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Start Date: January 22, 2019
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The BEATLES ‎(self-titled) aka The White Album Capitol Records SWBO 101 (1978 reissue advance copy)
Tracklist A12:45A24:00A32:10A43:10A51:02A63:05A7 Guitar [Uncredited] – Written-By –  4:46A82:47

B12:28B22:01B32:20B4 Written-By –  2:04B53:33B6 Written-By –  3:52B71:42B81:46B92:57

C12:40C24:01C32:46C42:25C53:15C64:30C7 Written-By – 
3:08D14:13D22:42D3 Written-By –  2:55D43:11D58:15D63:14 *(all photos are of the actual item) Manufactured By –  Mastered At –  Pressed By –  Phonographic Copyright (p) –  Engineer – ,  Producer, Orchestrated By –  Written-By – * (tracks: A1 to A6, A8 to B3, B5, B7 to C6, D1, D2, D4 to D6) Notes 1978 purple label Capitol reissue released with purple vinyl Capitol inner sleeves.

Issued with fold-out poster and 4 photos (one of each Beatle).

aka The Beatles White Album

" ------<" in runouts denotes a  pressing. Barcode and Other Identifiers Matrix / Runout (Label A): SWBO 1-101 Matrix / Runout (Label B): SWBO 2-101 Matrix / Runout (Label C): SWBO 3-101 Matrix / Runout (Label D): SWBO 4-101 Matrix / Runout (Variant 6, etched in Side A): SWBO-1-101-G103 ─◁ gene MASTERED BY CAPITOL Matrix / Runout (Variant 7, etched in Side B): SWBO-2-101 G92 #2 ─◁ MASTERED BY CAPITOL JPL Matrix / Runout (Variant 6, etched in Side C): SWBO-3-101 J-105 MASTERED BY CAPITOL JAM ⓧ ─◁ Matrix / Runout (Variant 6, etched in Side D): SWBO-4-101 H102 ─◁ MASTERED BY CAPITOL
AllMusic Review by Stephen Thomas Erlewine
     Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess.