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I think I'm gonna be sad,
I think it's today, yeah.
The girl that's driving me mad,
Is going away.

She's got a ticket to ride,
She's got a ticket to ride,
She's got a ticket to ride,
But she don't care.

She said that living with me
Is bringing her down, yeah.
  For she would never be free,
When I was around.

She's got a ticket to ride,
She's got a ticket to ride,
She's got a ticket to ride,
But she don't care.

I don't know why she's riding so high,
She ought to think twice,
She ought to do right by me.
Before she gets to saying goodbye,
She ought to think twice,
She ought to do right by me.

I think I'm gonna be sad,
I think it's today, yeah.
The girl that's driving me mad,
Is going away, yeah.

She's got a ticket to ride,
She's got a ticket to ride,
She's got a ticket to ride,
But she don't care.

I don't know why she's riding so high,
She ought to think twice,
She ought to do right by me.
Before she gets to saying goodbye,
She ought to think twice,
She ought to do right by me.

She said that living with me,
  Is bringing her down, yeah.
  For she would never be free,
  When I was around.

Ah, she's got a ticket to ride,
She's got a ticket to ride,
She's got a ticket to ride,
But she don't care.

My baby don't care, my baby don't care.
  My baby don't care, my baby don't care.
  My baby don't care, my baby don't care.

THE BEATLES: "Ticket To Ride" / "Yes It Is" 45 RPM IN MONO, VERY FIRST UK PRESSING,17th APRIL 1965.
Easily identified as a first pressing by the label rim text still having 'Parlophone Co.Ltd.' a few months later, it was replaced
  with 'Gramophone Co.Ltd.'  Obviously "Ticket To Ride" was still being pressed then, especially with the "Help!" film and album
  which also featured "Ticket To Ride" but not "Yes It Is", that beautiful song was exclusive to the B-side of "Ticket To Ride."
 

THICKLY TEXTURED PARLOPHONE LABEL: R 5265.
Typical 60's roughly finished paper, so thick, vein like lines run the whole diameter, that is expected and not to be confused as
  spindle traces.  They are amazingly low, so low, that equates to the 1965 record shop plays before being sold when first issued.
They show only 1 / 2 plays per side, 51 years old and looking like new, a very first pressing Beatles single in superb condition.
  Now specific details that firmly place this "Ticket To Ride" single's pressing right at the beginning of manufacturing.

MAITRIX: 7XCE 18254 - 3 / 7XCE 182455 - 2  
Maitrix ending digits  '- 1' or lower digits, were not used for April, 1965 "Ticket To Ride" very first pressings, the above are
the same end digits found on the Advance / Promo / Demo singles, made before standard records.

EMI STAMPING CODES: RG  2 /  MO 5
A typical mixture of first pressing mothers, made before full scale production and never used in strict numerical sequences.


STRICTLY FIRST PRESSING ONLY,"PARLOPHONE CO. LTD." ON THE LABEL RIMS, AS TYPED IN CAPITAL LETTERS.

THE TEXTURED LABELS ALSO HAVE;
"Sold In UK" TEXT ON THE PUSH-OUT CENTRE'S
'KT' EMBOSSED ON THE CENTRE OF SIDE 2.

AS A FIRST PRESSING,THE 'KT' TAX CODE'S STAMPING POSITION IN THE RUN-OUT GROOVES, ARE STILL AT
THE 9 O'CLOCK POSITION AND NOT MOVED YET TO 12 O'CLOCK, THAT FOLLOWED LATER ON IN 1965.
AS MUCH AS THOSE MAITRIX ENDING DIGITS WERE BEING CHOSEN ALMOST AT RANDOM, THE STAMPED 'KT'
POSITION DEFINITELY FOLLOWED A SET PATTERN.  


