Beatles Christmas Messages Recordings

December 1, 2013, 3:00 pm

≫ Next: US Albums Boxed Set Released: Promo & Review

As a special treat for Christmas, I've posted the Beatles Christmas Messages recordings.

Below are details on each of the recordings and their audio to enjoy. These bring back fond memories.

Each year from 1963 through 1969, the Beatles recorded a special Christmas greeting for their fans. The Official Beatles Fan Club in England sent flexi-discs containing the Christmas messages to its members each holiday season.The American fan club, Beatles (U.S.A.) Ltd., was established in 1964, and for their first Christmas, the American fan club sent fans the 1963 Christmas message on a soundcard, which is like a flexi-disc, but is "printed" on the post card that is mailed. No message was sent to the American fans in 1965 because the tape was not received on time.[Read more →] The Beatles Christmas flexis are very rare, and sell, in excellent condition, anywhere from $200 to $500.

These recordings offer a unique time-capsule glimpse into the personalities and evolution of the Beatles from 1963 through 1969. In the early years, like their appearances in A Hard Day’s Night, even though these messages were scripted by “somebody’s bad hand-wroter” (their Press Agent Tony Barrow), the Beatle’s geniune wit and humor shines through, for example, in 1963, when as John mentions taking part in the Royal Variety show, the boys extemporaneously launch into a whistling version of God Save The Queen, or in 1964, when Paul mentions that they don’t really know where they’d be without the fans, John says, off-handedly, “In the Army, perhaps…”

For older Beatles fans who remember hearing these messages over the years, “these little bits of plastic” are a fond holiday tradition, while for younger Beatles fans they offer a whole new insight into a pop music phenomenon which might never be repeated.

We present the Beatles Christmas Records here as a Christmas present to you from the Internet Beatles Album. Happy Crimble!

1963
The Beatles Christmas Record
Released December 6, 1963
Recorded October 17, 1963
EMI Abbey Road Studio 2
Engineer: Norman Smith
Recorded after a session for I Want To Hold Your Hand and This Boy.
About 30,000 total copies were manufactured.
This recording was sent to US Fan Club members in 1964.

1964
Another Beatles Christmas Record
Released December 18, 1964
Recorded October 26, 1964
EMI Abbey Road Studio 2
Engineer: Norman Smith
The only Beatles Fan Club Christmas record that played at 45 RPM instead of 33 1/3 RPM.
Recorded on the same day that they recorded Honey Don’t for Beatles For Sale.
US Fan Club members received the 1963 Christmas message this year.

1965
The Beatles Third Christmas Record
Released December 17, 1965
Recorded November 8, 1965
EMI Abbey Road Studio 2
Engineer: Norman Smith
Recorded during the Rubber Soul sessions, on the same day they recorded Think For Yourself. Cover photo taken on November 1 during the taping of Granada-TV’s ‘The Music of Lennon and McCartney’.

1966
Pantomime (Everywhere It’s Christmas)
Released December 16, 1966
Recorded November 25, 1966
Recorded in the basement studio of Dick James Music in London
Mixed at Abbey Road, December 2, 1966. Produced by George Martin.
Cover designed by Paul.

Some of the historical info on this page is from the books The Beatles: A Day In The Life by Tom Schultheiss, The Beatles Day By Day by Mark Lewisohn and The Price Guide for the Beatles American Records by Perry Cox and Frank Daniels As the 60’s evolve, so do the Beatles, and so do their Christmas records.

The previous year, the Christmas message changed from scripted messages talking directly to the fans, to sketch comedy, mostly Paul’s idea, but enthusiastically joined in by the other three. 1967 brings a similar production, but as the members of the group start desiring to go their separate ways, this is also reflected in the Christmas records, as the final two years bring messages recorded in bits and pieces recorded separately by each Beatle and assembled together later.

1967
Christmas Time (Is Here Again)
Released December 15, 1967
Recorded November 28, 1967
EMI Abbey Road Studio 2
Produced by George Martin
Special guest: Victor Spinetti

The script was written earlier in the day by the band. Last Christmas record the Beatles recorded together as a group. Cover designed on November 29 by John and Ringo.

The song Christmas Time (Is Here Again) was later released on the Real Love single in 1995.

1968
Happy Christmas
Released December 20, 1968
Recorded in November, 1968 at John’s home in London, Paul’s home in London, in the back of Ringo’s van in Surrey, with George in America and at George’s house in Esher during rehearsals for the White Album.
Special guest: Tiny Tim.

Created by Radio 1 disc jockey Kenny Everett who edited together separately-recorded messages from John, Paul, George and Ringo, and inter-cut random fragments from the White Album.

1969
Happy Christmas 1969
Released December 19, 1969
Recorded in fall of 1969 at John and Yoko’s home in Ascot, Ringo’s home in Weybridge, Paul’s home in London, and the London offices of Apple.
Edited by Maurice Cole (Kenny Everett’s original name)
Cover designed by Ringo

Because the Beatles officially broke up in 1970, no Christmas message was prepared for that holiday season.

In early 1971, fan club members were sent an album on the Apple label containing all seven of the Christmas messages.
Pictured is the American version of the LP. The British LP entitled From Then To You included a reproduction of the cover of the 1963 Christmas record.

Along with Let It Be and Introducing The Beatles, this is one of the notoriously most heavily counterfeited of Beatles albums. Counterfeits can be identified by blurry cover photos and an indentation ring much larger than 1 1/2″.

Some of the historical info on this page is from the books The Beatles: A Day In The Life by Tom Schultheiss, The Beatles Day By Day by Mark Lewisohn and The Price Guide for the Beatles American Records by Perry Cox and Frank Daniels.

Thank you, Ringo. http://www.beatlesagain.com/

Source : http://www.ringofstars.ru/across/?p=2767

Below is my previous post of scans of the covers:
http://jfnmusicmemories.blogspot.com/2009/07/christmas-messages-covers.html

You can get the recordings here:

http://teenagedogsintrouble.blogspot.com/2009/12/very-merry-beatles-christmas.html

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US Albums Boxed Set Released: Promo & Review

January 7, 2014, 1:26 pm

≫ Next: Back To Basics Bootleg Series- Beatles Sessions New & Upgraded

≪ Previous: Beatles Christmas Messages Recordings

We thought we’d start the new year with something very special. Just before Christmas, Apple Corps/Universal Music invited SuperDeluxeEdition in to take an exclusive look at the forthcoming Beatles box set, The U.S. Albums.

As previously announced on this blog, this special collection is released on 20 January 2014 and contains 13 CDs; titles released by Capitol Records in the 1960s that, for the most part, were quite different from their UK counterparts (new titles, alternate track listing, occasional mix differences).

The U.S. Albums box (the individual titles are also being released separately) celebrates 50 years since The Beatles’ started the so-called ‘British Invasion’, when I Want To Hold Your Hand hit number one in America. Half a century hasn’t diminished the scale of that achievement. I Want To Hold Your Hand spent seven weeks and the top of the US charts and went on to sell an incredible five million copies. It only relinquished the top-spot to She Loves You (which had by that point already spent five weeks waiting patiently at number two!) and during this time The Beatles made their historic appearance on The Ed Sullivan Show. Beatlemania was in full swing and in April 1964 the band held the top five positions in Billboard’s Hot 100.

WORLD EXCLUSIVE: First Pictures / The Beatles U.S. Albums box set

January 1, 2014 by Paul Sinclairtags: The Beatles

We thought we’d start the new year with something very special. Just before Christmas, Apple Corps/Universal Music invited SuperDeluxeEdition in to take an exclusive look at the forthcoming Beatles box set, The U.S. Albums.
As previously announced on this blog, this special collection is released on 20 January 2014 and contains 13 CDs; titles released by Capitol Records in the 1960s that, for the most part, were quite different from their UK counterparts (new titles, alternate track listing, occasional mix differences).

The U.S. Albums box (the individual titles are also being released separately) celebrates 50 years since The Beatles’ started the so-called ‘British Invasion’, when I Want To Hold Your Hand hit number one in America. Half a century hasn’t diminished the scale of that achievement. I Want To Hold Your Hand spent seven weeks and the top of the US charts and went on to sell an incredible five million copies. It only relinquished the top-spot to She Loves You (which had by that point already spent five weeks waiting patiently at number two!) and during this time The Beatles made their historic appearance on The Ed Sullivan Show. Beatlemania was in full swing and in April 1964 the band held the top five positions in Billboard’s Hot 100.

13 CDs replicate the original Capitol releases

The U.S. Albums box set is very similar in style to The Beatles in Mono box that was issued in 2009. It eschews the stark black and white of previous box designs and boasts a glossy and colourful presentation set largely in blue, with a great photo of John, Paul, George and Ringo positioned in front of the Stars & Stripes (the image is used on both sides of the set). Like the Mono Box an inner ‘drawer’ (complete with Apple Corps logo) slides out containing the 13 CDs in Japanese-style clear resealable plastic sleeves. The box is a high quality affair and is very sturdy.

The individual albums are reproduced in vinyl replica mini-LP CD style, on VERY thick card. These include two gatefolds (The Beatles’ Story and Help!) and Yesterday And Today is reproduced with the infamous ‘butcher’ cover. This comes with a separate sticker which features the replacement ‘trunk’ cover. Replica inner sleeves with period adverts are accurate (“Join the teen set on Capitol“, “Capitol ’66; Sounds Great!“) and the CDs within these paper inner sleeves have a further protection from thin Japanese-style plastic inner wallets.

Starting tomorrow with Meet The Beatles!, we will bring you further photos of the individual albums over the next two weeks.
In the meantime, we’d like to wish you all a very happy twenty fab four-teen and hope you enjoy the many photos of this box set, below. We will answer any questions we can on this set – just leave a comment.

Source: http://www.superdeluxeedition.com/picture-gallery/world-exclusive-first-pictures-the-beatles-u-s-albums-box-set/

1964: Meet The Beatles

The Superdeluxeedition blog kicks off the new year by publishing quite a few real photos of the new US Beatles CD boxed set. Individual shots of each album is to follow the next days. Take a look at the box here.

1964: Second Album

1964: A Hard Day's Night (first time on CD)

1964: Something New

1964: The Beatles' Story (first time on CD)

1964: Beatles '65

1964: The Early Beatles

1965: Beatles VI

1965: Help!

1965: Rubber Soul

1966: Yesterday And Today (first time on CD)

1966: Yesterday and Today (alternate cover sticker)

1966: Revolver (first time on CD)

1970: Hey Jude (aka The Beatles Again) (first time on CD)

Posted by Roger Stormo at Wednesday, January 01, 2014

Souce: http://wogew.blogspot.com/2014/01/us-albums-boxed-set-first-look.html

The Second Disc

Expanded and Remastered Music News

Review: The Beatles, “The U.S. Albums”

with 7 comments

I. Meet the Beatles!
Did The Beatles save rock and roll?
If John, Paul, George and Ringo didn’t save the still-young form, they certainly gifted it with a reinvigorating, exhilarating jolt of musical euphoria the likes of which hadn’t been seen before – and hasn’t been duplicated since. The scene was early 1964. Buddy Holly was long gone, and the big hits had dried up – at the moment, at least – for Jerry Lee Lewis and Little Richard. Elvis had served his time in the Army, threatening to turn the rebellious rogue into a symbol of The Establishment. Of course, all was far from lost. The rise of the Brill Building led to some of the most well-crafted, immaculately-produced records of all time, though many of those were as indebted to classic Tin Pan Alley songwriting as to the youthful spirit of rock and roll.

Enter The Beatles. By the end of the tumultuous year, the group had charted 28 records in the U.S. Hot 100 (11 in the Top 10) and released five – count ‘em, five – albums on Capitol plus one soundtrack on United Artists. Capitol had a lot of catching up to do to sate seemingly insatiable demand for the music of the Liverpudlian quartet. Those heady early days in which The Beatles began the charge that would transform “rock and roll” into “rock” are chronicled on the splendid new 13-CD box set The U.S. Albums. It presents the unique albums released stateside between 1964 and 1966, plus one from 1970, including five which have never before appeared on CD (well, legally, anyway) anywhere in the world. [Every album in the box is also available for individual sale save The Beatles’ Story which is exclusive to the box.]

From the time The Beatles broke into the British Top 20 in late 1962 with “Love Me Do,” there was no turning back. By the end of 1963, the hard-working band had scored five singles in the U.K. Top 20, three of which went to No. 1. Debut long-player Please Please Me was No. 1 on the U.K. Albums Chart for 30 weeks, only finally displaced with the arrival of sophomore LP With the Beatles. The stage was set for world domination, and the key to that international success was America. But could The Beatles repeat that level of success on American shores?

Dave Dexter Jr., head of Capitol’s international A&R, had been rejecting Beatles singles since late 1962 and “Love Me Do.” Dexter’s recalcitrance led to EMI entering into early licensing agreements with labels like Swan and Vee-Jay (Remember The Beatles vs. The Four Seasons? Or Introducing…The Beatles? Altogether unsurprisingly, they’re not included in this box set!). But the executive could only ignore the future Fabs for so long. “She Loves You,” rejected by Dexter for U.S. release, had become the first British record to sell one million copies prior to its release; With the Beatles sold 500,000 copies within a week of its release date. Capitol had no choice but to pay attention to these numbers, especially given the small size of the U.K. compared to the U.S. market. When Capitol finally acquiesced and signed the lads, Dexter was the one in charge of packaging the band’s music for American audiences.

