your-face at that time."

"You watch that first scene and…there's George, tripping over his own feet," he continues, laughing. "There aren't a lot of rock movies where the lead guitarist falls down and the band just carry on. But that really epitomizes the Beatles at that point: They're running toward something and regardless of what happens, they're just going for it. That's what their recordings sound like — and that's what you want to capture. So when you're remixing a film like this, you really don't want to touch much. These were four guys who performed and sang really bloody well together. They are in their early twenties; they didn't do a lot of takes at this stage. You want to feel as if they're just bashing this out in front of you, not doing anything by halves."

Martin knew the musical aspects of the film were in good shape ("The tapes were all at Abbey Road Studios and they sounded fantastic"). As for the other elements, well... "The music was in the best condition, and let's just say it went downhill from there," the producer chuckles. "My engineer, Sam Okell, and I went on a research trip and tried to get the best sources we could. Elements like my father's underscore for the film...we had to hunt down the three tracks of that. The dialogue and effects recordings, we had to find those as well and then piece everything together. [Sound designer] Alastair Sirkett tried to track down all the original sound effects, so if we wanted to put a train sound in the surrounding mix, we could use the actual train sound used in the movie when it was released. So yes, it was a painstaking process. But worth it."

Once he'd assembled everything he needed and committed to doing a 5.1 surround mix, Martin dived into the process of turning the movie into a testament of the Beatles' ability to rock out — there was just one thing standing in his way. "Yes, the stereo mixes," he says, with a sigh. "The version I originally worked with, you're hearing John and Paul's voices coming out of the left side, when you're used to hearing them in front and center. So I used what you might call a mono stereo mix, in which I restored all of the vocals to the center speaker. For something like "A Hard Day's Night," which has a lot of splashy cymbals, it actually works better than with vocals coming out of one side and drums on the other. But 5.1 Surround is actually more mono than stero, so it's the ideal way of hearing the band. Our version of "Can't Buy Me Love" rocks more than it does in the original…he said arrogantly!"



The results, Martin says, were met with approval by both Lester and the surviving Beatles ("Otherwise, I wouldn't be talking to you...I'd be doing them over," he joked), as well as Becker, who's aching for audiences to see and hear the film in its spruced up form on a big screen. As Hullings had been in close contact with Martin during the process, he was well aware of the difficulties in syncing various elements up and how pieces of the puzzle had finally started coming together. But even he was surprised by hearing the end result. "Giles would say that he couldn't have done this type of mix a year ago, because the technology hadn't caught up yet," the audio supervisor says. "But when you listen to what he did, you don't hear the technology at work. You don't even hear Giles' fingerprints on the material. What you hear is the human element."

He cues up the opening chord and listens to it again, distortion and all. "If you ran this through a software program, it would have taken it automatically. But now, when this plays in theaters and on your DVD player, that crunch caused by someone in a studio manipulating that chord a long, long time ago will still be there."


Paul McCartney, George Harrison, Ringo Starr and John Lennon of the Beatles in 'A Hard Day's Night.'
United Artists/Courtesy of Getty Images

VIDEO: Exclusive Footage of the Beatles’ Reaction to A Hard Day’s Night

time.com
VIDEO: Exclusive Footage of the Beatles’ Reaction to A Hard Day’s Night
Lily Rothman
TIME
July 2, 2014

The Beatles describe watching A Hard Day's Night for the first time, in a sneak-peek clip from the film's 50th-anniversary edition

When the film A Hard Day’s Night premiered in London on July 6, 1964, it wasn’t the first time that its stars — the Beatles — saw the film, but it was definitely better than that earliest viewing. The movie is best remembered for its opening sequence of crazed fans chasing the Fab Four through the streets, but its stars also recall that seeing their own faces on the big screen wasn’t exactly a comfortable experience. Even though they were already bona fide stars, they were still getting used to seeing their faces at such scale — and A Hard Day’s Night, which arrived just weeks after they had made a splash on the Ed Sullivan Show, was their first film.

In this exclusive clip, the Beatles — minus John — describe what it was like to watch A Hard Day’s Night in early screenings versus with an audience, and their hopes that future Beatles movies would be even better than the now-classic comedy is. The clip is from In Their Own Voices, which pairs audio of the band talking about the movie during their 1964 American press tour and behind-the-scenes footage; it’s part of the bonus material from the Criterion Collection’s new 50th-anniversary edition of the movie. The film has been restored from the original negatives with the approval of director Richard Lester, and the soundtrack has been remixed and remastered for modern sound systems.