THE ORIGINAL EARLY 1965 PARLOPHONE SLEEVE IS VIRTUALLY UNAGED, UNSPLIT AND UNTORN, ONLY A RECORD
IMPRESSION AND A FEW RELATED GENTLE RIPPLES & LIGHT CREASES.  ALSO A FEW LIGHT RUFFLES AROUND THE
THE DIE-CUT CENTRE HOLE EDGES BUT MINIMAL.  I SHOULD ALWAYS REMEMBER TO INCLUDE THERE IS THE USUAL
RUBBING TO THE STANDING EDGE,  IN OTHER WORDS 100% AUTHENTIC TO APRIL,1965.
THIS IS EXACTLY HOW I EXPECT TO FIND A 1965 SLEEVE WITH A ONCE / TWICE PLAYED RECORD INSIDE.
I resent having to distance this superb sleeve from the fake/counterfeit Parlophone and Apple 7" sleeves flooding ebay, they
  are being made in 2017 and when pictured, they falsely create the impression the record will also look like brand new. This record
does indeed look like it was just pressed and the sleeve is in remarkable condition, in other words, a matching pair even if both
items are 52 years old.  Fake sleeves are only used on heavily played, scratched and worn out records that have matching poor,
ripped sleeves or had to exist for decades in nothing at all.  If that happens, plain white sleeves are available and they are the
honest way to present records without a serviceable original, fake items should never be associated with authentic vinyl.
THE SLEEVE IS IN EXCELLENT+++ / NEAR MINT CONDITION.

AS I SAID,  A ONCE / TWICE PLAYED RECORD WITHOUT NEEDLE MARKS OR SCRATCHES, ONLY THE FAINTEST TO
NEAR INVISIBLE HANDLING TRACES, THEY WERE HANDLED AT THE RECORD SHOPS WHERE THEY FIRST SOLD.
THERE CAN ONLY BE ONE GRADING FOR SUCH A RARITY...... MINT CONDITION.

Having fully described a "Help!" album the other Saturday, no a problem listing this single and not repeating anything because
the album and same titled single was not released until August, 1965.   Although I will not be playing this record, I can still
discuss the filming, the pressing details, "Ticket To Ride" was an important song on the album and featured in the "Help!" film.
For the Beatles there were two highly significant events early in 1965, the filming for their second feature film "Help!" began
  between the 23rd February and the 11th May,1965, being the first.  They had first been introduced to smoking marijuana or
pot in the Autumn of 1964 and it accompanied everything they did, during the filming of "Help!" they were so stoned, endless
reels of film had to be scrapped because they just kept collapsing into fits of uncontrollable laughter. It was a real shame they
  were not preserved as 'out-takes,' because they would have been great to see, what a wonderful bonus DVD that would have
been when "Help!" was eventually released, I was really hoping some of their antics were kept, but they  were not!  What is still
holding up the DVD of "Let It Be," surely it's way past the time for a release, I have a great bootleg version with black & white
out-takes but an official release with extra goodies would be very welcome.  The second event would have a drastic effect on not
only the Beatles, the latter half of the 60's decade was about to enter into the most astonishing period of musical innovation's
ever known in the history of rock music.
 
  John and George first experienced taking acid or L.S.D. when a dentist friend spiked their coffee with it, John told a very funny
  story about how he and George had totally failed to understand what was happening to them at the time.  Being Lennon, he just
  got on with thoroughly enjoying the hallucinations, although not quite the most reliable driver at the best of times, he somehow
managed to drive them both home safely while still experiencing the hallucinations!  There would now be massive changes after
  acid become a strong and staple part of the Beatles diet, that was mostly around 1966.
 
  The "Help!" film required their songwriting to produce a whole album's worth and even more for the two singles to be released
  between April & July,1965, plus the B-sides. At least by now both sides of their singles were being issued simultaneously in the
  UK & America, but there was  still not a unification of the albums, like the 1964 "Hard Day's Night" LP had,"Help" included film
  score instrumental music with only the actual songs featured in the film released in the USA.   Recording enough songs for the
  album was no problem at all in this period of such amazing inspiration, they even had several unreleased songs taped, they can
  all be found on "Anthology", if incomplete for the r&b instrumental,"12 Bar Original."
 