Meet the Beatles, his first newly-created U.S. album, was based on With the Beatles, the group’s second British LP. It arrived in stores on January 20, 1964, just weeks before the band debuted on the February 9 broadcast of The Ed Sullivan Show. 73 million viewers tuned in, a higher number than had watched any program in television history. The reviews weren’t all glowing; in fact, many were far from it. But Beatlemania couldn’t be stopped. The ensuing frenzy was, perhaps, a manifestation of the power of the nascent youth culture, but soon the Fab Four dominated culture, period.

The American media was poised to rebel against this revolution, looking upon The Beatles’ seemingly inevitable success with curiosity and distrust. But America, still smarting from the tragic assassination of President John F. Kennedy in November 1963, was poised to accept these bright young men with all of their enormous promise, goofy humor, and messages of love and hope in their music. What wasn’t immediately evident except perhaps to the most perceptive listeners was the mélange of influences that informed The Beatles’ revolutionary sound – showtunes, music hall ballads, rockabilly, country-and-western, Brill Building pop, and rhythm and blues, to name a few. It didn’t hurt that the lads’ looks were as revolutionary as their music. They were, of course, “the whole package.” The Beatles were frequently queried about how long such success could possibly last. Even the most confident of them likely couldn’t have imagined the fact that, 50 years later, their music would remain just as beloved – perhaps even more – as during those heady days of 1964.

Meet the Beatles! didn’t disappoint…far from it. Dexter’s LP remained at No. 1 on the Billboard chart for eleven weeks, ceding only to The Beatles’ Second Album. When the United Artists soundtrack album to A Hard Day’s Night arrived, it spent 14 weeks at No. 1, the longest run of any album in 1964. Capitol’s Something New could have been considered a disappointment as it peaked at No. 2, but it was held from the top position by…A Hard Day’s Night! Beatles ’65 spent nine weeks at No. 1 and was crowned the best-selling LP of 1965. The Beatles were no flash in the pan.
After the jump: what exactly will you find in The U.S. Albums?

II.            Yesterday and Today
The discs contained in The U.S. Albums are the records that ushered in the British Invasion, yet their importance wasn’t always recognized. When The Beatles’ recordings came to CD for the first time in 1987, the U.S. releases were almost completely ignored, as Apple Corps favored an approach to standardize the catalogue with the U.K. albums – which, it’s paramount to note, were the only versions completely created and sanctioned by the band and their producer, George Martin. One U.S. release did“make the cut” – Capitol’s Magical Mystery Tour, which explains its absence from The U.S. Albums. Martin also remixed two albums, Help! and Rubber Soul, to provide more natural stereo soundscapes.
Capitol’s American creations were, after all, cobbled together from various U.K. releases, and even when albums bore the same titles as their British counterparts, the material was still often quite different. For one thing, the U.S. albums were limited to twelve tracks, whereas their British counterparts boasted fourteen. Capitol also desired to place on albums the non-LP singles recorded by The Beatles overseas. The British A Hard Day’s Night and Help! LPs were all-Beatles, all-the-time. Their American counterparts subbed out numerous cuts for instrumental, orchestral tracks. It wasn’t until 1967’s Sgt. Pepper’s Lonely Hearts Club Band that The Beatles finally were able to demand that their original albums – created and sequenced by the band and their producer in the U.K. – be released worldwide, untouched.

The differences between the U.S. and U.K. releases extended beyond repertoire. Dexter had frequently altered Martin’s original mixes, adding reverb to several tracks and simulating stereo via Capitol’s “Duophonic” process on other tracks.   Apple delivered on the promise of CD releases for the familiar U.S. titles in 2004 with The Capitol Albums Vol. 1, containing Meet the Beatles!,The Beatles’ Second Album, Something New and Beatles ’65 on CD for the first time. A second volume followed in 2006 with The Early Beatles, Beatles VI, and the U.S. versions of Help! and Rubber Soul. Both of these box sets retained all of Capitol’s mixes, including the “fake stereo” duophonic tracks.

Clearly, Apple felt the 50th anniversary of the Fabs’ American arrival warranted an upgrade for these beloved albums. In addition to re-presenting those already reissued via The Capitol AlbumsVols. 1 and 2, the new set premieres the five albums never before on CD– the United Artists soundtrack of A Hard Day’s Night (1964), the audio documentary The Beatles’ Story (1964), Yesterday and Today (1966), the U.S. Revolver (1966) and Hey Jude (1970). Every album in the box includes both mono and stereo mixes save the stereo-only Beatles Story and Hey Jude. Make no mistake: this set is every bit as lavish as its historically-significant (and still exciting and vibrant) music deserves.

However, the set is not without controversy. The decision was made by Apple not to replicate the original U.S. albums’ often-dodgy mixes, but rather to use their track listings as a jumping-on point to recreate the albums anew for 2014. The band’s preferred mixes – as remastered for the core catalogue in 2009 – provide the basis for The U.S. Albums. For the most part, that is. (More on that later.)   All of the “duophonic”/fake stereo mixes are absent here, replaced with true stereo versions. The tracks subjected to additional reverb by Capitol have been largely stripped of it. The mono tracks which were “folded down” from stereo have been replaced with true mono versions. George Martin’s 1987 mixes of Help! and Rubber Soul have been utilized, as well, rather than the originals. Now, here’s the “most part” part. The 2009 remasters have undergone further audio tweaking and subtle volume adjustments.

Producers have also chosen to preserve certain unique U.S. mixes and edits in both the mono and stereo portions of the albums while others have been overlooked. (For those who are interested, the Usenet Guide to Beatles Recording Variations is one particularly valuable resource in determining what’s what, and a page of a lengthy thread here might also prove helpful.) The box’s notes indicate that “the original U.S. albums were used as models and set the overall direction for the process” of assembling this set.

III. What Goes On
Your level of devotion to authenticity will likely determine your mileage concerning this set which has been assembled and remastered, in part, by Greg Calbi of Sterling Sound. (Remastering for the set is credited to Paul Hicks, Sean Magee, Guy Massey, Sam Okell, Steve Rooke and Greg Calbi, under the supervision of Steve Berkowitz.) The U.S. Albums raises a question that periodically occurs when considering reissues and catalogue titles: Is it more important that a reissue reflect an original recording, however flawed, or strive for the best possible sound and quality? Frank Zappa famously re-recorded parts of his released albums when revisiting them for compact disc. Bruce Springsteen and The Rolling Stones are among the artists who have prepared previously unreleased material for CD by re-recording vocal and instrumental parts decades later. The last round of American reissues of Frank Sinatra’s Reprise catalogue extensively remixed the original recordings. In the case of The Beatles, few would argue – though a cursory look around the Internet will easily turn up those few – that true stereo sounds better than “fake” duophonic, or that true mono beats “fold downs.” Likewise, most would agree with George Martin that The Beatles’ Abbey Road-made recordings didn’t need any additional reverb (reportedly added to achieve a more “American” studio sound). Should Capitol and Apple have replaced those mixes here, given that they were the mixes with which these tracks were introduced to the American public? Each person reading this might well have a different answer, but if you’re looking for the best sounding versions of these songs and not necessarily the versions you heard in the sixties, you will, indeed, find them here.
If that’s not enough, keep in mind that the two volumes of The Capitol Albums already have preserved the original U.S. versions of all but five of this box set’s albums on CD. Of those five making their CD debuts here:

The mono Hard Day’s Night soundtrack is accurate to the original U.S. pressing; the album was never released in true stereo, so the true stereo version here is a welcome extra.
The Beatles’ Story, an audio documentary written by John Babcock and produced by Gary Usher and Roger Christian of Beach Boys fame, has been derived from its original Capitol stereo masters.
The U.S. Revolver and Hey Jude (the former in both mono and stereo, the latter stereo-only) are also said to be wholly accurate to the Capitol and Apple LPs, respectively.
That leaves Yesterday and Today as the box set’s one title that still hasn’t appeared on CD in its original form (and likely never will). The U.S. Albums version preserves unique U.S. mixes of “I’m Only Sleeping,” “Doctor Robert” and “And Your Bird Can Sing” in mono, and “We Can Work It Out” and “Day Tripper” in stereo. The other eight stereo tracks have been replaced with U.K. versions (many with the 1987 remixes); the U.S. mono tracks were largely identical to the U.K. tracks to begin with, and so only “Drive My Car” and “If I Needed Someone” have been replaced with U.K. mono versions.

In short, other than Yesterday and Today, all of The Beatles’ original U.S. album configurations can now be acquired on CD.

IV.          Think for Yourself
The U.S. Albums has been designed by Meire Murakami and Mike Diehl as a companion piece to the 2009 release The Beatles in Mono. The striking slipcase box is the same size, and like that set, contains each album in deluxe Japanese-style oversized mini-LP jackets. Each jacket is individually sealed in plastic, and besides the painstakingly recreated artwork, contains replicas of the original inserts and the CD itself in an inner sleeve. Like the album art, the original labels from Capitol, Apple and United Artists have also all been recreated. (The individually-released CDs also have OBI strips; these are not included with the box set’s CDs.) Original gatefold covers have also been retained. Only the most jaded Beatlefan won’t experience at least a small thrill finally picking up A Hard Day’s Night on CD and discovering the period United Artists logo or the inner sleeve advertising albums from George Jones, Duke Ellington and Ferrante and Teicher plus the soundtracks to From Russia with Love and Never on Sunday! Even more exciting is the presentation of Yesterday and Today. At first glance you’ll notice the final “trunk” cover, but once you open the album, you’ll find that the trunk cover is a sticker, and the actual CD boasts the infamous “butcher” cover!   The Capitol Albums boxes were sharply criticized for their oddly shoddy packaging; no such complaints could be leveled against this beautiful, sturdy package. A new “The Beatles 50” logo adorns the box alongside the Apple, Capitol and UMe labels, as well, signaling that future projects may be in the works for 2014.

A squarebound paperback 64-page booklet is included, which is lavishly illustrated with photographs, memorabilia and single sleeve images and original album advertisements. A page dedicated to each album preserves credits and chart positions, but individual notes aren’t made as to the origins of each track. The centerpiece of the booklet is Bill Flanagan’s thoughtful and comprehensive essay which places these albums in context and also delves into the variations between the U.S. and U.K. LPs. Some wags might note the irony of an essay beginning with “How would you feel if someone told you your memories were WRONG? The way you remember it didn’t happen – or if it did happen, it was a mistake. You’d be bothered, you’d be annoyed, you’d resent whoever was devaluing your experience.” Flanagan is, of course, referring to some American fans’ reactions when the Beatles catalogue was standardized in 1987 to the U.K. albums only. Some readers might feel “bothered, annoyed” and resentful at the liberties taken by The U.S. Albums to its source material. A second note in the booklet defends the decision as “an effort to preserve the original intentions of the band and the producers”: “While doing so [remastering from the Capitol master tapes] would have been the easiest way to go, it would not have created the best possible listening experience.” The U.S. Albums is, then, the best of both worlds – the track listings American fans remember from fifty years ago with the sound quality demanded by present-day listeners. On those counts, it succeeds mightily.

The U.S. Albums is an engrossing and sonically superior presentation worthy of the monumental, significant, and yes, fun music within its slipcase. It traces the evolution of The Beatles’ liberating sound from Motown and Chuck Berry covers and effervescent originals like “I Want to Hold Your Hand” and “She Loves You” through the creation of their own “new standards” such as “In My Life” and “Yesterday.” This is music that doesn’t grow old, music that knows no barriers. Some might prefer the “pure” remasters on The Capitol Albums Vols. 1 and 2. Those who do should hold onto those volumes and pick up the new Hard Day’s Night, Revolver and Hey Jude titles to all but complete your set. The U.S. Albums is a new, thrilling, alternative look at the essential records that ignited cultural change and brought generations apart, then together.   You say you want a revolution? Look no further.

You can order The U.S. Albums at Amazon U.S. and Amazon U.K. !

Source: http://theseconddisc.com/2014/01/28/review-the-beatles-the-u-s-albums/

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Back To Basics Bootleg Series- Beatles Sessions New & Upgraded

April 18, 2014, 6:40 am

≫ Next: Upcoming new underground Shea releases

≪ Previous: US Albums Boxed Set Released: Promo & Review

BACK TO BASICS SERIES - BEATLES SESSIONS NEW & UPGRADED
Here is the long-awaited collaboration between Darthdisc and Helter Skelter Records... From The Basement To The Boardroom.

This 2CD set contains the first 'Sessions' compilation from 1984, originally called 1,2,3,4!, as well as a newly remastered version of The Boardroom Tape and The Cavern Rehearsals.
The 1,2,3,4! Tape has been previewed on several of the Helter Skelter Back To Basics sets, but is presented here for the very first time in complete form - including some interesting edits between tracks. This is EMI's first attempt at a compilation of unreleased tracks, and things didn't really change too much when they butchered all of those tracks making Anthology 10 years later! This collection of rare tracks is presented remastered from tape source, phase, pitch, level and drop out repaired - in all of it's crazy EMI inspired glory.
The Boardroom Tape as you know contains some very rare tracks, and is presented for the first time in phase and in proper mono - sounding better than ever before. Also, many of the technical faults have been addressed, making this offline tape more listenable than previous incarnations. Again, this was done from the original tape source.
As for the Cavern Rehearsals, these have been remastered from the best available source (which was originally the Purple Chick source until I discovered that it was from compressed 320 mp3 source - I then traced this back to the original source discs) drop-out, pitch, phase and level repaired. I have also done the best job possible to repair ISHST from the basement tape which was pretty rough, I hope this is now a little more palatable.

29 fine tracks in total on 2CDs...