And now Beatles fans can have the same big-screen-Beatles experience that’s discussed in the clip: in honor of the anniversary, the movie is being re-released in theaters on July 4 in its newly restored condition. (There’s a list of theaters at the website of the distributor, Janus Films.)

The Beatles Japan Box – First Pics and Unboxing

beatlesblogger.com
The Beatles Japan Box – First Pics and Unboxing
by beatlesblogger
Posted on July 2, 2014

Our Japanese copy of the Beatles five CD Japan Box arrived in the post this morning and so we thought we’d upload an “unboxing” series of photos and show you the contents in some detail.

This has been devised and issued in Japan as part of that country’s activities to mark the Beatles 50th anniversary celebrations this year.

The box set, which will also be issued in the UK and the US, comes in a re-sealable, clear plastic outer. Inside this is a red, yellow and blue paper insert which wraps around the box from part-way at the front and completely covers the rear: 



On the outside of the box is a circular sticker attached to the clear plastic cover. Not sure what it says – so if anyone can read Japanese please let us know: 



We think that the sticker has something to do with a small paper insert which is included inside the box (see more on this below).

Here’s the rear of the box with the wrap-around paper insert still in place: 



Once you take the box set from it’s plastic cover this is what it looks like, front and rear:





The Japanese are obviously very good at doing high quality glossy cardboard. This set has a really luxurious lustre to it. The sides of the box look like this: 

     

Like previous Beatle CD box sets released in this style (The Beatles In Mono and The US Albums) there’s a slide-out inner draw which holds the contents:





Each of the five CDs comes in it’s own protective clear plastic, re-sealable outer sleeve. There’s a thick booklet included in the box as well as a small, clear plastic sachet containing mini replicas of five Japanese OBI strips. These would have been attached to the original LPs back in the day and are an indicator that Universal Music in Japan have gone to great lengths to accurately recreate the original album artwork:



The 96-page booklet looks like this:









Continuing on the design elements established with The Beatles in Mono and The US Albums box sets, each CD comes packaged just like the original 1960′s Japanese LP sleeves for these albums. This attention to detail extends to the external tabs on the rear of the covers, right through to what’s inside as well:





Inside there are authentic paper inner sleeves – exactly as they would have been for the vinyl editions. Meet the Beatles, for example, has a plain white paper sleeve:



There are also the original paper inserts with the lyrics for each song. And the original Odeon Records labels are printed on the CD:






This sort of detail is continued throughout each of the five CDs:















The Beatles No.5 cover loses the external rear tabs and just has a photograph of the band on the rear cover with no song titles:



Inside there’s a printed paper inner sleeve with advertising for other artists who would have been on the Japanese Odeon label at the time, as well as the paper insert with lyrics, etc:





Help! comes in a gatefold sleeve. Here’s the front cover:



Here is the rear:



And here’s the inside of the gatefold:



Help! also gets a printed paper inner sleeve with advertising, plus the insert with lyrics:



It also gets a colour photo of the band as an additional insert:





One mystery object included with the box set is this thin paper postcard. We can’t read Japanese, but it looks like you can fill out your details on the other side, attach a postage stamp and send it off to receive an additional CD single. Possibly “I Want to Hold Your Hand”, the first Japanese single from 1964? If anyone can assist with translating this please do!  



All-in-all this box is beautifully done, and it sits nicely alongside The Beatles in Mono and The US Albums box sets as it is exactly the same proportions and style.

Mystery ’Train Song’ Has Beatles Experts Divided

beatlefansomethingnew.wordpress.com
Mystery ’Train Song’ Has Beatles Experts Divided
SOMETHING NEW
Posted on July 1, 2014

Bill King takes a look at a mystery track that has surfaced recently …

The buzz in Beatles circles the past week or so has been a rare recording that appears in the film “A Hard Day’s Night” and may or may not have been done by The Beatles.


The music is heard briefly during a scene aboard a train in “A Hard Day’s Night.”

Here’s the story. Legendary collector Dave Morrell, who has a new book out, guested on Chris Carter’s “Breakfast With The Beatles” radio show on KLOS-FM in Los Angeles and played a 30-second stereo version of the “Train Music” that blared from a transistor radio Ringo turns on in a famous scene of the movie where The Beatles are in a train compartment. An older passenger objects to the music and turns it off.

