Here we have the first pressing of the 8-Track of Paul's home-made effort, quite a contrast to the glossy production and stellar cast of Ringo's first offering.
This one (right) follows the label pattern shown above.
From this point on, Beatles solo tapes were distributed by EMI in exactly the same fashion as any other EMI UK release.
On the right can be seen a later copy, dating from mid '72, using the later standard "Biggest Sound Around" gold inlay style.
From that point, the cartridges themselves would be decorated with only one label, on the top. Now printed in black-and-white, the tracklisting would appear in smaller type beneath.
Most EMI labels carried the words "Printed and Manufactured in Great Britain". However, some examples such as this one had this phrase clumsily blacked out with what looks like felt tip; presumably these copies were made in Eire (other countries had totally different styles).
Perhaps to hit out at the frustratingly small amount of contribution he had been allowed to make on Beatles albums - even on the mightly double White Album, George decided to go one better in 1970 with this even more epic triple album.
Although the vinyl edition spanned three discs, tape copies were fit onto two units (cassette or cartridge). The first one was a Double Play Tape, and the second, containing Disc 3's Apple Jam was standard length.
This is what the top label on both cartridges looked like - i.e., the same.
However, some pressings used a different background colour for the branding tab at the top - some had blue in place of the yellow. Also, the cartridge shell colours varied according to when they were duplicated.
Here the cartridge is depicted complete with its original red plastic 'keeper', to protect the tape.
Although the number of tracks accommodated on each programme differed to the vinyl, the actual track order was exactly the same - not jumbled up as was usually the case with albums on cassette and cartridge at this time.
Not only that, but ATMP even managed to avoid splitting any of the 'main album' tracks on Cartridge 1 (not the case on Apple Jam on Cartridge 2 however, but the loose nature of this material meant it didn't suffer particularly for this).
Released at around the same time as Let It Be, Ringo's first album appeared on tape in August 1970 using this early EMI style. The cover image (or in this case, the back cover), was printed in colour on the top label, and the tracklisting was shown on the underside label.
As with Compact Cassettes at this time, EMI gave each track a 'matrix number', even though tapes aren't duplicated in the same way as vinyl.
As with early cassette releases, no mention was made of 'Parlophone' or 'Apple' as the label.
By the way, the printers forgot how many tracks an 8-Track Cartridge contains (see above right)!
Ringo's second album came quickly - both in terms of release schedule and in recording - done in two days in Nashville, in a workmanlike fashion - not dissimilar to Please, Please Me of course. Except this time the songs, all in the country genre, were written especially for Ringo by producer Pete Drake (who had worked on ATMP) and his friends.
In contrast to Paul's introspective effort, John took the support of his erstwhile bandmate Ringo and entourage Billy Preston, Klaus Voormann, ex-EMI engineers and even Big Mal for "tea and sympathy" for his first polished studio-based production (as opposed to the live/experimental titles he had released up to this point).
Cassette and 8-Track copies included John's handwritten dedication to Yoko (right).