A melhor série já lançada de SESSIONS dos Beatles, começando com a From The Basement to the Boardroom com upgrades, músicas completas pela primeira vez e inéditas! Toda essa série vem com booklets lindos explicando as sessões uma a uma e memorabilia dos Beatles!

Por exemplo, acabou sendo descoberto que o disco do Cavern havia sido tirado de MP3s de 320 KBPS, aqui, eles são arquivos sem compressão, originais do tape.

Here is the long-awaited collaboration between Darthdisc and Helter Skelter Records... From The Basement To The Boardroom.

PLEASE PLEASE ME SESSIONS!

All available studio sessions and rare mixes from the Please Please Me album - pitch, phase, level and error corrected.

Pela primeira vez as raríssimas versões sem cortes de Besame Mucho.

Including the very rare '1,2,3,4!' Mix of 'Besame Mucho' - this was mixed for the unreleased 'Sessions' album in 1985, before being butchered at EMI for the final release. This version has the proper ending. With thanks to Darth and The Darthettes for this special addition to the set!
With special thanks also to Moptop, Mojofilter and John Winn (for writing some very nice books!)

TRACK LIST

DISC ONE

1. I SAW HER STANDING THERE (TAKE 1) (STEREO)
2. I SAW HER STANDING THERE (TAKE 2) (STEREO)
3. I SAW HER STANDING THERE (TAKE 3) (STEREO)
4. I SAW HER STANDING THERE (TAKE 4) (STEREO)
5. I SAW HER STANDING THERE (TAKE 5) (STEREO)
6. I SAW HER STANDING THERE (TAKE 6) (STEREO)
7. I SAW HER STANDING THERE (TAKE 7) (STEREO)
8. I SAW HER STANDING THERE (TAKE (STEREO)
9. I SAW HER STANDING THERE (TAKE 9) (STEREO)
10. I SAW HER STANDING THERE (TAKE 10) (MONO)
11. I SAW HER STANDING THERE (TAKE 11) (MONO)
12. I SAW HER STANDING THERE (TAKE 12) (MONO)
13. I SAW HER STANDING THERE (RS OF TAKE 9) ANTHOLOGY 1 MIX (STEREO)
14. I SAW HER STANDING THERE (USA 1976 'ROCK AND ROLL MUSIC' MIX) (STEREO) *NEW*
15. I SAW HER STANDING THERE (ROCKBAND 2009 MIX)
16. MISERY (TAKE 1) (MONO)
17. MISERY (TAKE 2) (MONO)
18. MISERY (TAKE 3) (MONO)
19. MISERY (TAKE 4) (MONO)
20. MISERY (TAKE 5) (MONO)
21. MISERY (TAKE 6) (MONO)
22. MISERY (TAKE 7) (MONO)
23. MISERY (TAKE (MONO)
24. MISERY (USA 1963 'INTRODUCING THE BEATLES' MIX) (TAKE 16 UNEDITED RM1) (MONO)
25. MISERY (USA 1980 'RARITIES' MIX) (STEREO)
26. BOYS (USA 1976 'ROCK AND ROLL MUSIC' MIX) (STEREO) *NEW*
27. BOYS (ROCKBAND 2009 MIX)
28. PLEASE PLEASE ME (UNKNOWN TAKE - GEORGE MARTIN ACETATE SOURCE) ANTHOLOGY 1 (MONO)
29. PLEASE PLEASE ME (UK 1962 'SINGLE MIX') (MONO)
30. PLEASE PLEASE ME (UK 1963 'ALBUM MIX' WITH MISTAKE IN LYRICS) [STEREO MIX OF TAKES 16-18] (STEREO)
31. LOVE ME DO (ANTHOLOGY 1 MIX) [PETE BEST ON DRUMS] (MONO)
32. LOVE ME DO (UK SINGLE MIX) (RM OF UNKNOWN TAKE) [RINGO ON DRUMS] (MONO)
33. LOVE ME DO (ANTHOLOGY 2003 'TV MIX') (STEREO) *NEW*

DISC TWO

1. DO YOU WANT TO KNOW A SECRET? (TAKE 7) (MONO)
2. DO YOU WANT TO KNOW A SECRET? (TAKE (MONO)
3. DO YOU WANT TO KNOW A SECRET? (ROCKBAND 2009 MIX)
4. A TASTE OF HONEY (TAKE 6) (MONO)
5. A TASTE OF HONEY (TAKE 7) (MONO)
6. THERE’S A PLACE (TAKE 1) (STEREO)
7. THERE’S A PLACE (TAKE 2) (STEREO)
8. THERE’S A PLACE (TAKE 3) (STEREO)
9. THERE’S A PLACE (TAKE 4) (STEREO)
10. THERE’S A PLACE (TAKE 5) (STEREO)
11. THERE’S A PLACE (TAKE 6) (STEREO)
12. THERE’S A PLACE (TAKE 7) (STEREO)
13. THERE’S A PLACE (TAKE (STEREO)
14. THERE’S A PLACE (TAKE 9) (STEREO)
15. THERE’S A PLACE (TAKE 10) (STEREO)
16. THERE’S A PLACE (TAKE 11) (MONO)
17. THERE’S A PLACE (TAKE 12) (MONO)
18. THERE’S A PLACE (TAKE 13) (MONO)
19. THERE'S A PLACE (USA 1980 'RARITIES' MIX) (STEREO)
20. TWIST AND SHOUT (USA 1976 'ROCK AND ROLL MUSIC' MIX) (STEREO)
21. TWIST AND SHOUT (USA 1986 'FERRIS BUELLER'S DAY OFF' MIX) (STEREO) *NEW*
22. TWIST AND SHOUT (ANTHOLOGY 2003 'TV MIX') (STEREO) *NEW*
23. TWIST AND SHOUT (ROCKBAND 2009 MIX) (STEREO)

BONUS PLEASE PLEASE ME ERA TRACKS
24. BESAME MUCHO (1,2,3,4! MIX) (MONO) (NON LOOPED ENDING)
25. BESAME MUCHO ('SESSIONS' MIX) (MONO)
26. HOW DO YOU DO IT? (TAKE 2) (MONO)
27. HOW DO YOU DO IT? (TAKE 2) (1,2,3,4! 'EARLY SESSIONS' MIX) (MONO) *NEW*
28. HOW DO YOU DO IT? (TAKE 2) ('SESSIONS' MIX) (MONO)
29. ASK ME WHY (UK 1962 'SINGLE MIX') (MONO)

WITH THE BEATLES SESSIONS

All tracks are pitch, phase, level and drop out repaired from the best possible sources - meaning each track should be as close to the original studio sessions as possible.
This is the most complete and best sounding collection of sessions from the album ever assembled.

Track List:

Disc 1

Recorded at EMI Studio 2, 30th July 1963
01 - It Won't Be Long (Take 7 Monitor Mix) (Mono) [2:18]
02 - It Won't Be Long (Take 10? Monitor Mix) (Mono) [2:01]

TV mix for TV Series 'Anthology' in 2003
03 - It Won't Be Long (Stereo) [2:11]

Mixed for German Album 'Beatles Greatest' in 1965
04 - All My Loving [Unedited RS14 'Hi-Hat Intro'] (Stereo) [2:08]

Recorded at EMI Studio 2, 12th September 1963
05 - Don't Bother Me (Take 10 Remake) (Stereo) [2:48]
06 - Don't Bother Me (Take 11) (Stereo) [0:24]
07 - Don't Bother Me (Take 12) (Stereo) [0:52]
08 - Don't Bother Me (Take 13) (Stereo) [2:32]

Mixed for Canadian release of 'Meet The Beatles' in 1976
09 - Don't Bother Me [Extra "don't" in final verse] (Stereo) [2:29]

Recorded at EMI Studio 2, 30th July 1963
10 - Piano and Drum Instrumental (Mono) [1:17]
11 - Please Mister Postman (Take 3 - Monitor Mix) (Mono) [2:38]
12 - Please Mister Postman (Take 9 - Monitor Mix) (Mono) [2:33]

TV mix for TV Series 'Anthology' in 2003
13 - Please Mister Postman [Incomplete] (Stereo) [2:03]

Mixed for US album release 'Rock and Roll Music' in 1976
14 - Roll Over Beethoven [New Mix - Channels reversed] (Stereo) [2:45]

TV mix for TV Series 'Anthology' in 2003
15 - Roll Over Beethoven [Incomplete] (Stereo) [1:31]

Recorded at EMI Studio 2, 12th September 1963
16 - Hold Me Tight (Studio Chat and Warm-up) (Stereo) [0:36]
17 - Hold Me Tight (Take 20 Remake) (Stereo) [0:26]
18 - Hold Me Tight (Take 21) (Stereo) [2:38]
19 - Hold Me Tight (Take 22) (Stereo) [0:47]
20 - Hold Me Tight (Take 23) (Stereo) [0:36]
21 - Hold Me Tight (Take 24) (Stereo) [2:33]
22 - Hold Me Tight (Take 25) (Stereo) [0:25]
23 - Hold Me Tight (Take 26) (Stereo) [2:39]
24 - Hold Me Tight (Take 27) (Stereo) [0:16]
25 - Hold Me Tight (Take 28) (Stereo) [1:36]
26 - Hold Me Tight (Take 29) (Stereo) [2:47]

Mixed for US album release 'Rock and Roll Music' in 1976
27 - I Wanna Be Your Man [New Mix - Channels reversed] (Stereo) [1:59]

TV mix for TV Series 'Anthology' in 2003
28 - I Wanna Be Your Man [Incomplete] (Stereo) [1:35]

Mixed for Rockband Video Game, released in 2009
29 - I Wanna Be Your Man (Stereo) [2:02]

Recorded at EMI Studio 2, 5th March 1963
30 - From Me To You (Take 1) (Stereo) [1:30]
31 - From Me To You (Take 2) (Stereo) [1:59]
32 - From Me To You (Take 3) (Stereo) [1:55]
33 - From Me To You (Take 4) (Stereo) [1:51]
34 - From Me To You (Take 5) (Stereo) [2:14]
35 - From Me To You (Take 6) (Stereo) [0:08]
36 - From Me To You (Take 7) (Stereo) [2:06]
37 - From Me To You (Take '8' - Edited Master) (Stereo) [2:10]
38 - From Me To You (Take 9,10,11,12,13 And Pieces 1,2) (Stereo) [1:50]

Mixed for US release of 'The Beatles 1962-66' Vinyl in 1973
39 - From Me To You (Stereo) 1:57]

Edited and Mixed by John Barrett at EMI Studios in 1982
40 - From Me To You (Edit of Takes 8-10) John Barrett's Harmonica Intro Mix (Stereo) [1:59]
41 - From Me To You (Edit of Takes 12,8,9,10) John Barrett's Vocal Intro Mix (Stereo) [1:59]

Recorded at EMI Studio 2, 5th March 1963
42 - Thank You Girl (Take 1) (Stereo) [2:09]
43 - Thank You Girl (Take 2) (Stereo) [0:26]
44 - Thank You Girl (Take 3) (Stereo) [0:08]
45 - Thank You Girl (Take 4) (Stereo) [1:59]

Disc 2

Recorded at EMI Studio 2, 5th March 1963
01 - Thank You Girl (Take 5) (Stereo) [2:05]
02 - Thank You Girl (Take 6) (Stereo) [2:19]
03 - Thank You Girl (Take 7) (Stereo) [0:16]
04 - Thank You Girl (Take (Stereo) [0:27]
05 - Thank You Girl (Take 9) (Stereo) [0:43]
06 - Thank You Girl (Take 10) (Stereo) [0:25]
07 - Thank You Girl (Take 11) (Stereo) [0:47]
08 - Thank You Girl (Take 12) (Stereo) [0:59]
09 - Thank You Girl (Take 13) (Stereo) [0:30]

Edited and Mixed by John Barrett at EMI Studios in 1982
10 - Thank You Girl (Mix of Takes 14,30) John Barrett's Mix (Stereo) [2:15]
11 - Thank You Girl (Mix of Take 30) John Barrett's Mix with Harmonica Middle (Stereo) [2:06]

Mixed for the UK album release of 'Collection of Beatles Oldies' in 1966
12 - She Loves You (Fake Stereo V1) [2:23]

Mixed for US release of 'The Beatles 1962-66' Vinyl in 1973
13 - She Loves You (Fake Stereo V2) [2:19]

Edited and Mixed by John Barrett at EMI Studios in 1982
14 - She Loves You (RS1) John Barrett's Tapes Mix (Fake Stereo) [2:22]
15 - She Loves You (RS2 V2) John Barrett's Tapes Mix (Fake Stereo) [2:26]

Recorded at EMI Studio 2, 17th October 1963
16 - I Want To Hold Your Hand (Take 1 Announcement) [0:04]
17 - I Want To Hold Your Hand (Take 2 Announcement) [0:05]
18 - I Want To Hold Your Hand (Take 4 Partial) [0:14]
19 - I Want To Hold Your Hand (Take 9 Partial) [0:33]
20 - I Want To Hold Your Hand (Unknown Take Intro) [0:06]
21 - I Want To Hold Your Hand (Unknown Take Partial) [0:10]

Mixed for US release of 'The Beatles 1962-66' Vinyl in 1973
22 - I Want To Hold Your Hand (Fake Stereo) [2:27]

Mixed for Australian Single release in 1963 (re-issue in 1976)
23 - I Want To Hold Your Hand (RS17) (Stereo) [2:26]

Mixed for German Album 'Beatles Greatest' in 1965
24 - I Want To Hold Your Hand [Alternate Mix] (Stereo) [2:26]

TV mix for TV Series 'Anthology' in 2003
25 - I Want To Hold Your Hand [0:24]