Although the music is only heard in the film for a few seconds, it is part of the longer clip played by Morrell, who said the recording was found in a box labeled “The Beatles.” According to a Beatles Examiner report, it was auctioned in the past on eBay with this description: “The cardboard EMITAPE box is 5 inches in size, & has a piece of green colored Twickenham Film Studios paperwork partially attached to the back of the box, with several other torn off pieces of the old paperwork housed inside the box, this green paper is quite brittle from age, one can make out the words ‘Hard Days Night’ handwritten on the faded document.”

The clip can be heard here.


But is it The Beatles? Those who think it is cite an entry in John C. Winn’s book “Way Beyond Compare” that says: “…the film producer, Walter Shenson, eventually verified the music was actually performed by the Beatles, presumably during the sessions for the soundtrack the week prior to the start of the filming.”

However, Winn subsequently has backed off from thinking it’s The Beatles after hearing the full 30-second track.

“It sounds to me like some band trying to imitate the Beatles’ sound,” Winn told Beatlefan. “Once I heard the full recording in good quality, it was pretty clearly not them.”

It’s notable that so far no one has been able to produce the interview where Shenson supposedly made the statement. Asked where he got that information for his book, Winn told Beatlefan: “I don’t have a citation for that — my source was Doug Sulpy’s ‘Beatles Audio Guide.’ He wrote: ‘According to Producer Walter Shenson, it’s them. Accept that or not, as you will.’ Perhaps he would know the origin of the Shenson claim.”

Beatlefan tried to get an answer out of Sulpy, but so far hasn’t heard back from him. If we do, we’ll provide an update.

Opinion on the track is greatly divided. Is it really The Beatles? Or some generic beat group stuff put down by someone else for the film that allegedly wound up in an EMI box labeled “Beatles” because it was used in a Beatles film? If it was the Fabs, it’s odd there’s no EMI documentation on that session.

Radio host Carter told Beatles Examiner he believes it’s The Beatles. “I think it’s ‘them’ for the following reasons: It sounds like them. The tape box said ‘The Beatles.’ If it was another group, that other group would have claimed it was them sometime in the last 50 years! It was found along with other music not used in the film by George Martin. And lastly I trust the sources [Morrell and fellow collector Ron Furmanek]. The big question is why it’s not noted in the Beatles recording history data. My guess is it might have been recorded during a George Martin Orchestra session. It was just recorded ‘live’ and did not have a track sheet.”

However, besides Winn, a number of other Beatles scholars who have listened to the recording either don’t believe it’s the Fab Four or are unconvinced by the current evidence.

I asked longtime Beatlefan contributing editor Allan Kozinn of the New York Times what his gut told him about the “Train Song” recording. “My gut tells me it’s not The Beatles, but I’m open to the possibility that it is,” he said. “Listening to it, my feeling is that while it doesn’t sound like any of their recordings, it’s easily within the parameters of what they could play — and if they were trying to sound generic, or perhaps, Shadows-like, rather than Beatly, that could easily be the result. The lack of documentation is a persuasive point, but it’s not necessarily dispositive. They could have recorded the track on the film set (where they had their equipment). Unfortunately, the only person who could probably tell us definitively, is Paul. But Paul’s policy these days seems to be to refuse to answer researchers’ questions, and then to tell them where they were wrong (or write a song about it) after they’ve published.”

Richard Buskin, author of a number of Beatles books (including the new “Beatles 101″), believes it definitely is not The Beatles. “It doesn’t sound like them whatsoever,” he said. “George/John playing surf guitar? I really don’t think so!”

However, European Beatles expert Roger Stormo noted that, “Even though it doesn’t quite sound like them, it could still be them. The drums don’t sound like Ringo, but it could be Paul. It could be them trying not to sound like them. If it was anybody else, then someone would have stepped forward to claim the credit for it.”

The latter point seems to be the strongest argument in favor of it, but is that enough to make the leap that those who believe it is The Beatles are making?

Robert Rodriguez, author of the “Beatles FAQ” series, initially thought it was The Beatles. “To me, it was reminiscent of ‘I Saw Her Standing There’ — a driving Chuck Berry-esque rocker, in ‘E.’”

And, he said, “the lack of documentation isn’t necessarily a deal-breaker either. I would like to believe that Paul or Ringo would remember one way or another, but I kinda doubt it. So at this point, until something more substantive surfaces, I wouldn’t take the assertion that it is them as gospel, though I wouldn’t dismiss it either.”

(Beatlefan has sent inquiries to Paul McCartney and Ringo Starr through their press offices but so far hasn’t heard back.)