  John wrote both sides for this April single and "Ticket To Ride" was likely a playful naughty reference to their wildest days in
  Hamburg within the title.  John was really proud of the powerful backing track with the heavy guitars and he later named it as;
  "The first heavy metal record ever made."  Not quite, the previous year the Kinks had released the ultimate heavy guitar riff on
  "You Really Got Me" and the Who were coming along nicely, but John had made a valid point.  It was the first time an incessant
  guitar riff with heavier drums and bass guitar underpinning it, had featured on a Beatles' recording, coupled with the fantastic
  vocal harmonies.  It can accurately be named as one of the earliest ventures towards a psychedelic feel.  "Ticket To Ride" had a
  double meaning, John told 1960's journalist Don Short;

"The girls who worked the streets in Hamburg had to have a clean bill of health and so the medical authorities would give them
  a card saying they didn't have a dose of anything."

Journalist Don Short said he was there with John in Hamburg in 1966 when he was told that, and how to describe those cards,
John coined the phrase, "A ticket to ride."  He added that John could have been joking, but such a strange title had to originate
from somewhere in Lennon's mind.   For the B-Side, "Yes It Is" had a contrasting stunning slow melody, with the most sublime
three part vocal harmonies they ever committed to one of their records to date.  "Yes It Is" did not appear on the UK "Help!" LP
and now it is an almost forgotten track, even though it was a major Beatles recording, which means the original 1965 UK mono
  version is unique to the single.  The track's very delicate nature makes the condition of vinyl imperative, and here is a really
stunning first pressing!
 

  "Ticket To Ride" has an absolute minimum of a mid-1960's 45's natural static/surface sound in the run-in grooves, I do over fuss
  because there is barely even any surface sound before and when Paul's lead guitar plays the brilliant intro to "Ticket To Ride."
  Without any of the usual crackles, just pure, immaculate sound, this record has extremely powerful mono sound for all three of
  the guitarists and from an original mono single, you do hear that heavier sound in all it's glory.  To think how it was achieved on
  4-Track Tape, obviously playing both the bass part and a lead guitar, Paul had to overdub one in order to take both of the roles.
   When John & George plugged in as  a rhythm section they were a formidable duo with the doubled up electric guitars.  Then you
  have Paul's outstanding bass guitar and Ringo's much heavier drumming, in fact all the rock tracks on "Help" were ever moving
  towards another musical style, psychedelia.  It was also those mentioned Lennon / McCartney magical vocal combinations that
  gave "Ticket To Ride" such a fantastic sound.   This track does have  an amazingly heavier sound from all those instruments and
  it led to horrific sound distortion on the worn out variety but without any wear factors here, that booming bass guitar just blasts
   out of the speakers, all the guitars sounds magnificent and the sheer clarity of it all is the main reason I try very hard to find as
  perfect playing Beatles records as physically possible.  This is indeed a truly stunning playing record!
 
"Yes It Is" was recorded on the following day,16th February, the time spent on this was unbelievable but very typical of their
  perfectionist nature, from both the Beatles and George Martin.  Not forgetting the engineering skills of Norman Smith here, he
  would go on to produce some awesome records for EMI, they included Pink Floyd's 1967 "Piper At The Gates Of Dawn" album,
  George Martin was a great teacher!   Just how much care went into recording even the B-side is now perfectly illustrated, just
  to perfect the instrumental backing rhythm track, including George Harrison's lead guitar, it took them an astonishing 14 takes.
   Understandably a complex vocal arrangement was never going to be easy, but that took them three hours, John, Paul & George
  sang it live, without any vocal overdubbing needed.  Until the Beatles and George Martin were satisfied, the final un-numbered
  vocal take was mixed onto that Take 14, but it never increased to Take 15.
 
  There is such fractional surface sound in the run-in grooves to "Yes It Is", it's easy to forget how back in time this was pressed
  then in razor sharp edged sound, George's superb pedal tone guitar plays over a dreamy, slow tempo.  The backing may sound
   quite simple, but if it took them those fourteen attempts it was far from being that. John's lead voice is stunningly supported by
  exquisite harmonies and it is not really correct to name John as the lead vocalist, apart from the chorus. This is sung as a three
  part harmony song and their insistence on a live recording of these complex vocals speaks volumes for the musicianship.  They
  did not want a quick 'fix' that was available via overdubbing, which was the very reason the Beatles would go on to create such
   staggering productions, they considered singing harmonies together to be as basic a laying down a rhythm on the instruments.
     The sound is simply stunning, there are no loud crackles and any low level surface sound is background only and does not break
  the magical spell of this beautiful melody.
{Roy}

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