Mixed for the Rockband Video Game Release in 2009
26 - I Want To Hold Your Hand (Rockband 2009 Mix) [2:27]

Recorded at EMI Studio 2, 17th October 1963
27 - This Boy (Take 4 Partial) (Stereo) [0:16]
28 - This Boy (Take 11 Announcement) (Stereo) [0:01]
29 - This Boy (Take 12) (Stereo) [1:03]
30 - This Boy (Take 13) (Stereo) [2:15]
31 - This Boy (Unknown Take Extract) (Mono) [0:16]

Edited and Mixed by John Barrett at EMI Studios in 1982
32 - This Boy (Take 15 RS15) John Barrett's Mix (Stereo) [2:40]

Mixed for UK album 'Love Songs' in 1977
33 - This Boy (Fake Stereo) [2:13]

TV mix for TV Series 'Anthology' in 2003
34 - This Boy (Stereo) [2:16]

Recorded at EMI Studio 2, 5th March 1963
35 - One After 909 (Take 1) (Stereo) [1:22]
36 - One After 909 (Take 2) (Stereo) [2:53]
37 - One After 909 (Take 3) (Stereo) [1:46]
38 - One After 909 (Take 4) (Stereo) [2:31]
39 - One After 909 (Take 5) (Stereo) [1:12]

Edited and Mixed by John Barrett at EMI Studios in 1982
40 - One After 909 (Take 2) (Mono) [2:48]

Mixed for potential EMI Beatles projects in 1976 (played in the EMI Boardroom for consideration)
41 - One After 909 (Takes 4-5) With Extended Intro (Mono) [3:02]

Mixed at EMI for unreleased '1,2,3,4!' Album in 1984 (early version of unreleased 'Sessions' Album)
42 - One After 909 (Fake Stereo) [2:56]

Mixed at EMI for unreleased 'Sessions' Album in 1984
43 - One After 909 (Edit v1 Takes 4-5) (Mono) [2:54]
44 - One After 909 (Edit v2 Takes 4-5) (Fake Stereo) [2:55]
45 - One After 909 (Edit v3 Takes 4-5) (Mono) [2:55]

Recorded at EMI Studio 2 on 12 September 1963 to send to Bob Rogers at Sydney's 2SM Radio
46 - Messages To Australia (Mono) [2:08]

BEATLES FOR SALE SESSIONS

Alguns mixes aqui NUNCA FORAM LANÇADOS, são exclusivos dessa série!

Here is the fourth album in the Back To Basics series, including some never before compiled rare mixes and studio outtakes!

BARRETT SOURCE NOTE
There are so many sources for the John Barrett Tapes, and the are much or a muchness as they say. But I have found that some have been processed more than others using hard limiting - this affecting the overall dynamics out the record, so I have chosen the more natural sources.
For many of the Barrett Tracks I have favoured the Roaring Mouse discs as the are un-compressed and a truer representation of the original recordings. The Strawberry Records Mythology disc has some added noise reduction (on some, no all tracks), and compression, meaning that the track are processed beyond their original state.

HELP! SESSIONS!

RUBBER SOUL SESSIONS

Here is the latest in the Back To Basics series - the glorious 'Rubber Soul.'
I have included a bonus disc with this set containing 9 instrumentals made from the Rockband .mogg files with vocals removed. This is for users out there who do not have the .mogg files and would like to hear these tracks in this form.
It is such a treat to be able to offer such great extras with this album.

'We Can Work It Out' (Take 1) is offered in stereo-mono as this track goes one-legged after the studio chat. There is literally nothing on the right channel. So we have made this section mono for a better listening experience.

Highlights for me include '12-Bar Original' (Take 2) which for the first time is offered without the discrete digital clicks. These have plagued every-single release of this in the past. We spent 5 hours removing each click one-by-one to keep the integrity of the recording, and to offer the best quality end-product. We are really happy with how this recording came out after such a laborious process, and we hope you too enjoy this.

Also, we have done some pretty interesting work on the 'Lennon Tape' tracks, including 'In My Life' (Take 3) With Organ Solo. As you will know, on the recent 'Unforgettable' disc these tracks were ruined by garbled tape loops, but yet offered the best quality above the 'Entomology' source. These recordings we did an exact pitch match between 'Entomology' and 'Unforgettable' sources, we then combined the top end from the best source with the lower frequencies from the lesser source to offer what should be a garble free recording. For each of these we have also added the unedited 'Entomology' source for comparison (and because it is so damn rare!) These will be marked V2 for each recording.
This is the first time that the 'Entomology' sources have been included anywhere (with thanks to Mr Anon ) so we hope that you enjoy them!
We have omitted the 'Sessions Mix' of 'I'm Looking Through You' as it is essentially the same as that released on Anthology 2 (which is here). Everything else should be on this set.

DISC 1

1. DRIVE MY CAR (RS FROM TAKE 4 V1) (STEREO)
2. DRIVE MY CAR (RS FROM TAKE 4 V2 - PARTIAL) (STEREO)
3. DRIVE MY CAR (ROCKBAND MIX) (STEREO)
4-7. NORWEGIAN WOOD (TAKES 1-4) (STEREO)
8. NORWEGIAN WOOD (RS FROM TAKE 1 V1) (STEREO)
9. NORWEGIAN WOOD (RS FROM TAKE 1 V2) (STEREO)
10. NORWEGIAN WOOD (RS FROM TAKE 4 V1) (FAKE STEREO)
11. NORWEGIAN WOOD (RS FROM TAKE 1 V3) (STEREO)
12. NORWEGIAN WOOD (ROCKBAND MIX) (STEREO)
13. YOU WON’T SEE ME (ROCKBAND MIX) (STEREO)
14. NOWHERE MAN (RS FROM TAKE 3 V1) (STEREO)
15. NOWHERE MAN (RS FROM TAKE 3 V2) (STEREO)
16. NOWHERE MAN (RS FROM TAKE 3 V3) (STEREO)
17. NOWHERE MAN (ROCKBAND MIX) (STEREO)
18. THINK FOR YOURSELF (STUDIO CHAT) (MONO)
19. THINK FOR YOURSELF (RS FROM TAKE 1) (STEREO)
20. THINK FOR YOURSELF (ROCKBAND MIX) (STEREO)
21. THE WORD (UNKNOWN TAKE) (MONO)
22. THE WORD (RS FROM TAKE 3) (STEREO)
23. THE WORD (ROCKBAND MIX) (STEREO)
24. MICHELLE (TAKE 1 - PARTIAL) (STEREO)
25. MICHELLE (ROCKBAND MIX) (STEREO)
26. WHAT GOES ON (ROCKBAND MIX) (STEREO)

DISC 2

1. GIRL (TAKE 1 - PARTIAL) (MONO)
2. GIRL (TAKE 2 INSTRUMENTAL - MONITOR MIX) (MONO)
3. GIRL (TAKE 2 INSTRUMENTAL - MOGG MIX) (STEREO)
4. GIRL (RS FROM TAKE 2) (FAKE STEREO)
5. GIRL (ROCKBAND MIX) (STEREO)
6. I’M LOOKING THROUGH YOU (TAKE 1) (STEREO)
7. I’M LOOKING THROUGH YOU (TAKE 4) (STEREO)
8. I’M LOOKING THROUGH YOU (RS FROM TAKE 1 V1) (STEREO)
9. I’M LOOKING THROUGH YOU (RS FROM TAKE 1 V2 - PARTIAL) (STEREO)
10. I’M LOOKING THROUGH YOU (RS FROM TAKE 1 V3) (STEREO)
11. I’M LOOKING THROUGH YOU (ROCKBAND MIX) (STEREO)
12. IN MY LIFE (TAKE 3 - WITH ALTERNATE ORGAN SOLO V1) (MONO)
13. IN MY LIFE (TAKE 3 - WITH ALTERNATE ORGAN SOLO V2) (MONO)
14. IN MY LIFE (TAKE 3 - PIANO OVERDUB V1) (MONO)
15. IN MY LIFE (TAKE 3 - PIANO OVERDUB V2) (STEREO)
16. IN MY LIFE (UNKNOWN TAKE) (STEREO)
17. IN MY LIFE (RS FROM TAKE 3 V1) (STEREO)
18. IN MY LIFE (RS FROM TAKE 3 V2) (STEREO)
19. IN MY LIFE (ROCKBAND MIX) (STEREO)
20. WAIT (ROCKBAND MIX) (STEREO)
21. IF I NEEDED SOMEONE (RM FROM TAKE 1) (MONO)
22. IF I NEEDED SOMEONE (ROCKBAND MIX) (STEREO)
23. IF I NEEDED SOMEONE (RS FROM TAKE 1 - PARTIAL) (STEREO)
24. RUN FOR YOUR LIFE (TAKE 1) (STEREO)
25. RUN FOR YOUR LIFE (STUDIO CHAT) (MONO)
26. RUN FOR YOUR LIFE (TAKE 5 - PARTIAL V1) (MONO)
27. RUN FOR YOUR LIFE (TAKE 5 - PARTIAL V2) (MONO)
28. RUN FOR YOUR LIFE (UNKNOWN TAKE) (MONO)
29. RUN FOR YOUR LIFE (ROCKBAND MIX) (STEREO)

DISC 3

1. WE CAN WORK IT OUT (TAKE 1) (STEREO/MONO)
2. WE CAN WORK IT OUT (RM1 FROM TAKE 2 V1) (MONO)
3. WE CAN WORK IT OUT (TAKE 2 - WITH OVERDUBS) (STEREO)
4. WE CAN WORK IT OUT (RM1 FROM TAKE 2 V2) (MONO)
5. WE CAN WORK IT OUT (RS1 FROM TAKE 2) (STEREO)
6. WE CAN WORK IT OUT (RS FROM TAKE 2 V1) (STEREO)
7. WE CAN WORK IT OUT (RS FROM TAKE 2 V2) (STEREO)
8-10. DAY TRIPPER (TAKES 1-3) (STEREO)
11. DAY TRIPPER (TAKE 3 - ALTERNATE MONITOR MIX) (MONO)
12. DAY TRIPPER (RM1 FROM TAKE 3) (MONO)
13. DAY TRIPPER (RS1 FROM TAKE 3) (STEREO)
14. DAY TRIPPER (RS FROM TAKE 3) (STEREO)
15. DAY TRIPPER (ROCKBAND MIX) (STEREO)
16. 12-BAR ORIGINAL (PRE-TAKE 1 JAM) (STEREO)
17-18. 12-BAR ORIGINAL (TAKES 1-2) (STEREO)
19. 12-BAR ORIGINAL (RM1 FROM TAKE 2) (MONO)
20. 12-BAR ORIGINAL (EDIT OF TAKE 2) (STEREO)

+ BONUS INSTRUMENTALS DISC!

Source: http://beatlenutty-beatlecollector.blogspot.com/2013/03/back-to-basics-series-beatles-sessions.html

↧

Upcoming new underground Shea releases

April 19, 2014, 12:56 pm

≫ Next: The John Barrett Cassette Tapes

≪ Previous: Back To Basics Bootleg Series- Beatles Sessions New & Upgraded

Upcoming new release of the 1965 Shea Stadium material sounds promising. LP version depicted.

The word is out that the underground (= bootleg) label HMC (His Master's Choice) is due to release a number of interesting new Beatles products in the near future and that it will all start with a Shea Stadium film in the same quality as the few clips Apple let us see in their Anthology DVDs. We are talking about two different products here:

A "HMC Gazette" with a DVD + CD
A 12" Vinyl LP + CD package with a colour poster

Rumoured is that the DVD contains the unreleased 2005 stereo remaster of the film commissioned by Apple. The audio contents are not known at the time of writing. HMC (formerly known as Yellow Dog) is primarily known for audio only bootlegs, but they recently released their first DVD (the Delaney & Bonnie concert from Copenhagen), so this new Shea will be their second DVD release. Further DVD releases of rare Beatles stuff is expected from the company in the next few months.

Due to the fact that "The Beatles At Shea Stadium" never has been released in an official capacity except for a few clips from the film used in documentaries, the film keeps being exploited by various bootleggers as well as being traded among fans. The undoctored soundtrack was leaked to the Beatlesfan community a few years ago and has been frequently used as a secondary soundtrack to bootleg DVDs of the film.

Below is a clip of "Dizzy Miss Lizzy" was used to promote a collection of Capitol Albums in 2007.
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Posted by Roger Stormo at Saturday, April 19, 2014 1 comment:

Links to this post

Source: http://wogew.blogspot.com/2014/04/upcoming-new-underground-shea-releases.html

Bonus Clip: Beatles "Can't Buy Me Love" from Shea Stadium
---------------------------------------------------------------------------------

↧

The John Barrett Cassette Tapes

May 22, 2014, 7:52 pm

≫ Next: John Barrett Tapes Remastered Collection

≪ Previous: Upcoming new underground Shea releases

There are 2 collections of John Barrett tapes. The main collection is called "The John Barrett Cassette Dubs" (photos below) is an 8-CD set of nearly everything he collected from his years in the EMI vaults. Another is a set called "Turn Me On Deadman" from Vigitone, which is a 2-CD greatest hits of what he collected from the EMI vaults. Some of these are still available online in blogs and via torrent, but are slowly disappearing. The good news is much of this material has been repackaged on other CD sets on other labels.

"Turn Me On Dead Man: The John Barrett Tapes" is a revelatory experience for Beatles fans, comprising tracks taken directly from the late Abbey Road engineer's cassette dubs of material he found during the vaults searches in 1982. Included are previously unavailable tracks and mixes as well as items featuring significant upgrades in sound quality from earlier appearances on other collections. The package also includes a booklet with informative liner-notes and rare photos.