Longtime Beatles discographer Wally Podrazik said that, on listening to the track online, his gut reaction was: “Why are they saying this is The Beatles?”

Podrazik said he “was trying to fit the piece into the picture of the group from [Mark] Lewisohn’s ‘Tune In.’ It is established that they could fill long hours covering any kind of song, and could probably churn out just such an instrumental riff … BUT in the controlled atmosphere of filming/the tight schedule of putting together the songs for the film (and more) in the studio, why on earth would they bother? The only argument for it is might be the group members wanting to have their music permeate the soundtrack. But since they already had George Martin creating instrumentals throughout, even that doesn’t hold up.

“If somebody came up with documentation I’d say: OK, fine. It’s them, if you say so. But absent that, it does feel generic.”

Speaking from the fan perspective, Beatlefan contributing editor Tom Frangione said: “Having heard the track, I must say it doesn’t ‘sound’ to be them. Even for an off-the-cuff bit, just comparing it to the sound of their playing (say, BBC sessions) at the time, and even the instrumentation (to say nothing of stylistic things — I’m not a drumming expert, but those don’t sound like Ringo rolls and fills). My own vote is nay.”

And what does a longtime musician intimately familiar with The Beatles’ music think? “It doesn’t sound like The Beatles to me,” Beatlefan contributing editor Jeff Slate said. “The recording doesn’t have that Abbey Road/George Martin sound … at least, in this rough sounding version. … They were better musicians, frankly. The drumming is the giveaway, right from the start. … The drums feel rushed, pushing the beat, not at all like Ringo. The intro isn’t like anything else Ringo ever played in my memory, and those fills! They’re more like Pete Best than Ringo (and I don’t mean that in a good way).

“I may be stretching here, but they also sound like a righty. The bass doesn’t lock in with the kick drum or even play around it like Paul did, even in this era, and it’s quite rudimentary. The rhythm guitar has some of John’s trademark style, but John tended to use lots of 7ths in songs in ’64 and this is more punky and straightforward. Finally, George wouldn’t be caught dead playing those solos.”

Sums up Slate: “Basically, this is too rushed and pinky feeling to my ears. But it’s conceivable that they just rolled the tape and cranked it out in one really brief pass, though I’m not convinced. Abbey Road were (and are to this day!) too anal about documentation. Maybe it was done somewhere else like the BBC, but their schedule wouldn’t really seem to allow anything else that wouldn’t be documented unless it was from a very early test session and was a scrap that had survived.”

And, going to the man many consider the ultimate source on all things Beatles, what does Mark Lewisohn say? When contacted by Beatlefan, Lewisohn said he didn’t think it was The Beatles on the tape, but, as with everything else, he awaits further information with interest.

Others think that, barring direct evidence that it’s not The Beatles, there’s no harm in assuming it is.

Furmanek told Beatles Examiner, “Why not? Until someone comes up with the 100 percent positive proof of who it actually is, why not believe?”

But to Buskin that’s “a ridiculous line of ‘reasoning.’ On that basis, why research anything? The bottom line is, aside from the instruments being played, that short recording bears as much resemblance to The Beatles as the George Martin Orchestra’s Muzak. So, until/unless we know otherwise …”

Feel free to share your thoughts on “Train Song” and whether it sounds like The Beatles.

45 Years Ago: John Lennon Learns He’s a Bad Driver – The Hard Way

ultimateclassicrock.com
45 Years Ago: John Lennon Learns He’s a Bad Driver – The Hard Way
by Jeff Giles 
July 1, 2014

John Lennon was a brilliant songwriter, but not much of a driver: He didn’t get his license until he was 24, and ended his time behind the wheel with a scary mishap that ended with a trip to the hospital for himself, his son Julian, Yoko Ono, and her daughter Kyoko.


John Lennon, Julian Lennon, Kyoko Cox and Yoko Ono in Scotland, June 1969
(www.beatlesbible.com)

The incident occurred on July 1, 1969, while Lennon and Ono were vacationing in the Scottish Highlands. Although he’d reportedly spent very little time driving since getting his license in early 1965, Lennon felt confident enough to try and navigate the region’s narrow roads in his Austin Maxi hatchback — at least until he lost control of the vehicle and wound up in a ditch.
Although no one was seriously hurt, the quartet didn’t escape injury. They were taken to Lawson Memorial Hospital in Golspie, where Julian was treated for shock and Lennon, Ono, and Kyoko all received stitches to repair facial lacerations. Ono, who was pregnant at the time, also sustained back injuries.