Prior to the early 1980's, it was pure hearsay amongst Beatles aficionados as to what was inside the EMI vaults pertaining to the group's residency at Abbey Road and other studios from 1962 until 1970. Also, very little was known about actual recording dates of their album and singles. Most of the information that was available to fans came from contemporary reports in UK music magazines such as "New Musical Express" or "Melody Maker", or fan mags like "Beatles Monthly". This info, some correct, some not, was then regurgitated in many of the earlier Beatles books, such as Roy Carr and Tony Tyler's "An Illustrated Record" or Harry Castleman and Wally Podrazik's "All Together Now".

All of this uncertainty was to change beginning in 1981. That year, an engineer at Abbey Road named John Barrett found he had cancer, and was looking for a way to occupy his time while undergoing treatment. Ken Townsend, the manager of the studios at the time, thought that finally going through the vaults and seeing exactly was and was not there with regards to the Beatles' many recording sessions would be an excellent task for the ailing engineer.

Barrett ripped into his task with gusto, spending weeks listening through every tape and making up a detailed "catalog" of sorts, with multi-colored tabs and dividers for easy access to the various sections, and color codings for the multitudes of mixes and takes which were included. The first fruits of this research was used on the insert for the box of EMI's "The Beatles Singles Collection" issued in December of 1982, which featured for the first time the recording dates for the tracks enclosed. Also, an informative article in "Record Collector" by Nick Piercey in october 1983 included EMI mouthpiece Mike Heatley using Barrett's guide when answering Piercey's queries about various Beatles recording issues.

Throughout 1982, Barrett was also compiling audio material for a Beatles multi-media show that would take place in the famed Abbey Road Studio 2 while it was being refurbished in the summer of 1983. While this cataloging and assemblage for "The Beatles At Abbey Road" (as the show was to be imaginatively titled) was occurring, Barrett was running cassette dubs of some of the more interesting material for his own use. Some of the material was mixed as he was running his tapes, while some tracks where the original mixes done at the time of the recording sessions. Barrett knew what he was doing; he dubbed off lengendary tracks such as "Leave My Kitten Alone", which had never been issued, as well as the more interesting alternate takes in the vaults like "Norwegian Wood" take one. Also, many of the tracks he dubbed where stereo mixes of titles that at the time hadn't seen the light of day in stereo, or had seen limited release, such as "This Boy".

Meanwhile, the late Roger Scott, a well-known UK disc jockey, was enlisted to do the narration for the "Abbey Road" show, and was given copies of these dubs as well. Scott actually used some of the tracks from these dubs in 1984 (the same year Barrett died, in February) for a 12-hour radio show on the Beatles entitled "Sgt. Pepper's Lonely Hearts Club Band". This material subsequently appeared (taken directly from the radio show discs) on the NEMS release "Not For Sale" in early 1985. Copies of some of the tapes made it into other hands one the Continent, who subsequently issued various series such as "Ultra Rare Trax" on Swingin' Pig, and Yellow Dog's "Unsurpassed Masters", based on the Barrett dubs, mixed with other sources.

However, much of the material dubbed off by Barrett went unissued... until now. Taken from the original cassette dubs, here are a bunch o' Beatles tracks you've never heard in this forum. They are all either different mixes, or significant upgrades from previous appearances, or in some cases, completely unissued.

While John Barrett's name may not be as lengendary in the Beatles' world as other researchers such as Mark Lewisohn, his initial work was the cornerstone for all that is now finally known about the Beatles' recording sessions. In tribute, we hope you enjoy these tapes ... hopefully John Barrett would be happy to know that his efforts were not in vain !

Trevor Osmond Williams, June 1999

Below are the 8 Volume CDs:

Below is the 2 Volume set CDs:

Track Listing for 8 CD set:

The Beatles John Barrett's Cassette Dubs Vol. 1-8 (FLAC)

The Beatles John Barrett's Cassette Dubs Vol. 1-8

Source discs of 1982 John Barretts remixes on 16CD's

Vol. 1 - That Means A Lot:
01. Twist & Shout (US stereo mix)
02. She Loves You (RS1; Geoff Emerick)
03. She Loves You (RS2, version 2)
04. Please Please Me (UK stereo mix)
05. I'll Get You
06. I Call Your Name (US stereo mix )
07. All My Loving (with hi-hat intro - German "Beatles Greatest" version)
08. That Means A Lot (Take 20 & portion of Take 21)
09. That Means A Lot (Takes 23 & 24)
10. That Means A Lot ("test" take - unnumbered)
11. I'm Looking Through You (Take 4 - complete!)
12. We Can Work It Out (alternate stereo mix)
13. I Live For You - George Harrison (full version)
14. Dera Dera Doon - George Harrison (full version)
15. Gopala Krishna - George Harrison (complete full version)
16. Going Down To Golders Green - George Harrison (full version)
17. Nashville Freakout - Ringo Starr (longer version)
18. Pete Drake's Talking Steel Guitar (longer version)
19. What You're Doing (Take 11 - unedited)
20. Stormy Weather - Ringo Starr (slightly longer)

Vol. 2 - Los Paranoias:
01. Step Inside Love/Los Paranoias/The Way You Look Tonight - 9/16/68
02. Can You Take Me Back (from "I Will" take 19) - 9/16/68
03. Ob-La-Di Ob-La-Da (take 5) - 7/5/68
04. It's All Too Much (full version - RM2?) - 5/25, 31 & 6/2/67
05. It's All Too Much ("Yellow Submarine" version) "
06. Old Brown Shoe (take 2 - diff. mix than Anth. 3) - 2/25/69
07. All Things Must Pass (take 2 - mono - diff. mix than Anth. 3) - 2/25/69
08. Teddy Boy (RS1 by Glyn Johns 1/24/69) - 1/24/69
09. Teddy Boy (RS1 by Phil Spector 3/25/70) - 1/24/69

Vol. 3 - She Loves You:
01. She Loves You (RS2 by Geoff Emerick on 11/8/66)
02. She Loves You (released version)
03. From Me To You (vocal intro; stereo mix of 45)
04. From Me To You (harmonica intro; 1982 stereo remix)
05. Thank You Girl (without harmonica in middle - take 14 w/edit from take 30)
06. Thank You Girl (with harmonica in middle - called take 30)
07. That Means A Lot (RS 1 from take 1- done 2/23/65)
08. That Means A Lot (chat + end of Take 2)
09. That Means A Lot (mono - low reverb mix)
10. That Means A Lot
11. This Boy (RS 15 - 11/10/66)
12. Norwegian Wood (This Bird Has Flown) (take 1)
13. Norwegian Wood (This Bird Has Flown) (take 2)
14. Norwegian Wood (This Bird Has Flown) (take 4)
15. What You're Doing (Take 11) - 9/30/64
16. Yes It Is
17. I'm Looking Through You (take 1)
18. I'm Looking Through You (take 4 - alternate stereo mix)
19. Mr. Moonlight (Take 4)
20. Mr. Moonlight (1982 stereo remix)
21. 12-Bar Original (takes 1 & 2; major quality upgrade)
22. Penny Lane (RM6 from 1/9/67 - complete oboe version)
23. Penny Lane (RM11 w/trumpet end)
24. Strawberry Fields Forever (RM 3 from take 7 - 11/29/66; complete)
25. Strawberry Fields Forever (RM 9 from take 26 - 12/15/66; new vocal)69

Vol. 4 - How Do You Do It:
01. How Do You Do It? (unedited mono - diff. mix than Anth. 1) - 4/9/62
02. One After 909 (Take 2) - 5/3/63
03. One After 909 (master edit of Takes 4 & 5) - 5/3/63
04. Leave My Kitten Alone (Take 5) - 8/14/64
05. If You've Got Trouble (alternative original stereo master) - 2/23/65
06. That Means A Lot (mixed mono) - 2/20/65
07. This Bird Has Flown (Take 1 - original stereo master) - 10/12/65
08. I'm Looking Through You (Take 1)
09. Not Guilty (unaltered Take 102 - complete) - 8/12/68
10. What's The New Mary Jane (incomplete; remix w/overdubs)
11. Come And Get It (demo - alternate stereo mix w/double
tracked vocal) - 7/24/69
12. Rip It Up/Shake Rattle And Roll (Get Back session - 1/26/69)
13. Kansas City/Miss Ann/Lawdy Miss Clawdy (Get Back session - 1/26/69)
14. Blue Suede Shoes (Get Back session - 1/26/69)
15. Cannonball/Not Fade Away/Hey Little Girl (Get Back session - 1/26/69)
16. Mailman Bring Me No More Blues (Get Back Session - no fade)
17. 12-Bar Original (Take 2 - complete 1965 mono mix)
18. What's The New Mary Jane ("Sessions" version)
19. Mailman Bring Me No More Blues ("Sessions" version)
20. Ob-La-Di, Ob-La-Da (Take 5, complete muddy stereo mix)
21. While My Guitar Gently Weeps ("Sessions" version; Take 1 - edit)

Vol. 5 - Odds & Ends:
01. Plastic Ono Band : "Slow Blues Jam" (studio jam)
02. Plastic Ono Band : "Fast Rocker" Ringo Starr - ""Beaucoups of Outtakes"
03. "The Wishing Book" (Beaucoups Of Blues outtake)
04. "Nashville Freakout" (short version)
05. "Stormy Weather" (Sentimental Journey outtake)
06. "Octopus's Garden" (alternate version for George Martin TV special)
07. "Wine, Women, Loud Songs"
08. "Coochy Coochy"
09. "I Live For You" 1969 (edited finished version)
10. "Dehra Dun" 1969 (shorter edited mix, different verse)
11. "Gopala Krishna" 1969, (shorter edited mix)
12. "Going Down To Golders Green" 1969 (finalized edited version)
13. "Get Back" 1969 (George's demo for Doris Troy)
14. "Pete Drake's Talking Steel Guitar" (edit version)

Vol. 6 - Abbey Road Video Show:
01. Love Me Do (Take 18)
02. How Do You Do It? (Take 2; excerpt)
03. I Saw Her Standing There (Take 2, 11 & 12)
04. Twist & Shout (Take 1 - RS1 - 2/25/63)
05. One After 909 (Take 4; incomplete)
06. Don't Bother Me (Take 11 & 12; incomplete)
07. A Hard Day's Night (Takes 2 & 3 - false starts; Take 9 - RS2)
08. Leave My Kitten Alone (Take 5; excerpt)
09. I'm A Loser (Take 8)
10. She's A Woman (Take 1, excerpt)
11. Ticket To Ride (Take 2)
12. Help! (Take 5; instrumental)
13. Norwegian Wood (This Bird Has Flown) (Take 1; incomplete)
14. I'm Looking Through You (Take 1; incomplete)
15. Paperback Writer (Take 2 - RS3; 10/31/66)
16. Rain (Take 7 - RS1)
17. Penny Lane (Take 9 - RS1)
18. Strawberry Fields Forever (medley - Take 1, 7 & 26)
19. A Day In the Life (with count-in)
20. Hello, Goodbye (Take 22 - RS2)
21. Lady Madonna (Take 4)
22. Hey Jude (Take 9; incomplete)
23. While My Guitar Gently Weeps (unedited Take 1; acoustic)
24. Because (Take 7; alt. mix with a capella first half)
25. #9 Dream (spoken intro by Ringo)

Vol. 7 - Get Back (ver.2):
01. One After 909
02. Link / Rock & Roll
03. Chat / Save The Last Dance For Me
04. Don't Let Me Down
05. Dig A Pony
06. I've Got A Feeling
07. Get Back
08. Let It Be
09. For You Blue
10. Two Of Us
11. Maggie Mae
12. Dig It
13. The Long And Winding Road
14. I Me Mine
15. Across The Universe
16. Get Back (Reprise)

Vol. 8 - Sessions:
01. How Do You Do It
02. One After 909
03. Leave My Kitten Alone
04. If You've Got Trouble
05. That Means A Lot
06. Norwegian Wood
07. I'm Looking Through You
08. Not Guilty
09. What's The New Mary Jane
10. Come And Get It
11. Shake, Rattle And Roll
12. Rock Jam
13. Blue Suede Shoes
14. Mailman Bring Me No More Blues
15. 12-Bar Original (Acetate)

You can get it here...http://qualitybootz.blogspot.com/2009/07/beetles-turn-me-on-dead-man-john.html

↧

John Barrett Tapes Remastered Collection

May 22, 2014, 9:32 pm

≫ Next: Beatles Mythology Bootleg Series - 3 Volumes

≪ Previous: The John Barrett Cassette Tapes

The John Barrett Bootlegs have been remastered in February 2011 into a 5-CD set. The audio has been cleaned up and speed corrected. Below is information how these tapes were created, and cover scans of the new discs.

"Turn Me On Dead Man: The John Barrett Tapes" is a revelatory experience for Beatles fans, comprising tracks taken directly from the late Abbey Road engineer's cassette dubs of material he found during the vaults searches in 1982. Included are previously unavailable tracks and mixes as well as items featuring significant upgrades in sound quality from earlier appearances on other collections. The package also includes a booklet with informative liner-notes and rare photos.

Prior to the early 1980's, it was pure hearsay amongst Beatles aficionados as to what was inside the EMI vaults pertaining to the group's residency at Abbey Road and other studios from 1962 until 1970. Also, very little was known about actual recording dates of their album and singles. Most of the information that was available to fans came from contemporary reports in UK music magazines such as "New Musical Express" or "Melody Maker", or fan mags like "Beatles Monthly". This info, some correct, some not, was then regurgitated in many of the earlier Beatles books, such as Roy Carr and Tony Tyler's "An Illustrated Record" or Harry Castleman and Wally Podrazik's "All Together Now".

All of this uncertainty was to change beginning in 1981. That year, an engineer at Abbey Road named John Barrett found he had cancer, and was looking for a way to occupy his time while undergoing treatment. Ken Townsend, the manager of the studios at the time, thought that finally going through the vaults and seeing exactly was and was not there with regards to the Beatles' many recording sessions would be an excellent task for the ailing engineer.

Barrett ripped into his task with gusto, spending weeks listening through every tape and making up a detailed "catalog" of sorts, with multi-colored tabs and dividers for easy access to the various sections, and color codings for the multitudes of mixes and takes which were included. The first fruits of this research was used on the insert for the box of EMI's "The Beatles Singles Collection" issued in December of 1982, which featured for the first time the recording dates for the tracks enclosed. Also, an informative article in "Record Collector" by Nick Piercey in october 1983 included EMI mouthpiece Mike Heatley using Barrett's guide when answering Piercey's queries about various Beatles recording issues.

Throughout 1982, Barrett was also compiling audio material for a Beatles multi-media show that would take place in the famed Abbey Road Studio 2 while it was being refurbished in the summer of 1983. While this cataloging and assemblage for "The Beatles At Abbey Road" (as the show was to be imaginatively titled) was occurring, Barrett was running cassette dubs of some of the more interesting material for his own use. Some of the material was mixed as he was running his tapes, while some tracks where the original mixes done at the time of the recording sessions. Barrett knew what he was doing; he dubbed off lengendary tracks such as "Leave My Kitten Alone", which had never been issued, as well as the more interesting alternate takes in the vaults like "Norwegian Wood" take one. Also, many of the tracks he dubbed where stereo mixes of titles that at the time hadn't seen the light of day in stereo, or had seen limited release, such as "This Boy".

Meanwhile, the late Roger Scott, a well-known UK disc jockey, was enlisted to do the narration for the "Abbey Road" show, and was given copies of these dubs as well. Scott actually used some of the tracks from these dubs in 1984 (the same year Barrett died, in February) for a 12-hour radio show on the Beatles entitled "Sgt. Pepper's Lonely Hearts Club Band". This material subsequently appeared (taken directly from the radio show discs) on the NEMS release "Not For Sale" in early 1985. Copies of some of the tapes made it into other hands one the Continent, who subsequently issued various series such as "Ultra Rare Trax" on Swingin' Pig, and Yellow Dog's "Unsurpassed Masters", based on the Barrett dubs, mixed with other sources.

However, much of the material dubbed off by Barrett went unissued... until now. Taken from the original cassette dubs, here are a bunch o' Beatles tracks you've never heard in this forum. They are all either different mixes, or significant upgrades from previous appearances, or in some cases, completely unissued.

While John Barrett's name may not be as lengendary in the Beatles' world as other researchers such as Mark Lewisohn, his initial work was the cornerstone for all that is now finally known about the Beatles' recording sessions. In tribute, we hope you enjoy these tapes ... hopefully John Barrett would be happy to know that his efforts were not in vain !
Trevor Osmond Williams, June 1999

The remastered collection can be found here:
http://juliocmail.blogspot.com/2011/03/thebeatles-thebarretttapesremastered_2195.html

↧

Beatles Mythology Bootleg Series - 3 Volumes

May 25, 2014, 1:14 pm

≫ Next: Top 10 Beatles Bootleg Albums

≪ Previous: John Barrett Tapes Remastered Collection

Strawberry Records - "Mythology" is a valuable next bootleg boxset shaped and contains three volumes.In them the Beatles career is reviewed in the form of studio rarities, and unreleased live tracks from the beginning to the final solution.
The quality is not very good, but some of these shots are not entirely known, then it would be worth giving a listen.I leave it and judge for yourself

Mythology Vol I

Disc 1 (1962-1963)

01 - A Taste of Honey
02 - Love Me Do
03 - Some Other Guy
04 - Keep Your Hands Off My Baby
05 - Beautiful Dreamer
06 - I Saw Her Standing There 2-3
07 - I Saw Her Standing There 2-4
08 - I Saw Her Standing There 2-5
09 - Do You Want to Know a Secret
10 - Thank You Girl 6-7
11 - Thank You Girl 6-8
12 - Thank You Girl 6-10
13 - Thank You Girl 6-11
14 - Thank you Girl 6-12
15 - Thank You Girl 6-13
16 - From Me To You 2-8
17 - From Me To You 2-9
18 - From Me To You 2-11
19 - From Me To You 2-13
20 - Side By Side Theme
21 - Memphis Tennessee
22 - Lennon on Juke Box Jury
23 - I'll Get You
24 - Glad All Over
25 - Twist and Shout
26 - You Really Got a Hold On Me
27 - Pop Chat Interview

Disc 2 (1963)

01 - From Me To You
02 - I'll Get You
03 - She Loves You
04 - Twist And Shout
05 - Royal Command Interview
06 - Interview In Gloucestershire
07 - Public Ear Interview
08 - From Me To You
09 - She Loves You
10 - Till There Was You
11 - Twist And Shout
12 - Dickie Henderson Outro
13 - RTE (Radio Telefis Eireann) Interview
14 - This Boy
15 - Intro
16 - This Boy
17 - All My Loving
18 - I Want To Hold Your Hand
19 - Hello Bongo!
20 - (On) Moonlight Bay
21 - Dirty Deckchair
22 - The Beatles On Juke Box Jury
23 - Doncaster Interview

Disc 3 (1963-1964)

01 - From Me To You
02 - I Saw Her Standing There
03 - All My Loving
04 - Roll Over Beethoven
05 - Boys
06 - Till There Was You
07 - She Loves You
08 - This Boy
09 - I Want To Hold Your Hand
10 - Money (That's What I Want)
11 - Twist And Shout
12 - From Me To You
13 - Tie Me Kangaroo Down, Sport
14 - I Want To Hold Your Hand
15 - Public Ear
16 - Public Ear
17 - Public Ear
18 - Public Ear
19 - I Want To Hold Your Hand
20 - This Boy
21 - All My Loving
22 - Money (That's What I Want)
23 - Twist And Shout
24 - Outro Sunday Night At The London Palladium
25 - John Lennon At Foyles
26 - John Lennon At Foyles
27 - Band Introduction
28 - Murray The K Intro
29 - She Loves You
30 - You Can not Do That
31 - Twist And Shout
32 - Long Tall Sally
33 - Can not Buy Me Love

Mythology Vol II

Disc 1 (1964)

01 - Paul On A Degree Of Frost
02 - A Hard Day's Night
03 - Dieter Broer Interview At Hilton Hotel
04 - Radio Network Forth Interview
05 - A Hard Day's Night
06 - Hong Kong Interviews
07 - Scene At 6.30 Interview
08 - Top Gear Trailers
09 - If I Fell
10 - A Hard Day's Night
11 - Things We Said Today
12 - You Can not Do That
13 - If I Fell
14 - Long Tall Sally
15 - George Harrison On Juke Box Jury
16 - What You're Doing
17 - Mr Moonlight
18 - What You're Doing
19 - Tyne Tees Interview
20 - I Feel Fine
21 - She's A Woman

Disc 2 (1965)

01 - That Means A Lot - Take 1
02 - That Means A Lot - Rehearsal
03 - That Means A Lot - Take 20
04 - That Means A Lot - Take 21
05 - That Means A Lot - Take 22 - Take 23
06 - That Means A Lot - Rehearsal
07 - Yes It Is
08 - Intro
09 - I Feel Fine
10 - She's A Woman
11 - Baby's In Black
12 - Ticket To Ride
13 - Long Tall Sally
14 - Outro Musical Express Concert
15 - Help! - Take 4
16 - Peter Sellers - Grandma Awards
17 - British Information Service Interview
18 - The Beatles Abroad
19 - Pop Profile - John Lennon
20 - Pop Profile - George Harrison

Disc 3 (1965)

01 - The Eamonn Andrews Show
02 - Intro
03 - I Feel Fine
04 - I'm Down
05 - Act Naturally
06 - Ticket To Ride
07 - Yesterday
08 - Help!
09 - Outro
10 - Run For Your Life, Take 5
11 - This Bird Has Flown, Take 1
12 - This Bird Has Flown, Take 2
13 - This Bird Has Flown, Take 4
14 - I'm Looking Through You, Take 1
15-12 Original Bar, Takes 1-2
16 - I'm Looking Through You, Take 4
17 - The Word, Take 3 RM-1
18 - Saturday Club

Disk 4 (1966)

01 - Announcement By Charlie Hickman
02 - Rock 'N' Roll Music
03 - She's A Woman
04 - If I Needed Someone
05 - Day Tripper
06 - Baby's In Black
07 - I Feel Fine
08 - Yesterday
09 - I Wanna Be Your Man
10 - Nowhere Man
11 - Paperback Writer
12 - I'm Down
13 - Essen Press Conference
14 - She Said, She Said
15 - New Musical Express Poll Winners
16 - Pop Profile - Paul McCartney
17 - Pop Profile - Ringo Starr
18 - Saturday Club
19 - She Loves You, RS1
20 - She Loves You, RS2

Mythology Vol III

Disc 1 (1966-1967)

01 - When I'm Sixty Four - RM6
02 - Strawberry Fields Forever - Take 7 RM 3
03 - Strawberry Fields Forever - Take 26
04 - Penny Lane - RM8 Take 9
05 - Penny Lane - Take 9 RM9
06 - Top Of The Pops
07 - It's All Too Much - Take 4
08 - John Lennon Intro To Kenny Everett
09 - Where It's At
10 - Intro Ivor Novello Awards
11 - Yellow Submarine
12 - Michelle
13 - Yesterday

Disc 2 (1967)

01 - Ringo Starr Radio London Close Down Message
02 - All You Need Is Love - Take 58
03 - All You Need Is Love - Take 58 RM 11
04 - Your Mother Should Know - Take 1
05 - Blue Jay Way - Stereo Mix
06 - I Am The Walrus
07 - Scene And Heard With George
08 - The Frost Programme With John And George
09 - Where It's At - Magical Mystery Tour
10 - All Together On The Wireless Machine

Disc 3 (1968)

01 - Across The Universe - Take 8
02 - Hey Bulldog - Take 10 Stereo Remix
03 - Kenny Everett Interview Complete
04 - Ob La Di, Ob La Da - Take 5 Rejected Version
05 - While My Guitar Gently Weeps - Take 1 Unedited
06 - Frost On Saturday - John And Yoko
07 - Hey Jude - Communicate!
08 - Step Inside Love
09 - The Paranoias - Complete Version 9.16.68
10 - The Way You Look Tonight - Unreleased McCartney Ditty
11 - Can You Take Me Back
12 - The White Album Radio Luxembourg Interview

Disc 4 (1968-1969)

01 - Everybody's Got Something To Hide Except Me And My Monk
02 - Yer Blues - Rm 3 Edit
03 - Back In The Ussr - Rm1
04 - Helter Skelter - Rom 1
05 - Birthday - Rm1
06 - Dear Prudence - Rom 1
07 - Not Guilty
08 - My Baby Left Me
09 - That's Alright (Mama)
10 - Hallelujah I Love Her So
11 - Rip It Up - Shake Rattle And Roll
12 - Rock Jam - Kansas City - Miss Ann - Lawdy Miss Clawdy
13 - Blue Suede Shoes
14 - Old Brown Shoe
15 - Old Brown Shoe
16 - How Do You Tell Someone
17 - Cannonball - Not Fade Away - Hey Little Girl - Bo Diddley
18 - Teddy Boy - Rs 1
19 - Teddy Boy - Rs 1
20 - All Things Must Pass - Take 2 Unaltered
21 - Old Brown Shoe - Take 2 Unaltered
22 - Mean Mr. Mustard - Her Majesty - Polythene Pam - She Came
23 - Come And Get It - Stereo

Source: http://www.taringa.net/comunidades/thebeatlesfans/7053389/The-Beatles---Mythology-3-Volumenes.html

↧

Top 10 Beatles Bootleg Albums

May 26, 2014, 1:12 pm

≫ Next: Love Album

≪ Previous: Beatles Mythology Bootleg Series - 3 Volumes

Top 10 Beatles Bootleg Albums
by Michael Gallucci

The three Beatles ’Anthology’ volumes released in the ’90s were supposed to stop bootleggers. OK, maybe not stop them, because the band has been one of the world’s most heavily bootlegged artists ever since unreleased session tapes started making the rounds in the late-’60s. But the trio of double-disc albums officially released by Capitol Records was certainly designed to keep all but rabid fans from acquiring illegal Beatles records. The ‘Anthology’ albums did a fine of sampling the countless hours of demos, mixes, alternate takes and live shows that are available, but they merely skimmed the surface of all the fabness out there. Our list of the Top 10 Beatles Bootleg Albums surveys the best of them.

10 - Beatles Complete Rooftop Concert

'The Complete Rooftop Concert' (1998)

On Jan. 30, 1969, the Beatles made their last public appearance together on the London rooftop of Apple Records, where they performed a brief impromptu concert for some lucky lunchtime passersby. This album (which includes other tracks from the 'Get Back' sessions) features the entire performance, which was made up of songs that ended up, in slightly altered takes and mixes, on 'Let It Be.'