They were taken to Golspie’s Lawson Memorial Hospital where Lennon was given 17 facial stitches, Ono 14 in her forehead, and Kyoko four.(www.beatlesbible.com)

Lennon’s ex-wife Cynthia, who wasn’t told Julian would be traveling to Scotland, was understandably concerned for Julian’s welfare and annoyed that he’d been sent 50 miles away to stay with John’s aunt after being treated; she traveled to the hospital to try and get an explanation out of John, but was reportedly turned away by Lennon, who refused to see her.
He was in a better mood with reporters, quipping “If you’re going to have a car crash, try to arrange for it to happen in the Highlands,” and found time to dash off a cheeky postcard to Beatles publicist Derek Taylor, which he signed as ‘Jack McCripple’ and claimed he was being “held prisner” in “Scotcland,” pleading, “need som mony to git out … a few hundred will do.”
Lennon gave up driving after the accident, hiring a chauffeur to take him wherever he needed to go and reportedly having the car’s carcass mounted on a pillar at his English estate. Interestingly, the 1969 crash wasn’t his first brush with danger on Scottish roads; Ken McNab, author of ‘The Beatles in Scotland,’ pointed out that the Beatles had an accident during their first tour in 1960, when they were backing up singer Johnny Gentle as the Silver Beetles. As McNab put it, “John Lennon began the ’60s with a car crash in Scotland and managed to end the decade with another car crash in Scotland.”


YouTube

Join former Beatle Ringo Starr in Hollywood to celebrate his birthday

www.examiner.com
Join former Beatle Ringo Starr in Hollywood to celebrate his birthday
Trina Yannicos
Celebrity Events Examiner
June 29, 2014

Former Beatle Ringo Starr has officially announced that he will be appearing in Los Angeles on Monday, July 7 to celebrate his 74th birthday with a little help from his friends... and you! In a statement released on Friday from his publicist, Ringo announced that he is inviting the public to come join him along with special friends and family in a "Peace and Love" celebration in front of the Capitol Records building in Hollywood.

As in past years, Ringo and his wife Barbara encourage everyone to think or say "Peace and Love" on July 7 at 12 noon in honor of Mr. Starr's birthday. Even if you are not in Hollywood, you can join in on the salute by sending out a #peacerocks message and share your #peacerocks picture at noon on Twitter, Facebook or Instagram.

At the birthday salute, clothing designer John Varvatos will join Ringo in unveiling a special collaboration in support of The Ringo Starr Peace & Love Fund. This fund is part of the David Lynch Foundation, with a mission "to heal trauma and stress through meditation."

Ringo Starr is currently on tour with his All Starr Band and will be playing his final show of the tour on July 19 at the Greek Theatre in Los Angeles. He is also often displaying his artwork in the different cities where he is touring. An educated guess of the "to be announced" Ringo Starr - John Varvatos collaboration may be that it will feature some of Ringo's artwork.

The official announcement is scheduled to start before noon from 11:45 to 12:30. The sidewalk in front of the Capitol Records building is also the site where the Hollywood Walk of Fame stars for the four solo members of The Beatles reside. Ringo Starr was present for his own star unveiling back in February 2010.


Photo by Ethan Miller/Getty Images


Join Ringo Starr in front of the Capitol Records building for a Peace & Love salute. The occasion? His birthday. The date? Monday, July 7. (Photo by Larry Busacca/Getty Images for NARAS)

Everything Changes: Signed Box Set (Julian Lennon)

www.recordstore.co.uk
Everything Changes: Signed Box Set
Julian Lennon

• £99.99
• Release Date 10/09/14

Product code    5060112373046

Format              CD Box Set

Label                 Music From Another Room

Everything Changes Box-Set - Limited to 1000 individually numbered copies.

- Double picture disc vinyl.

- Album (CD)

- Acoustic version of album (CD)

- Instrumental version of album (CD)

- Through The Picture Window (DVD)

- 36 page booklet

- Certificate of authenticity signed by Julian Lennon

Through The Picture Window (DVD) Region - Worldwide (This is a multi-region DVD that will play on any device and in any country)

Contents:

Feature Length Documentary - Through The Picture Window.

The Visual Album: Everything Changes in 14 bespoke Music Videos including Acoustic versions of all videos.

Also featuring:

In-line links to the Music Videos.

The White Feather Foundation Videos - The Butterfly Artworks.

Bono Interview in full - The Thoughts of Paul Buchanan.