9- Beatles 'Sessions' (1994)

In 1985, the Beatles' British record company collected a bunch of leftover tracks from the studio vaults and planned to release 'Sessions.' For one reason or another, the record was scrapped. This 1994 bootleg recovers the career-spanning LP. Most of the songs eventually ended up on the 'Anthology' albums, but it's great to hear gems like 'Leave My Kitten Alone,''Not Guilty' and an alternate take of 'Ob-La-Di, Ob-La-Da' the way fans would have heard them in 1985.

8 - Beatles Complete BBC Sessions

'The Complete BBC Sessions' (1993)

Capitol released a two-disc, 69-track CD in 1994 culled from the radio sessions the Beatles recorded from 1963 through 1965. But this massive 10-volume set gathers every note they played on the BBC, where they performed lots of covers (Chuck Berry, Little Richard, etc.) plus plenty of their own songs with playful rawness.

7 - Beatles Artifacts

'Artifacts' (1993)

This five-disc series starts in Liverpool in the late '50s with a pre-Beatles cover of Buddy Holly's 'That'll Be the Day' and ends with the band's final overdub session for the 'Let It Be' album. In between are rarities, demos and alternate takes of many favorites. Like the official 'Anthology' albums, 'Artifacts' chronicles the Beatles' story from start to finish.

6 - Beatles Get Back Glyn Johns Final Compilation

'Get Back: The Glyn Johns Final Compilation' (1999)

The 'Get Back' sessions were supposed to bring the feuding Beatles back together for a fun, loose record after the splintered 'White Album.' But things didn't turn out that way, and the sessions turned chaotic almost immediately (various Beatles quit the group at various times during the recording). Engineer Glyn Johns mixed an early version of the album that's preferable to the cobbled-together official release -- retitled 'Let It Be' and drowned in strings and other mushy decorations by producer Phil Spector.

5 - Beatles Unsurpassed Masters

'Unsurpassed Masters' (1989)

This seven-volume series, like several other series in our list of the Top 10 Beatles Bootleg Albums, compiles a wide range of leftover takes, demos and unreleased songs from the band's vast studio archive. There's plenty of reworked classics (like songs with flubbed vocals and without overdubs) for Beatlemaniacs here.

4 - Beatles Alternate Abbey Road

'The Alternate Abbey Road' (1997)

The Beatles' last album, 'Let It Be,' didn't include the final music they recorded; 'Abbey Road' was the last album they worked on together. And unlike the hate-fueled 'Get Back' / 'Let It Be' sessions (see No. 6 on our list of the Top 10 Beatles Bootleg Albums), 'Abbey Road' was loose and relatively stress-free. This great album reconstructs 'Abbey Road' from alternate takes, offering an eye-opening glimpse of the band's meticulous recording process.

3 - Beatles Turn Me on Dead Man

'Turn Me on Dead Man: The John Barrett Tapes' (1999)

To keep busy while undergoing cancer treatment in the early '80s, John Barrett, an engineer at Abbey Road studios, began combing the vaults and cataloging the hours of tapes buried there. He uncovered a gold mine of unreleased Beatles material. This two-disc set collects his greatest finds, including rough sketches, unheard mixes and some songs that never made it to the official records.

2 - Beatles Ultra Rare Trax

'Ultra Rare Trax' (1988)

Before Apple got around to releasing the 'Anthology' CDs in the '90s, the excellent 'Ultra Rare Trax' series was the best roundup of unreleased Beatles material (an official skimpy 'Rarities' LP was released in 1980 but soon went out of print). Spanning eight volumes, 'Ultra Rare Trax' features everything from 'Rubber Soul' outtakes to sloppy jams pulled from the 'Get Back' sessions. Even with the official 'Anthology' series available, these sets are indispensable.

1 - Beatles Acoustic Masterpieces

'Acoustic Masterpieces: The Esher Demos' (1998)

It's no secret that the four Beatles basically served as each other's backing bands on 'The White Album.' This collection offers solid proof that everyone was working on their own material, which they later brought to the studio for group overdubs. Unlike most of the other records on our list of the Top 10 Beatles Bootleg Albums, 'Acoustic Masterpieces' includes revealing solo acoustic demos by John, Paul and George. It's pretty much 'The White Album' before some color was added.

What's Your Favorite Beatles Bootleg Album?

Did we overlook one of your favorite Beatles bootleg albums in our Top 10 list? Let us know what you think we should have included in the comments section below.

Read More: Top 10 Beatles Bootleg Albums | http://ultimateclassicrock.com/beatles-bootleg-albums/?trackback=tsmclip

↧

Love Album

June 26, 2014, 5:27 am

≫ Next: Blue Album - Greatest Hits - 1967 - 1970 - Remastered

≪ Previous: Top 10 Beatles Bootleg Albums

↧

Blue Album - Greatest Hits - 1967 - 1970 - Remastered

June 26, 2014, 5:30 am

≫ Next: Red Album - Greatest Hits 1962 - 1966 - Remastered

≪ Previous: Love Album

↧

Red Album - Greatest Hits 1962 - 1966 - Remastered

June 26, 2014, 5:33 am

≫ Next: White Album

≪ Previous: Blue Album - Greatest Hits - 1967 - 1970 - Remastered

↧

White Album

June 26, 2014, 5:36 am

≫ Next: Let It Be - Remastered

≪ Previous: Red Album - Greatest Hits 1962 - 1966 - Remastered

↧

Let It Be - Remastered

June 26, 2014, 5:37 am

≫ Next: Let It Be Naked

≪ Previous: White Album

↧

Let It Be Naked

June 26, 2014, 5:38 am

≫ Next: Alternate Abbey Road

≪ Previous: Let It Be - Remastered

↧

Alternate Abbey Road

June 26, 2014, 11:20 am

≫ Next: Black Album Remastered

≪ Previous: Let It Be Naked

Alternate takes and mixes from Abbey Road era. All the material presented here has already been bootlegged before. This CD circulates in two versions. The contents are the same (the two medleys have been separated in tracks) but the art is different.

Alternate Abbey Road - Tracklist - Pear Records
August 1972 - "One To One" rehearsal

1     Come Together - Take 37
2     Something Take 21 - Piano notes at the start, different vocals, no ynth and guitar overdubs
3     Maxwell's Silver Hammer - Early version - different vocal
4     Oh! Darling - Take 32 - no sound effects, different vocal
5     Octopus's Garden - Experimental take - lead vocal by Paul (22/02/69)
6     I Want You (She's So Heavy) - Live - 18th November 1976, George with Paul Simon live on the Saturday Night Live show
7     Here Comes The Sun - Isolated vocal for the first minute of the song, made for the 1983 Abbey Road Video show
8     Because - Alternate take with instrumental jam at the end
9     You Never Give Me Your Money - Alternate take, starts with organ note, no sound effects
10     Sun King - Alternate take, different ending
11     Mean Mr. Mustard - Original
12     Her Majesty - Alternate take, different beginning
13     Polythene Pam - Alternate take
14     She Came In Through The Bathroom Window - Alternate take, different vocals, no chorus, no strings, more piano
15     Golden Slumbers / Carry That Weight - Alternate take from the Anthology video
16     The End - Acetate - as used for Anthology in an earlier stage, this lasts a few seconds longer
17     Something - Alternate take
18     Oh! Darling - Alternate take
19     Because - Original Abbey Road mix
20     The Huge Melody (Part 1) - Original Abbey Road mix
21     A Huge Melody (Part 2) - Alternate take, with final guitar chord
22     Her Majesty - Medley of Abbey Road tracks
23     Abbey Road Medley - Instrumental of "Because" with comments by all four Beatles
24     The End of The Beatles

↧

Black Album Remastered

June 26, 2014, 9:22 pm

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≪ Previous: Alternate Abbey Road

Disk 1 : Tennesee / The House Of The Rising Sun / Back To Commonwealth / Get Off - White Power / Promenade / Yakkety Yak - Hi Ho Silver / For You Blue / Let It Be / Get Back / Don’t Let Me Down / Two Of Us / Baa Baa Black Sheep / Don’t Let Me Down / Suzy Parker / I’ve Got A Feeling / No Pakistanis / Let It Be / Be Bop A Lula / She Came in Through the Bathroom Window / High-heel Sneakers / Domino / I Me Mine / I’ve got a Feeling / One After 909 [ 73 : 29 ]

Disk 2 : She Came In Through the Bathroom Window / Penina / Shakin’ In The Sixties / Move It - Good Rocking Tonight / Across The Universe / Two Of Us / Ramblin’ Woman - I Threw It All Away - Mama You’ve Been On My Mind / Early In The Morning - Hi Ho Silver / Stand By Me / Hare Krishna Mantra / Two Of Us / Don’t Let Me Down / I’ve Got A Feeling / One After 909 / Too Bad About Sorrows - Just Fun / She Said, She Said / Mean Mr. Mustard / All Things Must Pass / A Fool like Me / You Win Again - Inprovisation / She Came In Through the Bathroom Window / Mean Mr. Mustard / Watching Rainbows / Instrumental [ 69 : 20 ]

Originally released on a 3LP set in 1981 ‘The Black Album’ ( As it would become commonly known ) is the baby brother or little cousin to the behemoth of Yellow Dogs “Day By Day Series” & is, to some, even more palatable than Vigotone’s “Thirty Days” - a digestible couple of hours in the company of the Beatle’s “shittiest load of badly-recorded shit with a lousy feeling to it ever” - according to John Lennon - That, due to fact that we now have multiple hours of recordings available, is a little more attuned to the i-Pod generation.

The internet’s Remasters Workshop have recently taken on the task of taking this album & correcting the pitch, level & phase anomalies that existed on the original vinyl LP ( Before lengthier & more complete dubs of the Nagra reels appeared all we had were snippets that leaked out either through cassette dubs, acetates or video outtakes - The main of these featuring monotonous Yoko Ono jams & only piecemeal dribs & drabs of anything that had been rumored to be captured such as late Beatles versions of their back catalogue. This was the case with such dreaded bootlegs at “Happiness” which took high quality video dubs of low quality musicianship from the Twickenham sessions. )

This release is, as a whole, a “best of” or at least a best of what the bootleggers had in the early 1980’s & holds it’s own certainly against the horrible & far too short “Fly On The Wall” disk from Apple’s “Let It Be .. Naked” release.

Distilled from a 3 LP set ( that originally came with an alternate mock up of ‘the White Album’s’ poster as a bonus ) it’s prominence against other releases of it’s ilk is small at best - but this is essentially set against various rehashes of the material from elsewhere otherwise this is nostalgia based bootlegging from those that recall visiting headshops, record collecting fairs or adverts in the music press.

The music, for those that remember it, is just the same beginning with covers of “Tennessee” & “The House Of The Rising Sun” either tracks recorded by the Beatles heroes or by their contemporaries - “House Of The Rising Sun” comes off worst as both John & Paul howl a wild, horribly out of tune rendition that does neither the original version of the band much favours.

“Back To Commonwealth” & “Get Off / White Power” are hastily cobbled together improvisations of a satirical bent referencing M.P. Enoch Powell’s ‘Rivers Of Blood’ speech made in April 1968 & who’s reverberations could still be felt nearly a year later. Since their initial release these tracks have seen the Beatles pilloried as being slightly off message but it has also been noted that the Fabs were always quietly political & their wicked, ‘Private Eye’ humour could have been seeping out while they messed around trying to make these sessions a little more palatable for them to play at.

At this stage then none of the Beatles considered these sessions anything more than free studio time with no intentions of really having any of these throwaway versions used for any project & with these it shows. “Get Off / White Power” is a forerunner of the jam “Dig It” of which a partial version was used on the sound track album. Beginning the call & response action of calling out the random name of a celebrity or someone from the Beatles past & calling back with ‘Get Off’ or ‘Can you dig it?’

“For You Blue” is the first track that would have a hope of inclusion in the film - Harrison never as prolific as his band mates & so never at a wont for improvising lyrics offered only a couple of his compositions for these sessions - possibly wondering if a sea change was underfoot or from having his choices rebuffed by the Lennon / McCartney songwriting team - His contribution is rendered in a ragged jam style following the style of the “Get Off” Jam.

It’s clear to hear this is far for being the finished version & George is far from confident of the lyrics only half throwing them out in to the fore. This version lasts less than two minutes before trailing off half heartedly.

“Let It Be” features more of the same - Half remembered lyrics ( Morphing in to “Read the Record Mirror, Let It Be .. “, John essentially taking the piss with his faux baritone harmonies while his plodding bass lines fall more towards “Octopuses’ Garden” than majestic & musical.

“Get Back” is a rampant rocker, less polished than the finished article but strong enough to stand up to a brutal & raw solo thrown in by George. The lyrics hint at the racial disharmony track that McCartney’s desperately trying to throw out there ( Competing with John & Yoko’s ‘Revolution 9′ from the ‘White Album’ perhaps? ) but evidently wiser heads took hold & he wised up enough just to have a barbed point at on of Linda’s old boyfriends instead. )

The two versions of “Don’t Let Me Down” are, essentially, warm ups & try outs. A linguine organ part pins the whole track together with Ringo’s rock steady beat. Despite It being John’s song then Paul is taking up much of the reins pointing John in the direction of the way of the track & feeding him lyrics & movement’s when appropriate.

Come the second version John has stated to put a little more backbone in & his voice & really tears into the chorus imploring Yoko to still need him & feed him now that he’s taken the decision to move on from his first wife. This statement of intent doesn’t last long though, John’s fleeting imagination takes flight & he leads the band straight in to a R’n'R pastiche by the name of “Suzy Parker” - another composition that had an airing in the “Let It Be” film but never quite came to fruition.

The first pass at “I’ve Got A Feeling” is a really tough version. A collision of two dog-ends by the Lennon & McCartney songwriting team which provided dividends when spliced together. McCartney has his best yelp on board that really impresses John towards the end who tried to dig out a bit more of the Little Richard magic of Paul’s screams.

The second begins with a few stray bass notes & a little studio chatter. It’s no less sloppy ( In fact it’s very similar to the version where they chart the climactic coda in the film ) but does drag itself together very well to present a little more meat on it’s bones.

“No Pakistanis” is another attempt at ‘Get Back’ but under a different name. It’s cleared of any real story ( It’s lyrics are half remembered mumbles ) & only retains it’s chorus which is obviously it’s main point. It falls in to a messy jam at the end although this is none the less exciting to hear due to Macca’s drive to force his voice to reach the requisite strength.

“She Came In Through The Bathroom Window” is from a different source - closer to an off video tape dub that one of the nagra sources - but is very funny to listen to - Essentially 6 minutes of rehearsals, Paul counts-in in German then John immediately begins to bawl the lyrics in his best cockney impression while Paul does the same.

This changes by the change of the reel to Paul putting on a suave singing style & John continuing the comedy firstly by squeaking a Mickey Mouse tone & then back to bellowing again before the madness calms down & they continue with the track properly but this orderly style can’t last long so the track quickly ends to give way to a barrage of nonsense & chatter before starting up again but no more serious than before before the source ends.

“High Heel Sneakers” is from the same source but lasts just over a minute. It’s a vibrant romp but means nothing in particular it’s just another break between doing any real work.

“I Me Mine” is a spanish flavoured version without lyrics. A run through at most with Paul taking the lead of ‘he who could care less’ this time while George tries to drill though the innards & nuances. Although it’s not one for the scrap book it’s one of the few times that the track would be offered around during these rehearsals.

Disk two begins with an brief run through of the riff of the ‘Rubber Soul’ track “Norwegian Wood” by the band this quickly flows into another rehearsal of “She Came In Through The Bathroom Window” although one thats a little more together than the previous airing. The squeaky - keen guitar line & various ( only just audible ) piano improvs highlight the true differences from the ‘Abbey Rd.’ version although, again, it doesn’t really take off.

“Move It / Good Rockin’ Tonight” are great, pulsating, bass heavy versions for these two oldies. The Beatles are having a lot of fun rendering these into the ground.

Another version of “Two Of Us” has the band picking up the pace to galloping. It’s a rendition used in the film once again so will be familiar to everyone. Rather than the slow buddying version used on the LP it would have been nice to hear some more of this version.

George Harrison contributes a few Dylan compositions & an unreleased one of his own in the form of “Ramblin’ Woman, I Threw It All Away & Mama, You Been On My Mind.” The latter two had possibly been picked up in Woodstock when George took a vacation to visit his buddy ( “Mama .. ” obviously gracing Dylan’s catalogue for quite a few years too ) but rendered in George’s own, imitable & intimate style they show his versatile picking style to it’s best intentions.

“Hare Krishna Mantra” is a VERY loose version of the religious single that was released on the Apple label. It barely merits a mention as it’s a throw away doodle by McCartney but still, it has it’s place on the album.

The next version of “I’ve Got A Feeling” is every bit as brusque as the previous airings but has now started to come together a lot. This also appears in the film - It’s the version where Paul shouts a very loud ‘Good Morning’ after the first chorus. George’s contribution would be quietened down after further work went in to the track but it now appears that they’re coming to the end of rehearsals for this particular track. The anomaly with the track is that due to the tape ending as the take does then it slumps to a halt - This is obviously another reason why the tape wasn’t used any more but is interesting to hear in context.

“One After 909″ is another rehearsal in progress but he attention bestowed on it obviously meant that the Fabs were betting on it’s inclusion in to the set list from the start obviously keen to air it after all these years.

“She Said, She Said” lasts all of 30 seconds so again it’s inclusion is prevalent to the original LP but of no real excitement. “Mean Mr. Mustard” on the other hand stretches itself out for nearly 4 mins - uch longer than it’s brief inclusion on ‘Abbey Rd.” but it is, again, just another song that was written on the back of matchbox so could only be included as part of a medley unless John could get it together to write more.

George’s best loved song “All Things Must Pass” makes a quiet appearance but once again his best plans are thwarted by extraneous noises above his musicianship - It’s only Ringo otherwise that’s keeping behind the lines with a steady & reserved beat. Paul’s extra piano cascades are annoying & while it’s understood that this is a rehearsal someone should have taken the time to tell him to cut it out. Obviously the band’s hearts aren’t in it either so they quickly turn to a John crooned cover of “A Fool Like Me” thats actually pretty appealing if brief.

“Mean Mr. Mustard” makes another appearance on keyboard although it’s no more of a workout than the inaugural version while the Fab’s work out some riffs to stick to it but once John runs out of lyrics the rest peals out to aimless jamming until John throws out another cartoonish skit “Madman” that folds itself into “Watching Rainbows” - the little brother of “I’ve Got A Feeling & “I Am The Walrus”.

It would seem that John favours writing indeterminable bits & pieces of lyrics nowadays & “Madman’s” lyrics are just that - silly doggerel while “Watching Rainbows” fairs a little better & has a bit more structure around it then neither idea would go anywhere but both would drop in to aimless jams much like “Instrumental” which rounds off the CD - an amalgamation between a recording from French radio & another source.

The Remasters Workshop certainly have the right idea but baring the snippets that aren’t readily available on Yellow Dog’s ‘Day By Day’ or Vigotones set or even Batz’s CD of the “Lost Get Back Reels” then this CD could have been compiled from better sources ( and a lot of home bootleggers have taken on the task ) to have formed a rather more reasonable listening experience than a lot of us heard the first time around either on the original vinyl or when tapes were traded.

That Extraction Factory chose to release it is just as baffling as the market for nostalgia in bootlegs really only generally exists if collecting the original vinyl or a high quality bootleg that had evaded your clutches before though that’s not to say that there won’t be certain collectors who have to have everything & for them this CD will be perfect.

Source: http://www.collectorsmusicreviews.com/beatles/the-beatles-the-black-album-extract-factory-ext-005/

More information here: http://archivess-t.fullalbums.org/blogs/2011/03/18/the-beatles-the-black-album/

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Abbey Road Album

June 27, 2014, 4:33 pm

≫ Next: Unplugged Bootleg

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Unplugged Bootleg

June 28, 2014, 4:44 pm

≫ Next: Vinyl Albums Being Re-Released in Mono 09-2014

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Just when you thought that everything that could be said that was new, fresh, or unusual about the Beatles' later history was already out there, along comes The Beatles: Unplugged, a bootleg CD so good that the folks at Apple and EMI ought to be kicking themselves for not thinking of it first. This disc (which is sort-of subtitled "The Kinfaun-Session," referring to George Harrison's Esher home) pulls together the 23 songs that Harrison, John Lennon, and Paul McCartney recorded as works-in-progress at Harrison's home in May of 1968. Most of what's here was eventually heard either on The Beatles [White Album], or various solo works ("Child of Nature" surfacing with new lyrics as "A Jealous Guy," etc.) or B-sides ("What's the New Mary Jane"), and on various bootlegs. What makes this presentation better than most is that it's part of that "digipak" bootleg series that's been coming out of Europe since late 2000 and generally knocking listeners out with its quality. The production here is a match for any legitimate release, not just in sound quality but also the care that went into the selection, order, and editing of the tapes; there's some hiss here and there, to be sure, and a few tracks are close to overload on the sound, but there's nothing here that will make you jump to lower the volume or skip to the next cut -- in fact, chances are most of the songs here will get repeated more than once. It's a lot like listening to an "unplugged" version of The Beatles (even re-creating The Beatles [White Album]'s packaging), since most of it is represented here, and in excellent form. Indeed, the version of "Revolution" on this disc -- just to cite one example -- is as good as the released one, only brighter, and, if you will, bouncier, as the trio has unbridled fun with the lyric, the beat, and the rhymes without the need to pump up the wattage or the seriousness of it all; if the finished song is John Lennon's message to the world about politics, hate, and manipulation of the Beatles, this is his handwritten draft of that message, with all of his momentary digressions and mental edits left in. McCartney and Harrison's songs are just as well represented, and the only thing missing is a contribution by Ringo Starr, who didn't participate in these recordings. The curious element is that it's the hard-rocking songs -- "Yer Blues" and "Back in the USSR" -- that come off the best, even though they're the most different from the finished versions; the demo of "Ob-La-Di, Ob-La-Da" is just as entertaining, as the trio plunges headfirst into reggae armed with just their guitars and some good intentions. As the notes point out, whatever stresses the group may have been experiencing as a formal entity, the three guitarists had some productive and harmonious sessions and they still sounded as cool, creative, and cutting edge as they ever did. As bonus cuts, the makers have added "Helter Skelter" from a studio run-through, and thrown on "Spiritual Regeneration," the Beatles/Beach Boys ode to the Maharishi (which segues into the Beatles' birthday greeting to Mike Love) and a somewhat less-entertaining, informal, acoustic medley of traditional songs, all tracks recorded in India.
Source: AllMusic Review

Child of Nature later became Jealous Guy on John Lennon's solo album Imagine
Circles, written by George Harrison, was later released on Gone Troppo, his solo album released in 1982.

Sour Milk Sea was later given to Jackie Lomax which would be released in 1968.

Not Guilty was released in George Harrison's self-titled album in 1979, and an alternative take was released on Anthology.

Junk was released on Paul McCartney's first self-titled album, and the demo was also released on Anthology, a bit shorter than the original.

Spiritual Regeneration India was played for a birthday in India, according to someone talking in the song.

Rishikesh No. 9? I don't know.

01 - Cry Baby Cry

02 - Child Of Nature

03 - The Continuing Story of Bungalow Bill

04 - I'm So Tired

05 - Yer Blues

06 - Everybody's Got Something To Hide Except for Me and My Monkey

07 - What's The New Mary Jane

08 - Revolution

09 - While My Guitar Gently Weeps

10 - Circles

11 - Sour Milk Sea

12 - Not Guilty

13 - Piggies

14 - Julia

15 - Blackbird

16 - Rocky Raccoon

17 - Back In The U.S.S.R.

18 - Honey Pie

19 - Mother Nature's Son

20 - Ob-La-Di, Ob-La-Da

21 - Junk

22 - Dear Prudence

23 - Sexy Sadie

24 - Helter Skelter

25 - Spiritual Regeneration India

26 - Rishikesh No. 9

More info here: http://getbeatlebootlegs.blogspot.com/2012/06/download-here.html

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Vinyl Albums Being Re-Released in Mono 09-2014

June 29, 2014, 4:26 pm

≫ Next: "A Hard Day's Night"

≪ Previous: Unplugged Bootleg

With an audiophile audience in mind, The Beatles’ mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios. While the corresponding CD boxed set from 2009 was created from digital remasters, these new vinyl versions have been cut without the use of any digital technology. Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging.

London – June 16, 2014 – The Beatles in mono

This is how most listeners first heard the group in the 1960s, when mono was the predominant audio format. Up until 1968, each Beatles album was given a unique mono and stereo mix, but the group always regarded the mono as primary. On September 8 (September 9 in North America), The Beatles’ nine U.K. albums, the American-compiled Magical Mystery Tour, and the Mono Masters collection of non-album tracks will be released in mono on 180-gram vinyl LPs with faithfully replicated artwork. Newly mastered from the analogue master tapes, each album will be available both individually and within a lavish, limited 14-LP boxed edition, The Beatles In Mono, which also includes a 108-page hardbound book.

In an audiophile-minded undertaking, The Beatles’ acclaimed mono albums have been newly mastered for vinyl from quarter-inch master tapes at Abbey Road Studios by GRAMMY®-winning engineer Sean Magee and GRAMMY®-winning mastering supervisor Steve Berkowitz. While The Beatles In Mono CD boxed set released in 2009 was created from digital remasters, for this new vinyl project, Magee and Berkowitz cut the records without using any digital technology. Instead, they employed the same procedures used in the 1960s, guided by the original albums and by detailed transfer notes made by the original cutting engineers.

Working in the same room at Abbey Road where most of The Beatles’ albums were initially cut, the pair first dedicated weeks to concentrated listening, fastidiously comparing the master tapes with first pressings of the mono records made in the 1960s. Using a rigorously tested Studer A80 machine to play back the precious tapes, the new vinyl was cut on a 1980s-era VMS80 lathe.

Manufactured for the world at Optimal Media in Germany, The Beatles’ albums are presented in their original glory, both sonically and in their packaging. The boxed collection’s exclusive 12-inch by 12-inch hardbound book features new essays and a detailed history of the mastering process by award-winning radio producer and author Kevin Howlett. The book is illustrated with many rare studio photos of The Beatles, fascinating archive documents, and articles and advertisements sourced from 1960s publications.

Available now for preorder at www.thebeatles.com.

The Beatles In Mono
* Available individually and collected in a limited 14-LP boxed edition, accompanied by an exclusive 108-page hardbound book.

Please Please Me
With The Beatles
A Hard Day's Night
Beatles For Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (2-LP)
Mono Masters (3-LP)

Official promotional film for the mono vinyl releases.

The prices from Amazon in USA for the boxed set is $409.26, single-LPs are $26.60, the 2LP "The Beatles" $43.97 and the 3LP "Mono Masters" $77.52.

Official press release.

Source: http://wogew.blogspot.com/2014/06/the-beatles-mono-vinyls-press-release.html

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"A Hard Day's Night"

July 1, 2014, 1:21 pm

≫ Next: A Digitally Restored 'Hard Day's Night'

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